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Introduction to Mandolin:
Mandolin emerged from the Mandola possibly as early as the 15th century but remained obscure until the 18th century, when it was used by Handel in England,by Hummel in Germany, by Gretry and Auber in France, and by various Italians including Vivaldi. The fashion subsided in the 19th century- it had become a popular folk instrument inGermany and America. Mandolin is the descendent of the Neapolitan, a small lute.
The Mandolin has been in use in its original form and with its original style ofplaying in film music and other non-classical forms of music for a few decades now, though the usage has notbeen such that would have given the instrument a prima donna position. The instrument has been predominantly used to connect two parts of compositions or to render one of the specificparts of a musical composition.
Elsewhere in the world, the usage of the instrument is much better. However, one does come across cases whereMandolin has been used as a lead instrument playing various pop or othervarieties of compositions. In western classical music, the originality of Mandolin, both the style of playing and the construction of the instrument, has been retained though. Someof the prominent examples of the usage of Mandolin elsewhere in the world are:

• Lead Mandolin in Bluegrass music (in the USA);

• The American group called 'The Band' which featuredRick Danko on the Mandolin;

• In country-western music in the mid-1980s by a competing group of Nashville based musicians such as Ricky Skaggs, George Strait, the Judds, & RandyTravis.

Music Director::HamsaLekha Starring::Arjun Saria,Soundarya. Carnatic Raga::Shankarananda Priya Notations:: sa=s ri=r2 ga=g2 pa=p da=d2 unless and otherwise specified. Prelude g r g r g r g r Brahma Murari surarchita Lingam s r r g g r g g r g g Nirmala bhasita sobhita Lingam r r s r s d s r g r r Interlude sgs pppd dpgrssss. Attend concerts as well. A shruthi box or tambura. This will provide the basic notes sa and its fifth pa. Ask your teacher to help you find your ideal pitch so you can sing at least two whole octaves comfortably. Find out exactly how to tune either your shruthi box or tambura. Listen to the notes carefully at least five minutes. Sep 26, 2016 KeyLess Online Facebook Page September 26, 2016 Like the facebook page to get notified on new song posts KeyLess Online Twitter Feed. Carnatic music is primarily a vocal oriented music. It is adorned when vocals are accompanied with an instrument. It has been postulated that violin suites more than any other instrument for an accompaniment. Hence, violin plays a prominent role in carnatic music.

Basic Design of the Mandolin:
The acoustic Mandolin: Normally one finds two variations in the original form of theMandolin - the acoustic and the electric (solid block).
The Mandolin in its original form is typically an acoustic stringed instrument about 60cm (2 ft) long with deeply vaulted ribs and a table slanted downward at the lower end. It has aneck-cum-peghead attached to a hollow oval shaped sound box. It has four pairs of loop-ended double rib fastened metal strings secured to hooks on the body on one end, and passed acrossa low bridge (on the sound box) and a nut (on the finger board) to the pegs inserted into a rectangular peg-box. There are five or even six-string versions of theMandolin, but they are not aspopular as the four-strings (pairs) version. A small flexible plectrum is used tovibrate the strings. A feature of Mandolin playing is the constant reiterations of all long pitches, whichcounteracts its weak sustaining power. The thinnest string is called the 1st string, the next is the 2nd string which is slightly thicker, and so on until the fourth string.
The Electric (solid block) Mandolin: Solid block versions of the Mandolin are also available in more or less the same form as the originalMandolin. The names of the parts of the electric Mandolin are similar to those of theacoustic Mandolin. The major difference between an acoustic Mandolin and the electricMandolin lies in the way sound is produced and amplified ineach.
On the acoustic Mandolin, when a string is plucked, its vibrations resonate in the hollow sound box and audible sound is thereby generated. In this process, the sound box mechanically amplifies the sound. In the case of an electric Mandolin, there is no sound box; the vibrations of the strings are picked up by a device called 'pickup' (which, in basic form, consists of a magnet placed at the centre with very thin copper wire coiled around it a few hundred-thousand turns), which converts the vibrations into very low electrical signals.Through volume, tone and / or other controls, these signals are fed into an amplifier which then feeds it to the speaker.Thus audible sound is produced.
U Srinivas' design:
Mandolin Srinivas is perhaps the greatest thing to have happened to Mandolin, for it was he who adapted the instrument toCarnatic classical music, made some structuralmodifications and introduced ingenious playing techniques to take Mandolinto its present enviable position in music. It would therefore be worthwhile dwelling in sufficient detail on USrinivas' design in order to fully comprehend the magnitude and enormity of his contribution.
Gamakas (graces), one would agree without doubt, are quite essential toCarnatic music - so much so that, one cannot play Carnatic music without usinggamakas. With theoriginal design of the Mandolin, the musician venturing to play Carnatic music on it, faced two major problems:

1. The presence of pairs of strings made it extremely difficult to render complexgamakas.
2. The sustenance (the time period for which a note would be heard from the time the string is plucked) of the instrument, on the whole, was not sufficient enough (to some extent attributableto the presence of 'pairs of strings') to admit slow-tempo compositions.

Mandolin Srinivas came up with some modifications which (i) eliminated completely the problem ofgamaka rendition, (ii) to a great extent enhanced the sustenance of the instrument, and (iii)enhanced the acoustic range of the instrument.
Mandolin Srinivas (a) chose the electric solid block (Mandolin) as the basis;(b) used single strings instead of pairs, and (c) also added a fifth string (on the suggestion of his father USatyanarayana), which enhanced the acoustic range of the instrument. As such the acoustic range of the instrument is nowthree complete octaves and a half octave.
These modifications have opened up gates which were hitherto thought impossible. The inevitable fallout of these modifications is that theMandolin, inthis new design, has lost its characteristic plink-plunk sound (attributable to the pairs of strings) and the playing style of continuous, fast up-down plucking as a means of sustaining notes.But then, in view of the stupendous vistas and the expressing potential opened up by the new design, one is more than pleased to overlook this. MandolinSrinivas' design of the Mandolin is available with quite a few musical instrument makers in Chennai, India.
Suresh Kumar's Design - the Dragon G2 SK-1:
Suresh Kumar started with Mandolin Srinivas' design as the basis, altered certain design parameters which have further enhanced the flexibility and expressing potential of theMandolin. The important features of Suresh Kumar's design, christened Dragon G2 SK-1, are discussed hereunder:

1. The use of the truss rod: Truss rod is wedged inside the neck and brings with it the benefit of increased sustenance of notes and greater rigidity. In case of a minor warp in the neck, atruss rod helps to correct the warp. It also offers resistance to warping tendencies of the instrument's neck. The truss rod also helps improve the sustenance of the instrument.
2. The unique tailpiece: Ideally, the thickness of the Mandolin strings (as also for any other stringed instrument) should progressively increase from the thinnest (1st) string to the thickets(5th) string. Since the original Mandolin has 4 (pairs of) strings, one can procure strings in only 4 gauges which anyway suits the originalMandolin. With the 5-string version of the Mandolin,one is therefore forced to use the 4th string for the 5th string also. This entails using strings of the same gauge for two scales which are seven notes apart - for the lower (Panchama) and lower (Shadja) - with the inherent problem of the 4th string being tightened to a more than normal tension. A neat way of overcoming this difficulty is by using matching guitar strings of a suitablegauge. But guitar strings are ball-ended while Mandolin strings are loop-ended andthe tailpiece of the Mandolin will not accept ball-ended strings. For the dragon, Suresh Kumar hasdesigned a unique tailpiece which would accept either of the two strings types - loop ended or ball ended whichgives a welcome flexibility in the choice of strings for the Mandolin.
3. The flexi-bridge: The all-metal height adjustable bridge has individual movable bits (one for each string) with notches through which the strings pass. This design of the bridge (i) givesscope for adjusting the action (distance between the strings and the fingerboard) of the strings for varying requirements, (ii) helps achieve a better intonation (matching or equivalentfrequencies on equivalent positions on different strings), and (iii) improves the sustenance of the instrument.
4. The neck: The Dragon has a screw-on detachable type neck instead of a glued-on neck. A glued-on neck has to have a bigger constriction at the point where the neck is glued on to thebody as compared to a screw-on type neck. The screw-on type neck thus allows a better reach around the twelfth fret region (called down-the-staff region in guitar terminology). The neck is also angled at approximately 4 degrees to the body. This also improves sustenance and tonal quality.
5. The frets: German silver frets of Jim Dunlop (USA) also add to the rich tone and improve the sustenance of the instrument while playinggamakas. These also enable better handling ofmicrotones.
6. The pickup: The use of specially wound pickups (2 in number) placed strategically give independently good tonal variations both in their original tones and altered tones obtained by takingthe pickup out from different tappings, and in addition, tones obtained by combination of two pickups - all accessed through a 5-way Fender (USA) pickup selector. The pickups are alsofitted with 'Alnico' magnets which provide a sweet, mellow tone - a must for classical music.

All these and more make the Dragon G2 SK-1 a performer's delight. The dragon is a made to order instrument and has been specially made for Suresh Kumar by John Pereira ofPeter Pereira (makers of mandolins, guitars and violins), near St. John theBaptist High School, Thane West 400 601, Mumbai, India (Ph: 91-22-5343314), one of the best instrument makers in the country. John Pereira has taken a lot of pains to see that the Dragonis made to exacting requirements.
Techniques of playing the Mandolin:
Tuning the Mandolin: The Mandolin is normally tuned to the notes corresponding toE, A, D & G (1st, 2nd, 3rd & 4th strings respectively).
The basics: Mandolin is a plucked instrument. The sound of the Mandolin is basically produced because of the vibrating column formed between the bridge and the nut where string vibrations are createdby plucking the strings with a plectrum or the fingers. Frequencies can be altered by pressing the strings on the fingerboard against appropriate frets. The act of pressing the strings on thefingerboard alters the length of the vibrating column and the placement of the frets is so calculated that the exact frequencies as required on the musicalscale are obtained. The requiredmusical notes are thus produced and delayed. Given this technical background, let us see the basic techniques of playing the Mandolin.
One typically uses the index, middle, ring and little fingers of the left hand to alter the musical notes and the right hand to hold the plectrum for plucking the strings. The side of the sound boxrests on the players lap and the neck is held in position with the left hand.
The Mandolin is not ordinarily used to play chords. For lead playing, different scales can be worked out and played. The characteristic style of playing is that whenever one wants to sustainany note, one plucks the string with the plectrum with rapid, up-down strokes of the right hand.
The phenomenal contribution of Mandolin Srinivas to the techniques of Mandolin playing in Carnaticmusic:
The first thing that Mandolin Srinivas did was to change the tuning of the Mandolinto suit the requirements of Carnatic music in the following manner:

Changing the tuning from that of the standard Mandolins not only enhanced the range of the instrument, but also the enabled the player to avail of the advantage of having the resonance ofthe Sa and/or Pa on tap by default. This helps the player fill the void, the emptiness which could sometimes creep into a rendition.
With Sa-Pa-Sa tuning as the base, Mandolin Srinivas devised very ingenious fingering techniques for playing intricategamakas and for enhancing the expressive potential of the Mandolin.
Some of the patent 'Srinivas techniques' are discussed below.

Establishment of the basic fingering pattern:

In the basic fingering pattern, the left index finger is designated for Riand Dha, the left middle finger for Ga and Ni, and the left ring finger for Ma regardless of the type of Ri,Ga, Dha and Ni. Sa and Pa are open strings, meaning, those notes can be played without pressing the strings against any fret.
The basic fingering pattern is broken while playing gamakas - this is because the very essence ofgamakas lie in the continuity of notes, the graceful curves of frequencies.Gamakaplaying, therefore, essentially involves using any of the three fingers identifiedherefore and sliding the finger down on the string whilst pressing them on the fingerboard and emphasizing onlythe required notes.

Evolving the gamaka techniques suitable to the Mandolin:

1. Kampita (and its variants): Kampita essentially involves moving up and down between two notes. The various colours of the Gandhara of raga Todi can be obtained by (i) the Mandolin's variant of the 'kampita' technique (as elucidated in Sangeeta Ratnakara of Shaamgadeva) - where the 'kampita' is obtained by rapid up-down movements between the correspondingfrets giving the Chatusruti Rishabha and Sadharana Gandhara notes; and (ii) by sliding back and forth twice or thrice between the corresponding frets giving the Shuddha Rishabha andMadhyama notes whilst emphasising the Todi's Gandhara tinge. The same technique with due changes when required can be used for various other ragas viz, the Madhyama and Nishadha of Begada.
2. Brigas: By brigas we mean a complex inter-twining of a series of notes played at a high speed, where some of the notes are played twice. The notes played twice are calledbrigaspoints. Briga points can be played in two ways, viz, (a) using two fingers - by playing a note with a left finger (say the middle) and sliding hard to that note from its previous (chromatic) note with another finger (in this case, the index) and (b) using one finger - by playing a note with a finger and very rapidly moving the finger back one note (chromatic) and bringing it back to the note with which the gamaka process was started. Playing brigas is difficult on the Mandolin on account of the amplification because even the smallest imperfection in playing the briga would be clearly audible and would jar the listener.
3. Hammer-on' as a means of gamaka playing: Hammer-on is not a new technique in that it has been and is being used extensively in western guitar playing. But the wayMandolin Srinivas has used it in Carnatic music, is amazing. Hammer-on means hitting a note sufficiently hard with any of the left fingers against a fret - the note may be plucked or unplucked. Hammer-on is used as an alternative to slidingdown hard to a note or to a note higher on the musical scale (e.g., in a sequence in raga Kalyani the notes Ma-Pa-Da-Ni-Sa, the Ma can be played by hammering-on Pa or by sliding down hard to Pa.
4. Nalinam: Suresh Kumar's nomenclature. This involves sliding gracefully to a series of notes which are not necessarily in the serial order of the raga. E.g., in raga Sankarabharanam (equivalent to the major scale in western music) the sequence Sa-(pause) -Ri-Ga-Ri-(pause)-Sa is played by plucking Sa (third string played open) and slidingone left finger (usually the middle or ring) across the following notes: Sa-(pause)-Ga-Ri-Ga-Ma-Ga-Ga-Ri-(pause)-Sa (It is to be noted in this phrase that Ma is not emphasized, in order to render a proper feel of Sankarabharanam. Nalinam can be used in innumerable variations, and by appropriately using emphasis points, a variety of bhava (feelings) can be expressed and gana-naya (modifications) canbe achieved.
5. Octavo: Octavo involves playing a note in two or three octaves simultaneously. Doing this makes theMandolin sound like the Chitravina.

Making the Mandolin sing - the 'gayaki' style:
Since Carnatic music is sahitya-pradhana (meaning, importance is given tolyrics), the ultimate goal of every instrumentalist is to make the music played on theinstrument as close to singing as possible. This process, however, becomes difficult because of the technical limitations posed by the instruments.A lot of work has been done by Mandolin Srinvas, and in turn, by Suresh Kumar, vis-a-visMandolin, towards realization of this ultimate goal on Mandolin and making it sing.
When one sings, the transition across two or more notes is usually seamless. The same cannot always be translated onto instruments. Speaking specifically of theMandolin,oftentimes one is forced to break the continuity of a sequence of notes because the sequence is so long in its musical range that it cannot be practically played without switching fromone string to another. Both Mandolin Srinivas and Suresh Kumar have evolved different ways of getting around the technical limitation.
a. Bridging the gap between the strings: Suresh Kumar's nomenclature. This is a technique which is used to play a series notes virtually seamlessly even though such playing wouldinvolve switching across two or more strings. This technique essentially involves an analysis of the series of notes sought to be played and the identification of 'breathing points' in the seriesof notes and fixing the exact points where the switchover can be made virtually seamlessly, plus the manner in which the switchover is to be played.
To play the series Ri-Ma-Ri-Sa (all Tara sthayi notes) Ni-Da-Ma-Pa-Ni-Sa (corresponding to'Yagayoga tyaaga, bhogaphalamosangay' - lyrics of 'Ragasudharasa', acomposition of Tyagaraja in raga Andolika), the phrase would, in the ordinary course, be played in the following manner:
Ri-Ma-Ri-Sa - on the 1st string; Ni-Da on the 2nd string; and Ma on the 3rd string; Pa-Ni-Sa on the 2nd string.
However, 'bridging the gap between the strings' technique would involve playing notes in the following manner:
Ri-Ma-Ri-Sa - on the 1st string; Ni-Da-Ma on the 3rd string; Pa-Ni-Sa on the 2nd string. Playing this way would ensure that the continuity is not broken.
b. Vocalisation: When one sings, it is easy to pronounce the syllables like Ra, Bha, as also the vowels like aa,oo,e,ee. To achieve vocalisation on theMandolin however, there are someevolved techniques:
The syllable 'Ra' can be played by plucking equivalent/harmonising notes on two strings simultaneously. 'Bha' can be played with a heavy slide and pluck, while playing the desiredgamaka. The open string would give the 'aa' (as in the pronouncement of the word 'part') or 'a' (as in 'pat') sounds (depending on where the note is plucked - near the bridge or away from the bridge), while the same note when played not as-an-open string, would give the oo-ee sounds.
These are other standard and non-standard gamakas and /or fingering techniques which help in achieving thegayaki style. Conservatively speaking, the extent of gayaki achievable onthe Mandolin is at least 85%.
One may be inclined to think that since Mandolin can be classified into the Vina family (if classified with Indian musical instruments ), theDasa-gamakas of Vina may be applicable tothe Mandolin without much of a change in the fingering technique. It needs to be stressed that most of the fingering techniques of theVina cannot be planted to theMandolin verbatim,because of the structural differences in the construction of both these instruments.
Importance of the amplifier:
Without an amplifier, not only is the audible range of the sound of the Mandolinrestricted to a radius of two feet, but the color of the sound is also not reflected in the correct perspective. Sowhat the amplifier ('amp') does is (i) amplify the low electrical signals tapped from the output (from the pickup) of theMandolin (ii) gives a color to the sound of the Mandolin while amplified.
The color of the sound depends heavily on the type of amplifier and the purpose for which it is built. The best amplifier makers in the world together probably offer at least 500 models suitableto guitar /Mandolin to choose from.
The color of the sound given by an amplifier depends on whether the amplifier isIC (Integrated Circuit) based, transistor-based or a tube (valve) based amplifier. No, transistors and valvesare not extinct in the guitar-amplifier world - many guitarists prefer the extra-mellow tone of thetube / transistorised amplifiers.
For a Mandolin amplifier, an audio output of 10 to 30 watts is preferred. The wattage is sufficient.As for concerts, there is always the secondary amplification - in the form of the auditoriumaddress system components.
Effects processing:
Unlike Western music where importance is accorded to 'sound effects' as a means of expressing creativity, in Carnaticmusic, the imagination of the performer rather than his choice of effectsis of prime importance. In Carnatic music, in order to give an account of the performers breadth and depth of creativity and imagination, a standard sound is required rather than a 'basket ofsound effects'. Therefore, for Mandolin in Carnatic music, hardly any 'effects processing' is done.
Nevertheless, in order to have a wider perspective in this paper, 'effects processing' is covered in brief.
Effects processing essentially involves altering the sound of an electric/electronic musical instrument using electronic circuit based equipment. A host ofeffects processors are available inthe market which can alter the sound of the Mandolin to give effects like reverberation,flange, chorus, delay, compression-sustain, octavo, distortion, heavy metal, trash metal etc. Apopular effects processor called Zoom (a small independent unit) gives all these effects and is controlled digitally.Electronically controlled analogue effects processors (called pedals) arealso available, each of which give one or more of the aforementioned effects. Some amplifiers have built-in reverberation units.
Interface with computers/digital electronics:
The analog signals of the Mandolin and digital electronics can be interfaced using what is called the MIDI (Musical Instrument Digital Interface) technology. ForMandolin, one would need aMIDI pickup which can be interfaced with an electronic keyboard or a computer and the sounds of theMandolin can be digitally altered for greater flexibility. While MIDI with an electronickeyboard would help for an on-stage live performance, the computer can be linked up for recording compositions and then altering the sound to suit specific needs.
The Mandolin paraphernalia:
(i) Mandolin
(ii) Amplifier
(iii) Connecting cables + spares
(iv) Power supply unit, if required (e.g., an amplifier needing 110 Volts AC power supply) + Power extensioncables
(v) Effectsprocessors, if used
(vi) Pitch pipe (to fix the pitch to which the Mandolin is tuned - normally C)
(vii) Plectrum sets (flexible triangular or oval shaped thin pieces of plastic or nylon orother material which are used to pluck the strings of the Mandolin )
(viii) Bridge adjustment screwdriver
(ix) Other accessories.
Looking toward the future:
One can expect a lot of digitally processed recordings of Mandolin playing and better use of 'effects processing' to help achieve the exact color of the sound of theMandolin which one mightwant. The key lies in knowing and recognizing the precise extent to which these gizmos should be used - overuse is definitely not recommended. One may also expect to see increased useof effects processing to attain higher levels of 'gayaki' style.

Indian violin

To the ear of the western violin player Indian music, and perhaps the Indian violin in particular, is one of the most exotic and mysterious of sounds. And this is not merely superficial, for the more closely you examine the complexity and discipline of the Indian Classical tradition, the more mysterious and baffling it becomes.
There are two main branches of classical music in the Subcontinent; the Carnatic or South Indian, and the Hindustani or Northern. The two styles diverged around the 14th Century AD, but have common roots dating back to the 4th Century BC. The biggest difference between Indian and Western Classical music is that the former is based very largely on improvisation, with emphasis on the creativity of the performer rather than on the exact reproduction of a composer's work.

Raags
The performer must work within a rigorous and complex framework of scale and rhythm; it is the ability to be inventive within these restrictions that marks out the quality of an artist. In Carnatic music for example there are 72 main scales or Melakartas, each of which has its own set of ornaments and Gamakas (grace notes); and 35 principal rhythms or Talas. A performance or Raag (often called Raga), which may last for several hours, will specify the use of a combination of certain melakartas and talas, and will have a simple melodic line, often from a religious or folk song; this however may not appear until late in a piece, and most of the performance is spent in examining and elaborating the particular mood and feel of the Raag. Raags were originally based mainly around the vocal tradition, and are not instrument-specific; indeed it is remarkable to hear the similarity in tone and ornamentation when comparing vocal and violin performances of a raag.
Probably the most important melody instrument is the Sitar, a plucked stringed instrument whose characteristic whining and 'zinging' sound comes from the many sympathetic drone strings, and the ability to bend the strings sideways, thus sliding the note. An instrument called the Ravanastron is said to be the earliest ancestor of the fiddle, in that it was the first stringed instrument played with a bow. King Ravana of Ceylon is said to have invented the bow, and the instrument he used it on was named after him- the date for this is either 3000 or 5000 BC depending on what source you believe. Other stringed instruments include the Tambura (a four-stringed drone instrument, the Sarod (a small sitar), the Surbahar (bass sitar) and, from Hindustan, the Sarangi.
The Sarangi: A hundred colours
The Sarangi is a strange and ancient relative of the European violin which is both highly expressive and extremely difficult to play. Its name means 'a hundred colours', indicating the range, depth and subtlety of its voice. The instrument expresses, according to the late Sir Yehudi Menuhin, 'the very soul of Indian feeling and thought'. It has an important and growing role in North Indian music, but has largely died out in the south.

It is said that the Sarangi originated in ancient times when a weary travelling hakim (doctor) lay down under a tree to rest in a forest. He was startled by a strange sound from above, which he eventually found to be caused by the wind blowing over the dried-up skin of a dead monkey, stretched between some branches. With this unlikely event as his inspiration, he proceeded home and constructed the first sarangi
It is squat and box-like, carved from a single piece of hardwood (usually Indian Cedar), with three gut melody strings (tuned do-so-do) and a baffling array of up to 40 metal tarab (sympathetic strings). The body has a goatskin face on which rests an elephant-shaped bridge of ivory or bone. The Sarangi is held vertically, neck uppermost, and the strings are stopped not with the fingertips but with the backs of the nails. A characteristic feature of sarangi playing is the very smooth meend (glissandos) and gamakas (oscillations around the note). Talcum powder is used on the palms of the hands to facilitate easy sliding on the neck.The heavy bow is held with an underhand grip, the first and second fingers placed between the hair and the stick. Among the current masters of the instrument are Pandit Ram Narayan and Ustad Sultan Khan; they have achieved conspicuous success despite a general decline in the fortunes of the sarangi, brought about both by its poor image (associated as it is with the accompaniment of dancing-girls), and by competition from the considerably sturdier and less troublesome harmonium.

Besides the classical sarangi described above, there exists a whole extended family of instruments either called by the same name, or structurally very similar, across the whole of North India, Pakistan and Afghanistan.
Indian violin
The violin may have been introduced to India around 1790 by military bandsmen in the East India Company, many of whom were Irish. BaluswamiDikshitar (1786-1859) learned the instrument from the army bandmaster at Fort St.George in Madras, and developed new playing techniques to suit Carnatic music; he became court musician in Attaiyapuram. It has also been suggested that the violin came somewhat earlier, brought by Portugese Christian missionaries, and taught to converts for use in church services. Either way, the instrument was quickly found to be ideal for use in Indian classical music, with its closeness in timbre and range to the human voice. The initial Irish connection is supported by the name of one of the earliest prominent Carnatic violinists, referred to as 'Fiddle' Ponnusami. There are also examples of Irish fiddle tunes such as Rakes of Mallow which were adapted to the Carnatic tradition, along with Sanskrit words and titles (in this case Vande Minakshi)

In India the violin is played sitting cross legged, the instrument pointing to the ground with scroll resting firmly on the ankle of the right foot. This allows the left hand to slide freely up and down the neck, without any need for the instrument to be supprted by hand or chin. Traditionally fingering is based around the middle finger (which slides up), and the index finger (which slides down); these slides or portamenti, called meend in carnatic music, are sometimes facilitated by oiling the fingers. Open tunings in fifths, such as DADA or FCFC are commonly used in order to incorporate the drones which are such an important part of Indian music. The bow is held more in the folk than western classical style. Vibrato is not used as in Western music, though there are slow, deliberate oscillations (andolan) and faster oscillations called gamak.

The aim of tone production is to imitate the Indian singing style. Unlike in western violin playing, powerful projection is not required.As well as tuning in fifths, violinists often tune down a tone, giving a more mellow sound.

Ornamentation in Indian Violin

Ornaments or Grace notes (sparsha svara or krintan in Hindustani, Gamakas in Carnatic Knatic) are essential to achiving the correct sound of Indian violin. Whilst in western music ornaments are often considered to be an optional extra, in Indian music they are fundamental.

A 3rdC authority comments;

'A raga without subtle ornamented features is like a moonless night, a creeper without flowers, a river without water, a woman without jewelry'

Hindustani music alone has over a hundred categorised ornaments. Ornamentation marks were first codeified by Subbarama Dikshitar (grandson of the aforementioned Baluswami)- in his 1904 book 'Sangita Sampradaya Pradarsini'. More recently a modern form of notation of ornaments was described by Smt. Vidya Shankar in her book 'The Art and Science of Carnatic Music'

The chief gamakas, as sumarised in Candida Connolly's book 'Indian Melodies for Violin' are the Kampita or shake (a gentle oscillation between two neighbouring notes); Nokku or descending pull (approaching a note with a slide from a semitone above); Pratyahata or strike back (a mordent, where a note drops to the next note down, then goes back up again); Sphurita or throbbing (here a note is repeated, and the second receives a mordent); Etrajaru and Irakkajaru are an upward and a downward slide respectively; Orikkai or snap is a little like an Irish cut or a klezmer kretschs- the note is interrupted by a flick of a higher note; Ravai or brief repetition (a note is preceded by itself and the next note down); and finally the Oddukal or note pushed aside (here a note is briefly interrupted by the previous note in the phrase)

Sargam Notation

The seven notes of a “major” scale are named or numbered- a bit like do, re mi. In the Carnatic notation system (called sargam), the names are, ascending the scale

Sa (Shadja- the sound of the peacock)

Ri (Rishabna-the sound of the ox)

Ga (Gandhara- the sound of the goat)

Ma (Madhyama-the sound of the crane)

Pa (Panchama-the sound of the cuckoo)

Dha (Dhaivata-the sound of the frog)

Ni (Nishadha-the sound of the elephant)

These names remain the same if the tonic is different, but they are not simply the numeric order in the scale. So if we are dealing with a pentatonic scale, the missing notes are removed from the naming system- for example sa, ri, ga, pa, ni, sa. (with the fourth and sixth missing).

Sharpened or flattened notes are distinguished by a number 1 to 3; 1 is flat, 2 natural and 3 sharp. For example if the the tonic (sa) is D, then Ri1 is Eb, Ri2 is E natural, and Ri3 is E#.

The scale may be different when ascending (arohana) or descending (avarohana).

Raags or Ragas

In the Carnatic system there are 72 principle raags or melakartas (“kings of the court”); also known as “major” scales, “parent scales” or janakas. These have all seven notes, both ascending and descending.

An example of a simple parent raga is G, Ab, B,C,D, Eb, F#, G. This raga (Mayamalavagaula) is traditionally the first one taught to students. It is what we know in the west as the Hungarian gypsy scale; it is the symmetry of the fingering which makes it particularly suitable for beginners.

Derived from these parent scales are “child scales”, in which one or more notes are missing- either ascending, descending or both. Since each parent can have many permutations of child scale, the total number of possible scales runs into the thousands. Each scale or raag has a name, and is associated with a particular mood, time of the day, season of the year, or even weather.

Examples include Bhairav (early morning); D, Eb, F#, G, A, Bb, C#, D; Bhupali (late afternoon); D,E,F#, A, B,D; Malkauns (late night); D,F,G,Bb,C,D); and Miya Malhar (rainy season); D,E,F,G,A,B,C,C#,D)

As with western modes, some raags are very popular, and have hundreds of compositions, whilst others exist more as little more than theoretical possibilities, and may only have a single composition

Ganesh and Kumaresh- a Carnatic violin duo

Tala

The tala is the rhythm. This also can be very complex to western ears- 17, 19, 7 and a half…The Carnatic method of counting to 8 (the Adi Tala), is by clapping the hand and tapping fingers on the knee. The count goes; clap (1), little finger (2), ring finger (3), middle finger (4), clap (5), turn- a clap with the back of the hand (6), clap (7) and turn (8). The first four parts are called the laghu or count. The subsequent front and back of the hand are one “turn”; so you get to 8 with a count and two turns. You could reach nine with a “count” of five, and two turns. Or seven would be a count of three, and two turns. Simple? There are just 105 different rhythms or talas to learn, so nothing to get worried about.

Indian Violin performance

A performance on Karnatic violin comes in three parts. The first is the Alap, a non-rhythmical improvisation of the particular scale or raag which has been chosen. Unlike in western music, there is no concept of chord changes, and the performance never deviates from the one scale. After the alap comes the composition (svarajati)- a fixed melody from an ancient repertoire of thousands. The bulk of the Carnatic compositions come from three composers from the 18th and 19thC; Tyagaraja, Dikshitar and Syama Sastri. Finally comes the kalpana svara (“creative notes”)- a rhythmic improvisation. This is the most exciting and challenging part of the performance.

Indian music first became widely known to the popular audience in the West in the late 1960's, when George Harrison, with the Beatles, visited India in search of alternative methods of mind-expanding spiritual enlightenment, and discovered, perhaps more usefully, the playing of sitar guru Ravi Shankar. Much musical cross-fertilisation followed, one of the most fruitful results being guitarist John McLaughlin's group Shakti, which included the violin genius L.Shankar.

L.Shankar with 10-string double violin

L.Shankar, as well as being a top player in both the Western and Carnatic classical traditions,uses his dazzling virtuosity to full effect in rock and jazz fusions with such artists as Peter Gabriel, Jan Garbarek, Frank Zappa, Talking Heads and fiddler Mark O'Connor. He has an astounding double-necked, 10-stringed electric violin giving him the full range of the string quartet- an instrument which would appear ridiculous and totally pretentious in the hands of almost any other violinist.
His brother is another famous violinist, Dr. L.Subramaniam (and it seems almost de rigeur for every Indian violinist to have a father, brother, sister and chiropodist who are famous and talented musicians). L.Subramaniam, like his brother, is a master of both western and Carnatic classical music, is a prolific composer, and is involved in East-West fusions, for example with Stephane Grappelli.

A recent newcomer to London is S.Harikumar, from Kerala in southern India; having studied with, among others, L.Subramaniam, he has developed his own Indian Jazz Fusion style, making good use of a technical mastery of staccato bowing techniques, and fluent playing up to the fifth octave.

S.Harikumar plays both 4-string acoustic and 7-string electric violins.

Harikumar

Contrary to the popular belief that all leading Indian musicians are men, one of the greatest of all pioneers of Hindustani violin in recent times is a woman, Dr.N Rajam; her daughter Sangeeta Shankar is also a leading player.

Also at the forefront of Indian violin playing is Dr Jyotsna Srikanth from Bangalore. Based in London, she plays both Carnatic classical music and various forms of folk, jazz and rock fusion.

A brief dip into Indian music quickly reveals that it is a deep and vast subject, its performance requiring great discipline and spiritual awareness. Consider this quote, next time you reach for a well-earned pint after scraping merrily through Old Joe Clark or Drowsy Maggie; 'The purpose of Indian music is to refine one's soul, discipline one's body, to make one aware of the infinite within one, to unite one's breath with that of space and one's vibrations with that of the cosmos.'

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The following article first appeared in FIDDLE ON magazine:

A Karnatic Violin workshop

I first met Dr Jyotsna Srikanth at the London Fiddle Convention in 2011, when she came along just to see what was happening, and introduced herself during the soundcheck. On hearing that she was a professional musician or considerable repute playing, among other things, a form of Indian-Jazz fusion, my interest was more than piqued. The same year we began rehearsing and performing together, my jazz and rock style creating an interesting contrast to her Karnatic (sometimes spelt Carnatic) Indian style. At the 2014 Convention Jyotsna not only performed in the evening concert, but also gave an hour- long workshop in the afternoon which I was lucky enough to be able to attend. A group of around 20 fiddlers were led through a fascinating and comprehensive introduction to the world of Karnatic music.

The earliest origins of Indian music lie in the Vedas- rhythmic chants addressed to the Hindu gods. Indian music today is divided into two principal regions; the northern (Hindustani) and the southern (Karnatic). This division occurred around 1000 years ago when the north became influenced by the Persians. The northern style is represented by the music of Ravi Shankar, and is perhaps better known to western audiences, but Jyotsna hails from Bangalore in the south, and she told us that the complex mathematical system of music here dates back over 2000 years.

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The main principles of Karnatic music were set out around in the 16thC by the composer Purandaradasa, considered the “Grandfather” of South Indian music. He created a syllabus of exercises designed to introduce the student to the main features of raga and tala. Jyotsna explained how the violin was brought to India by bandsmen of the East India Company in Madras, during the Raj in the late 18thC. Local musicians immediately “saw the similarity and resemblance of the instrument with the human voice.” With some adaptations of style, the violin proved to be a perfect instrument for Indian music, and today it permeates every genre from classical to folk to Bollywood. It is an essential feature even of vocal concerts. The most obvious difference in playing style comes in the posture; the Indian violin is normally performed squatting on the floor, the violin held pointing down, anchored between the collarbone and the ankle of the right foot. This facilitates the “trump card`” of Indian music, the glissando, of which there are ten different kinds. The violin is tuned in two pairs of fifths. If the tonic is C, it will be CGCG; if in D it will be DADA. Scales The scale or raag is a series of notes which are followed by the melody line. In the Karnatic system there are 72 melakartas (“kings of the court”); also known as “major” scales, “parent scales” or janakas. These have all seven notes, both ascending and descending. Derived from these are “child scales”, in which one or more notes are missing- either ascending, descending or both. Since each parent can have many permutations of child scale, the total number of possible scales runs into the thousands. Each scale or raag has a name, and is associated with a particular mood, time of the day, season of the year, or even weather. Examples include Bhairav (early morning); D, Eb, F#, G, A, Bb, C#, D; Bhupali (late afternoon); D,E,F#, A, B,D; Malkauns (late night); D,F,G,Bb,C,D); and Miya Malhar (rainy season); D,E,F,G,A,B,C,C#,D) As with western modes, some raags are very popular, and have hundreds of compositions, whilst others exist more as little more than theoretical possibilities, and may only have a single composition. Rhythms The tala is the rhythm. This also can be very complex to western ears- 17, 19, 7 and a half…”but there is a simple method of counting and keeping rhythm, There is a method to do that. It is no rocket science!”

We all tried the Karnatic method of counting to 8 (the Adi Tala), clapping the hand and tapping fingers on the knee. The count goes; clap (1), little finger (2), ring finger (3), middle finger (4), clap (5), turn- a clap with the back of the hand (6), clap (7) and turn (8). The first four parts are called the laghu or count. The subsequent front and back of the hand are one “turn”; so you get to 8 with a count and two turns. You could reach nine with a “count” of five, and two turns. Or seven would be a count of three, and two turns. Simple? There are just 105 different rhythms or talas to learn, so nothing to get worried about.

A performance on Karnatic violin comes in three parts. The first is the Alap, a non-rhythmical improvisation of the particular scale or raga which has been chosen. Unlike in western music, there is no concept of chord changes, and the performance never deviates from the one scale. After the alap comes the composition (svarajati)- a fixed melody from an ancient repertoire of thousands. The bulk of the Karnatic compositions come from three composers from the 18th and 19thC; Tyagaraja, Dikshitar and Syama Sastri. Finally comes the kalpana svara (“creative notes”)- a rhythmic improvisation. This is the most exciting and challenging part of the performance, and Jyotsna then lead us through a series of exercises which would start us on the way towards this aspect of the music.

We practiced a number of scales, not only playing but also singing them. The seven notes of a “major” scale are named or numbered- a bit like do, re mi. In the Karnatic notation system (called sargam), the names are, ascending the scale, sa, ri, ga, ma, pa, dha, ni, sa. These names remain the same if the tonic is different, but they are not simply the numeric order in the scale. So if we are dealing with a pentatonic scale, the missing notes are removed from the naming system- for example sa, ri, ga, pa, ni, sa. (with the fourth and sixth missing). We were also briefly introduced to the language of percussionists, who name each type of beat with a different syllable, and are able to speak the name of each simultaneously with playing. It sounds something like ta-ki-ta, ta-ki-ta. Finally we ran up and down a number of different scales, starting with G, Ab, B,C,D, Eb, F#,G. This raga (Mayamalavagaula) is traditionally the first one taught to students. It is what we know in the west as the Hungarian gypsy scale; it is the symmetry of the fingering which makes it particularly suitable for beginners. We played this scale in various ways-doubling up the notes, adding some grace notes, and playing different patterns, both melodic and rhythmic, and trying some glissandos. It was a fascinating, comprehensive and authoritative workshop, and gave us the beginnings of an understanding of the complexity of this ancient and complex system of music. It was also an inspiration just to enjoy the beauty and elegance of the playing of such an expert as Dr Jyotsna Srikanth.

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Carnatic Music Violin Notes

Chris Haigh is a freelance fiddler and writer based in London. He has worked with the leicester Based Bollywood band Diwana Arts, with S Harikumar, and with Jyotsna Srikanth's Bangalore Dreams. He has had several books published: Fiddling Around the World,Any Fool can Write Fiddle Tunes, (Spartan), The Fiddle Handbook (Backbeat/Hal Leonard) Exploring Jazz Violin (Schott), Discovering Rock Violin (Schott), Hungarian Fiddle Tunes (Schott), and Exploring Folk Fiddle (Schott).