Comparison of Violin Techniques in Western Classical and South Indian Classical Music
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The document discusses techniques used in violin playing in Western classical music and South Indian classical music. It provides details on 15 types of ornamentation called Panchadasa Gamakas in South Indian music and 10 types of ornamentation called Dasavidha Gamakas. It explains each type of ornamentation with examples and comparisons between Western and South Indian violin techniques.
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Comparison of Violin Techniques in Western Classical and South Indian Classical Music
- 2. Introduction Overview of violin acoustics Violin in East and West Ornamentation in Music Panchadasa and Dasavidha Gamakas Western Classical Music Right-Hand Techniques Left-Hand Techniques South Indian Classical Music Right-Hand Techniques Left-Hand Techniques Comparison of Violin Techniques Conclusion 23 January 2011 IMCF 2011 2
- 3. Pitch of a vibrating string 1 2 3 23 January 2011 IMCF 2011 3
- 4. Playing a single note on the violin also generates harmonics or secondary waves which have frequencies at integer multiples - 2 times, 3 times etc. of the fundamental frequency Harmonic Frequency Swara 1 440 Sa (0) 2 880 Sa (+1) 3 1320 Pa (+1) 4 1760 Sa (+2) 23 January 2011 IMCF 2011 4
- 5. 23 January 2011 IMCF 2011 5
- 6. An overtone is any frequency higher than the fundamental frequency of a sound When playing a particular swara on the violin, say ga, is the violin vibrating in one particular frequency? 23 January 2011 IMCF 2011 6
- 7. The quality of a musical note or sound or tone that distinguishes different types of sound production, such as voices or musical instruments Amplitude envelope Spectral Frequency 23 January 2011 IMCF 2011 7
- 8. Western Classical Music South Indian Classical Music Pieces are specially composed Violin playing focuses on for violin reproducing vocal music Music written for that Music created for voice instrument Harmony Melody Agreeable concord of various Regulated succession of related notes concordant notes Rules and notations for every No specific rules. technique manodharma 23 January 2011 IMCF 2011 8
- 9. Articulation Gamakas Articulations are performed by the instrumentalist using different techniques such as bow pressure, the position on the violin where the note is being played, the angle of the bow as it touches the string, the various positions and movements of the wrist and/or elbow, etc. The effect of using these various techniques results in the creation of different sounds even though the same pitch is being played. Arco Harmonics Slur Bariolage Jeté Son filé Bartók pizz Left hand pizzicato Spiccato Bouncing bow Legato Staccato Collé Marcato Sul tasto Col Legno Martelé Timbre Con sordino Pizzicato Tremolo Contact point Ponticello Vibrato Détaché Portamento Flautando Down bow Richochet Rule of Down-Bow 23 January 2011 IMCF 2011 9
- 10. Articulation Gamakas Gamaka is the graceful movement of the swara, the fine pull of the string, which brings happiness to the hearer. Gamaka is a fundamental element of a raga Swara and gamaka are intimately linked. Gamaka has affective power Gamaka builds up a relationship with neighbouring members Who said Book Number Sarangadeva Sangita Ratnakara 15 How many gamakas are there? Palkurki Somanatha kavi Panditaradya Charithra 22 Ahobala Sangita Parijata 17 Basavappa Naik Siva Tatva Ratnakara 15 Somanarya Natya Chudamani 6 23 January 2011 IMCF 2011 10
- 11. Panchadasa Gamakas – 15 Gamakas mentioned by Sārangadeva स्वरस्य कम्पो गमकः श्रोतचित्तसुखावहः | ृ तस्य भेदास्तु ततररपः स्फ़ररतः कम्म्पतस्तथः || ु ऱीन आन्दोलऱत वलऱ त्रिलभन्न करुऱाहताः | ु उल्ऱालसतः प्ऱाववतस्ि गम्म्फ़तो मद्रितस्तथा || ु ु नालमतो लमचश्रतः पञ्िदशेतत पररकीततिताः | 23 January 2011 IMCF 2011 11
- 12. Panchadasa Gamakas – 15 Gamakas mentioned by Sārangadeva स्वरस्य कम्पो गमकः श्रोतचित्तसुखावहः | ृ तस्य भेदास्तु तिरिपः स्फ़रििः कम्पपिस्तथः || ु लीन आन्दोललि वलल त्रिलिन्न करुलाहिाः | ु उल्लालििः प्लावविस्ि गम्पफ़िो मुद्रििस्तथा || ु नालमिो लमश्रििः पञ्िदशेतत पररकीततिताः | 23 January 2011 IMCF 2011 12
- 13. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Tiripa – Playing one of the notes of a phrase with some stress 23 January 2011 IMCF 2011 13
- 14. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Sphurita – A janta swara phrase wherein the lower note in between each janta swara group is faintly heard. The second note of each janta is stressed 23 January 2011 IMCF 2011 14
- 15. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Kampita – A shake. When one oscillates between two swaras while holding a particular swara, a kampita is achieved 23 January 2011 IMCF 2011 15
- 16. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Līna – Merging of a note softly into another note 23 January 2011 IMCF 2011 16
- 17. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Andolita – A free swinging. Holding on a note for some time and then pulling the string or gliding on it so as to reveal a higher note 23 January 2011 IMCF 2011 17
- 18. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Vaļi – Producing the chhāyā of two or three notes from the same swarasthāna by deflecting the string in a circling manner (only in fretted instruments) 23 January 2011 IMCF 2011 18
- 19. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Tribhinna – Produced by placing the left-hand fingers on a swarasthāna so that the fingers are in contact with three strings, and then by plucking the three strings with the right hand fingers either simultaneously or successively (only in fretted instruments) 23 January 2011 IMCF 2011 19
- 20. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Kurula – This is the production from a swarasthāna, of the note of another sthāna with force 23 January 2011 IMCF 2011 20
- 21. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Ᾱhata – Sounding a note and then producing another note without a separate stroke (only in vina) 23 January 2011 IMCF 2011 21
- 22. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Ullasita – Jāru or glide • Etra jāru • Irakka jāru Starting on a note and reaching a different (higher or lower) note by gliding over the intermediate notes 23 January 2011 IMCF 2011 22
- 23. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Plāvita – This is a variety of Kampita 23 January 2011 IMCF 2011 23
- 24. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Gumpita – Belongs to vocal music. The tone is slender at the start and goes on increasing in both volume and pitch 23 January 2011 IMCF 2011 24
- 25. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Mudrita – Belongs to vocal music. Produced by closing the mouth and singing 23 January 2011 IMCF 2011 25
- 26. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Nāmita – Belongs to vocal music. Singing in a slender tone 23 January 2011 IMCF 2011 26
- 27. Tiripa Misrita Sphurita Nāmita Kampita Mudrita Līna Panchadasa Gumpita Gamakas Andolita Plāvita Vaļi Ullasita Tribhinna Ᾱhata Kurula Misrita – Mixture of two or three of the other varieties 23 January 2011 IMCF 2011 27
- 28. Dasavidha Gamakas Arohana Avarohana Dhālu Sphurita Kampita Āhata Pratyāhata Tripuscha Andola Murchhanā A grace embracing notes in ascending order s r g m p d n ṡ 23 January 2011 IMCF 2011 28
- 29. Dasavidha Gamakas Arohana Avarohana Dhālu Sphurita Kampita Āhata Pratyāhata Tripuscha Andola Murchhanā A grace embracing notes in descending order ṡ n d p m g r s 23 January 2011 IMCF 2011 29
- 30. Dasavidha Gamakas Arohana Avarohana Dhālu Sphurita Kampita Āhata Pratyāhata Tripuscha Andola Murchhanā Starting on a basic note and producing the higher notes in conformity with the rāga bhāva. Beginning on shadja and sounding panchama, etc s P s M s G s R 23 January 2011 IMCF 2011 30
- 31. Dasavidha Gamakas Arohana Avarohana Dhālu Sphurita Kampita Āhata Pratyāhata Tripuscha Andola Murchhanā A janta swara phrase wherein the lower note in between each janta swara group is faintly heard. The second note of each janta is stressed. 23 January 2011 IMCF 2011 31
- 32. Dasavidha Gamakas Arohana Avarohana Dhālu Sphurita Kampita Āhata Pratyāhata Tripuscha Andola Murchhanā A shake. The manipulation of the note is such that there is not even the remotest suggestion of the adjacent notes. 23 January 2011 IMCF 2011 32
- 33. Dasavidha Gamakas Arohana Avarohana Dhālu Sphurita Kampita Āhata Pratyāhata Tripuscha Andola Murchhanā A grace present in the arohana s r r g g m m p 23 January 2011 IMCF 2011 33
- 34. Dasavidha Gamakas Arohana Avarohana Dhālu Sphurita Kampita Āhata Pratyāhata Tripuscha Andola Murchhanā A grace present in the arohana s r r g g m m p 23 January 2011 IMCF 2011 34
- 35. Dasavidha Gamakas Arohana Avarohana Dhālu Sphurita Kampita Āhata Pratyāhata Tripuscha Andola Murchhanā Swaras in triplets sss rrr ggg mmm 23 January 2011 IMCF 2011 35
- 36. Dasavidha Gamakas Arohana Avarohana Dhālu Sphurita Kampita Āhata Pratyāhata Tripuscha Andola Murchhanā Playing swaras in the following manner: srsDd srsPp srsMm 23 January 2011 IMCF 2011 36
- 37. Dasavidha Gamakas Arohana Avarohana Dhālu Sphurita Kampita Āhata Pratyāhata Tripuscha Andola Murchhanā Starting on shadja and proceeding regularly in the arohana krama and finishing on the dirgha nishada, then starting on rishabha, proceeding likewise, to finish on dirgha shadja, and so on. . . .. ... ... . srgmpdN rgmpdnS gmpdnsR mpdnsrG pdnsrgM 23 January 2011 IMCF 2011 37
- 38. Grouping of gamakas 1 2 • Sphurita • Kampita • Tripuscha • Lina • Andolita • Vali • Ullasita • Gumpita Fingered stresses (Ravai) Slides / Shifts Vibrato Portamento 23 January 2011 IMCF 2011 38
- 39. Western Classical Music 23 January 2011 IMCF 2011 39
- 40. Down / Up bow On-string and Off-string bowing Slur / Unslur Crossing Strings 23 January 2011 IMCF 2011 40
- 41. • Playing the notes smoothly without separation Legato • Legato is indicated by a slur • Separated or detached type of bowing Staccato • The duration of bowing is reduced, thus the time value of the note is shortened • Heavy staccato or hammer stroke Martele • Attack at the beginning of the note and is a pressed, heavy accent stroke • Notes are to be played in separated or detached manner Detache • Direction of the bow changes for every note • Fast or repetitive sound of increasing intensity Tremolo • Produced by playing the up and down-bow strokes fast on the string • Playing the notes of a chord in succession Arpeggio • Sounded usually from the lowest to the highest 23 January 2011 IMCF 2011 41
- 42. Bariolage • Same note is played on two strings alternately Sul • Bow is drawn near the bridge Ponticello • Louder, brighter sound • Bow is drawn near the fingerboard Sul Tastato • Milder sound Col Legno • Strings of the violin are played by the ‘stick’ portion of the bow Col Legno • Similar to Col Legno, but the strings in this case are ‘hit’ by the wooden back Dell’ Arco portion of the bow Pizzicato • Strings are plucked with fingers 23 January 2011 IMCF 2011 42
- 43. Glissando Double Stop Vibrato Harmonics Pizzicato • Shifting technique • Finger slides from one note to another • Sliding by a semitone, tone, octave Ascending Descending Chromatic glissando glissando glissando 23 January 2011 IMCF 2011 43
- 44. Glissando Double Stop Vibrato Harmonics Pizzicato • Two notes are played simultaneously • The left hand fingers are placed on desired notes on two strings • The right hand plays the bow on two strings Double stop Triple stop Quadruple stop 23 January 2011 IMCF 2011 44
- 45. Glissando Double Stop Vibrato Harmonics Pizzicato • The left hand oscillates on a particular note • The wrist shakes, and the oscillation is carried to the finger • The action of the finger is ‘rolling’ 23 January 2011 IMCF 2011 45
- 46. Glissando Double Stop Vibrato Harmonics Pizzicato • A vibrating string is touched lightly at certain points • Overtones are heard – Harmonics or upper partials • Frequency is integral multiples of the original sound Natural Harmonics Artificial Harmonic 23 January 2011 IMCF 2011 46
- 47. Glissando Double Stop Vibrato Harmonics Pizzicato • The left hand plucks the string 23 January 2011 IMCF 2011 47
- 48. South Indian Classical Music 23 January 2011 IMCF 2011 48
- 49. • For every note or svara, there is a change in bow stroke Svara vil • Used for all the speeds • Played according to the text part of the song (meaningful words) Sāhitya vil • Bow is turned for each syllable of the words, and not for every note • Similar to sāhitya vil, but there are no meaningful words Ᾱlāpana vil • There is a combination of all speeds • Based on pressure and release of the right hand. The bow jumps along Tāna vil • Fingers and wrist of right hand are used to produce this effect Pressure • Index finger of right hand gives pressure to the notes bowing • This pressure is not fully released Tillānā • Resembles swara vil and sāhitya vil, but it demands a technique bowing • Certain phrases are rendered fast, where there is a sense of quickness 23 January 2011 IMCF 2011 49
- 50. Double • Playing on two strings simultaneously stops • Used in tānam, ālāpana or svara • Playing very fast passages Tremolo • Middle of the bow or the nut of the bow is used Fluttering • Similar to tremolo, but rendered fast with the tip of the bow bowing • Notes are equally spaced 23 January 2011 IMCF 2011 50
- 51. Stopping Hitting Rolling Shaking Janta Slide Jump • Stopping a finger at a particular point to produce a note • Stops on E string: FINGER FIRST POSITION THIRD POSITION FOURTH POSITION 1-f dha Sa Ri 2-f ni Ri Ga 3-f Sa Ga Ma 4-f Ri Ma Pa Multiple Finger Stopping 23 January 2011 IMCF 2011 51
- 52. Stopping Hitting Rolling Shaking Janta Slide Jump • Left hand finger hits the string for a particular note and returns. • Used for rendering plain svaras • viraladi 23 January 2011 IMCF 2011 52
- 53. Stopping Hitting Rolling Shaking Janta Slide Jump • Point of contact of fingers is shifted not by sliding but by rolling 23 January 2011 IMCF 2011 53
- 54. Stopping Hitting Rolling Shaking Janta Slide Jump • Finger oscillates without moving out of its position • Tip of the finger rocks back and forth 23 January 2011 IMCF 2011 54
- 55. Stopping Hitting Rolling Shaking Janta Slide Jump • Occurrence of twin notes • Played by releasing the finger and replacing them • Rendered in one turn of the bow for both notes 23 January 2011 IMCF 2011 55
- 56. Stopping Hitting Rolling Shaking Janta Slide Jump • Movement of one or more fingers along the string • Upward slide • Downward slide • Up and down slide Single Finger Slide Multiple Finger Slide 23 January 2011 IMCF 2011 56
- 57. Stopping Hitting Rolling Shaking Janta Slide Jump • Finger jumps and lands on a different note 23 January 2011 IMCF 2011 57
- 58. Comparison of Violin Techniques 23 January 2011 IMCF 2011 58
- 59. Western Carnatic Detache Svara vil Legato Sāhitya vil - Tāna vil Double stops Double stops Tremolo Tremolo Left Hand Techniques Fluttering bowing Fluttering bowing Arpeggio - Col Legno - Staccato - Bariolage (no specific name) Martele - Pizzicato (no specific name) 23 January 2011 IMCF 2011 59
- 60. Western Carnatic - Hitting Glissando Jāru (gamaka) (or) Portamento - Janta (gamaka) Right Hand Techniques Vibrato Shake Vibrato Vibrato Vibrato (slow) Rolling Harmonics Harmonics Left hand pizzicato (no specific name) 23 January 2011 IMCF 2011 60
- 61. • Ornamentations are present in all forms of music. • The primary difference is the use of the instrument. • To bring out the instrument characteristics and colour • To replicate vocal music • In Western music, the instrument colour is exploited in the score. • In Carnatic music, it is exploited in the ālāpana, kalpanāswara and the tāna. • Every musical form employs some unique violin techniques. 23 January 2011 IMCF 2011 61
- 62. T H A N K YO U 23 January 2011 IMCF 2011 62
- 63. • Violin Techniques in Western and South Indian Carnatic Music Dr. M. Lalitha • Gamaka or graces of Music Sri Parameswara Bhagavatar • Ornamentation in South Indian Classical Music GordonSwift • Gamaka and Vadanabedha Ranganayaki Veeraswami 23 January 2011 IMCF 2011 63