The Andolan alankar is a gentle swing or oscillation that starts
from a fixed note and touches the periphery of an adjacent note. What is special about the Andolan is, that in the
course of the oscillation, it touches the microtones or shrutis that
exist in between. The note that is being oscillated within an Andolan is known as andolit swar. It must be noted that these
andolit swars are raga specific and should not be applied to any
raga that uses these notes.
For a clear understanding, Shruti Sadolikar
first sings the komal rishabh (r) of Bhairav that is andolit
and moves within the periphery of S. Note that the shruti
(microtone) of this r is lower than the ordinary r.
she sings the same r in Todi. Here the swar is in the periphery
of komal gandhar (g). The shruti of r here is slightly higher
than the ordinary r and much higher than Bhairav’s r.
sings g in Mian Malhar, which is moving between M and
continues to sings the same raga in sargam and includes komal nishad, n, (andolit
with Dhaivat, D) as well.
Guru Ulhas Kashalkar sings komal dhaivat, d and komal gandhar,
of raga Darbari Kanhada, one of the best examples of andolit
swars. Moving between komal and pancham, please note that the
d is really ati-komal. The same goes for g which is once again ati-komal.