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An analysis of the most popular technique of playing Carnatic flutes.
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Aadishabdam - Cross Fingering Technique
1.
Cross-Fingering Technique Copyright of Aadishabdam.
All rights reserved.
2.
Prerequisites To complete reading of the following lectures: • Introduc*on to Carna*c Music • Introduc*on to Carna*c Flute The above pre-requisites must be fulfilled in order to understand some of the technical terms in this presenta*on as well as to interpret the prac*cal nature of this presenta*on with ease
3.
Objectives • To introduce commonly used techniques in flute playing • To understand the origin of the cross fingering technique in Carna;c flute playing •
To appreciate the contribu;on & importance of cross fingering in Carna;c flute playing • To highlight the importance of Nageswaram music in Carna;c music
4.
Synopsis • Earlier Fingering Systems • Nageswaram Tradi;on •
Cross Fingering Technique
5.
Earlier Fingering Systems Topics • Introduc*on • Three-Finger System •
Parallel Fingering
6.
Introduction The earliest music flutes in Indian music did not possess a sophis;cated fingering system like today due to several reasons • Limited understanding of musical notes • Differing fingering styles based on preference •
Unregulated design of flute – no standard design
7.
Three-Finger System This method is one of the earliest tradi;ons in Tamil music. It was among the first accepted techniques in South Indian flute playing • BeIer known as the Mundru Viral Sadhakam, this technique allowed the flau*st to reach up to the thara sthayi dhaivatha, off-seMng the tonic note by one note • Its tonic posi*on for Shadjam is the current Kaiski Nishada posi*on & the Panchama is the current Suddha Madhyama posi*on. By transposing, the rest of the notes can be played in this order
8.
Three-Finger System Some of its notable contribu;ons to the evolu;on of Carna;c flute playing are • Advoca*ng the use of transposed fingering which lasted *ll the introduc*on of the cross-fingering technique by 'Flute Mali' • Opening the avenue of playing semitone notes by its own limita*ons, leading to its eventual disuse
9.
Parallel Fingering Introduced by the blind flute prodigy, Sharaba Shastri, it became the first accepted standard in performance flute music • It involved playing the notes in a staccato manner • Covered the full range of notes in Carna*c music •
Classical composi*ons could be played cleanly on the flute without much difficulty
10.
Parallel Fingering Some of its notable contribu;ons to the evolu;on of Carna;c flute playing are • It is the first *me tested technique of serious flute playing, giving the competent flau*st the status of a soloist • Opening the avenue of playing the gamakas (joining slides between notes) semitone notes by its own limita*ons, leading to it losing popularity today
11.
Nageswaram Tradition Topics • Introduc*on • Significance •
Playing Method • Influence on Carna*c Music
12.
Introduction • Also known as the Nadeswaram, this instrument is arguably the world's loudest non-brass aerophone • Its made of a central wood body, carved out from a solid tree trunk with a metal slot at the top for reed placement & a large flaring bell-shaped piece at the opposite end •
The body tapers from the smallest point at the blowing point to the largest point at the end • Its North Indian equivalent is the Shenai, a shorter instrument
13.
Introduction • Designed like the flute, it consists of 7 holes with 5 addi*onal holes at the boIom side of the central body • Its range is about two & a half octaves, which is the range of the human voice •
Modula*ons between notes are made by controlling the amount of air pressure blown in the instrument as the fingering is highly complex & challenging to master • Its sheer size & loud volume calls for great stamina & respiratory strength on the part of the performing ar*ste
14.
SigniBicance • Originally used in folk music & later on in Carna*c music, the instrument achieved prominence as an auspicious instrument because of its rich *mbre volume & resona*ng sound • In the past, temple processions in South India are accompanied by nageswaram music during the opening *me of the temple of each day •
The full gamut of the ragas' characters are revealed in this sacred music & *ll today, the world of raga alapana is ruled by nageswaram ar*stes
15.
SigniBicance • So great is the exposi*on of the raga, that great stalwarts of yesteryears would wake up early before dawn to listen to the nageswaram ar*stes in the temple processions • Nageswaram ar*stes themselves are highly regarded & remunerated for their mastery of the challenging instrument •
Both connoisseur & laymen flocked readily to listen to great nageswaram ar*stes & their performances. On the hand, vocal music at that *me was at its infancy as a public performance & had a very selec*ve audience
16.
Playing Method • While the now-popular cross-fingering method is used in the flute, its origins undoubtedly came from the nadeswaram which aptly produced the vocal nuances of the human voice extremely well • While par*al opening & closing of the holes are used extensively in the Carna*c flute, the nadeswaram has finger work using the 5 addi*onal holes is different while the shaking of the notes to produce gamakas are used in the flute & the nadeswaram •
This method of gamaka produc*on was later used by Flute Mali to great success on the flute, with some changes
17.
InBluence on Carnatic Music • At the dawn of the 20th century, the era of performing music called for new methods for presen*ng the art to the public as opposed to the limited audience of royal patrons of the past century • Nageswaram music itself became the answer, with the step- by-step delinea*on of a raga to the climax of sweeping brighas appealed to one & all. The composi*ons remained crisp & alluring with a madhyama kala tempo generally •
Par*cularly all the great *tans, including Semmangudi Srinvasa Iyer, M. S. Subbulakshmi & G.N.B professed the influenced of nageswaram music in their rendi*ons
18.
InBluence on Carnatic Music • Probably, the greatest phenomenon in nageswaram music is the legendary T. N. Rajarathnam Pillai, a celebrated genius of the instrument as well as a competent vocalist (he was a disciple of Thirukkodikaval Krishna Iyer) • His rendi*ons influenced many great stalwarts to adopt his approach. Flute Mali & T.N.R shared a special friendship, & ocen prac*ced together exchanging musical knowledge •
In the vocal arena, Semmangudi Iyer, among the many greats, adopted T.N.R's performing approach significantly. G.N.B completely assimilated the technique almost singing like a nageswaram performance with his God-given voice
19.
InBluence on Carnatic Music • Needless to men*on, the trio; Semmangudi Srinivasa Iyer, M. S. Subbulakshmi & G.N.B perpetually lec an indelible influence in the performing era of Carna*c music • The many disciples of Semmangudi Srinvasa Iyer & G. N. Balasubramaniam have over the years modified & refined their gurus' techniques to suit the new-age audience while retaining the core techniques of their gurus •
Although nageswaram musicians once numbered in the hundreds because of the music's appeal, today, their numbers dwindle & rising stars like the Injukkudi brothers & Sembanarkovil brothers are keeping this art alive
20.
Cross Fingering Technique Topics • Introduc*on • Explana*on •
Future • Conclusion
21.
Introduction • In simple terms, cross-fingering is a method where air is allowed through a finger hole(s) lec open between closed finger holes • In cross-fingering technique, semitones (sharp & flat notes) & quarter-tones (altered sharp & flat notes for sruthi specific playing) can be played appropriately •
Semitones can be played alternately with different fingering
22.
Explanation The produc;on of semitones of some notes will be discussed • Assuming suddha rishaba (R1) is played with 1, 3, 4, 5, 6, & 7 finger-holes closed, it will be the same as playing 1st finger- hole closed & the 2nd par*ally closed • Playing suddha dhaivatha (D1) with 1 – 4, 6 & 7 finger- holes closed, leaving the 5th finger-hole open, will yield the same note as playing 1 – 4 finger-holes closed & leaving the 5th par*ally opened
23.
Explanation The produc;on of semitones' janta svaras will be discussed • Playing R1 with cross-fingering as discussed earlier, will yield a double note; R, R, when the 2nd finger-hole is tapped & released. In conven*onal play, R, R, is obtained by sliding the finger to S posi*on & back; R1, S, R1 • Playing D1 with cross-fingering as discussed earlier, will yield a double note; D, D, when the 5th finger-hole is tapped & released. In conven*onal play, D, D, is obtained by sliding the finger to S posi*on & back; D1, P, D1
24.
Explanation The produc;on of quarter-tones will be discussed • Quarter-tones are produced by altering the extent of opening the finger-holes for the note for specific sruthi • Due to the nature of this topic, further details on the 22- sruthi system will not be discussed Opening Hole
Shruthi ¼ opened Ekashruthi ½ opened Dvishruthi ¾ opened Tisruthi Fully opened Chatusruthi
25.
Future • It is therefore important to take note, that Flute Mali did not completely assimilate the cross-fingering technique from the nagaswaram, but adapted appropriately to certain notes to improve the ease of playing the flute while producing the vocal nuances of Carna*c music appropriately • The current flute prodigy Shashank further added a new dimension to the Mali's technique by introducing “Transposed Fingering” which is discussed separately from this topic
26.
Conclusion • The importance of cross-fingering in flute playing should never be forgoIen, for almost all avenues of Carna*c music has witnessed the “vocal capacity” of the Carna*c flute • Evolu*on on the other hand has to progress & refine the current techniques of flute playing. One such approach is the “Transposed Fingering” introduced by Shashank, which is a modifica*on of the Mali's technique & also corrects some subtle limita*ons of the Mali's technique
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