1. IntroductionOverview of violin acousticsViolin in East and WestOrnamentation in MusicPanchadasa and Dasavidha GamakasWestern Classical MusicRight-Hand TechniquesLeft-Hand TechniquesSouth Indian Classical MusicRight-Hand TechniquesLeft-Hand TechniquesComparison of Violin TechniquesConclusion23 January 2011 IMCF 2011 2

2. Pitch of a vibrating string 1 2 323 January 2011 IMCF 2011 3 3. Playing a single note on the violinalso generates harmonics orsecondary waves which havefrequencies at integer multiples - 2times, 3 times etc. of thefundamental frequencyHarmonic Frequency Swara1 440 Sa(0)2 880 Sa(+1)3 1320Pa(+1)4 1760Sa(+2)23 January 2011 IMCF 2011 4 4. 23 January 2011 IMCF 2011 5 5. 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 6. 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 Frequency23 January 2011 IMCF 20117 7. Western Classical MusicSouth Indian Classical MusicPieces are specially composed Violin playing focuses onfor violinreproducing vocal musicMusic written for thatMusic created for voiceinstrumentHarmony MelodyAgreeable concord of variousRegulated succession ofrelated notes concordant notesRules and notations for every No specific rules.technique manodharma23 January 2011IMCF 2011 8 8. ArticulationGamakasArticulations are performed by the instrumentalist using different techniques such asbow pressure, the position on the violin where the note is being played, the angle ofthe bow as it touches the string, the various positions and movements of the wristand/or elbow, etc. The effect of using these various techniques results in thecreation of different sounds even though the same pitch is being played.ArcoHarmonics SlurBariolage JetSon fil Bartk pizzLeft hand pizzicatoSpiccatoBouncing bow LegatoStaccatoColl MarcatoSul tastoCol Legno Martel Timbre Con sordinoPizzicatoTremoloContact pointPonticello Vibrato Dtach Portamento Flautando Down bowRichochetRule of Down-Bow23 January 2011IMCF 20119 9. Articulation GamakasGamaka is the graceful movement of the swara, the fine pull of the string, whichbrings happiness to the hearer.Gamaka is a fundamental element of a ragaSwara and gamaka are intimately linked.Gamaka has affective powerGamaka builds up a relationship with neighbouring membersWho saidBook NumberSarangadeva Sangita Ratnakara15 How many gamakas are there?Palkurki Somanatha kavi Panditaradya Charithra 22Ahobala Sangita Parijata 17Basavappa NaikSiva Tatva Ratnakara 15Somanarya Natya Chudamani623 January 2011IMCF 2011 10 10. Panchadasa Gamakas 15 Gamakas mentioned by Srangadeva | || | || |23 January 2011IMCF 201111 11. Panchadasa Gamakas 15 Gamakas mentioned by Srangadeva | || | || |23 January 2011IMCF 201112 12. TiripaMisritaSphurita Nmita Kampita MudritaLna Panchadasa GumpitaGamakasAndolita Plvita VaiUllasita Tribhinna hata Kurula Tiripa Playing one of the notes of a phrase with some stress23 January 2011IMCF 201113 13. Tiripa Misrita Sphurita Nmita KampitaMudrita Lna Panchadasa GumpitaGamakasAndolitaPlvitaVaiUllasita Tribhinna hata Kurula Sphurita A janta swara phrase wherein the lower note in between eachjanta swara group is faintly heard. The second note of each janta is stressed23 January 2011IMCF 201114 14. Tiripa Misrita Sphurita Nmita KampitaMudrita Lna PanchadasaGumpita GamakasAndolitaPlvitaVaiUllasita Tribhinna hata Kurula Kampita A shake. When one oscillates between two swaras while holding a particular swara, a kampita is achieved23 January 2011IMCF 201115 15. Tiripa Misrita Sphurita Nmita KampitaMudrita Lna PanchadasaGumpita GamakasAndolitaPlvitaVaiUllasita Tribhinna hata KurulaLna Merging of a note softly into another note23 January 2011IMCF 201116 16. TiripaMisrita SphuritaNmita Kampita Mudrita LnaPanchadasaGumpitaGamakasAndolita PlvitaVai Ullasita Tribhinnahata Kurula Andolita A free swinging. Holding on a note for some time and then pullingthe string or gliding on it so as to reveal a higher note23 January 2011 IMCF 201117 17. TiripaMisrita SphuritaNmita KampitaMudritaLnaPanchadasaGumpitaGamakasAndolita PlvitaVai Ullasita Tribhinnahata KurulaVai Producing the chhy of two or three notes from the same swarasthna by deflecting the string in a circling manner (only in fretted instruments)23 January 2011 IMCF 2011 18 18. TiripaMisrita SphuritaNmita Kampita Mudrita LnaPanchadasaGumpitaGamakasAndolita PlvitaVai Ullasita Tribhinnahata KurulaTribhinna Produced by placing the left-hand fingers on a swarasthna sothat the fingers are in contact with three strings, and then by plucking thethree strings with the right hand fingers either simultaneously or successively (only in fretted instruments)23 January 2011 IMCF 201119 19. TiripaMisrita SphuritaNmita Kampita Mudrita LnaPanchadasaGumpitaGamakasAndolita PlvitaVai Ullasita Tribhinnahata KurulaKurula This is the production from a swarasthna, of the note of another sthna with force23 January 2011 IMCF 201120 20. TiripaMisritaSphuritaNmitaKampita MudritaLna Panchadasa GumpitaGamakasAndolita Plvita VaiUllasita Tribhinna hata Kurulahata Sounding a note and then producing another note without a separate stroke (only in vina)23 January 2011IMCF 201121 21. Tiripa Misrita Sphurita Nmita KampitaMudrita Lna Panchadasa GumpitaGamakasAndolitaPlvitaVaiUllasita Tribhinna hata KurulaUllasita Jru or glide Etra jru Irakka jruStarting on a note and reaching a different (higher or lower) note by glidingover the intermediate notes23 January 2011IMCF 201122 22. Tiripa Misrita Sphurita Nmita KampitaMudrita Lna PanchadasaGumpita GamakasAndolitaPlvitaVaiUllasita Tribhinna hata KurulaPlvita This is a variety of Kampita23 January 2011IMCF 201123 23. TiripaMisrita SphuritaNmita Kampita Mudrita LnaPanchadasaGumpitaGamakasAndolita PlvitaVai Ullasita Tribhinnahata KurulaGumpita Belongs to vocal music. The tone is slender at the start and goes onincreasing in both volume and pitch23 January 2011 IMCF 201124 24. Tiripa Misrita Sphurita Nmita KampitaMudrita Lna Panchadasa GumpitaGamakasAndolitaPlvitaVaiUllasita Tribhinna hata KurulaMudrita Belongs to vocal music. Produced by closing the mouth and singing23 January 2011IMCF 2011 25 25. Tiripa Misrita Sphurita Nmita KampitaMudrita Lna Panchadasa GumpitaGamakasAndolitaPlvitaVaiUllasita Tribhinna hata Kurula Nmita Belongs to vocal music. Singing in a slender tone23 January 2011IMCF 201126 26. TiripaMisritaSphuritaNmitaKampita MudritaLna Panchadasa GumpitaGamakasAndolita Plvita VaiUllasita Tribhinna hata KurulaMisrita Mixture of two or three of the other varieties23 January 2011IMCF 2011 27 27. Dasavidha Gamakas ArohanaAvarohanaDhlu SphuritaKampita hataPratyhata Tripuscha Andola Murchhan A grace embracing notes in ascending order s r g m p d n 23 January 2011 IMCF 201128 28. Dasavidha Gamakas Arohana Avarohana Dhlu SphuritaKampita hataPratyhata Tripuscha Andola Murchhan A grace embracing notes in descending order n d p m g r s23 January 2011IMCF 2011 29 29. Dasavidha Gamakas ArohanaAvarohana DhluSphuritaKampita hataPratyhataTripuschaAndolaMurchhan Starting on a basic note and producing the higher notes in conformity with the rga bhva. Beginning on shadja and sounding panchama, etc s P s M s Gs R23 January 2011IMCF 2011 30 30. Dasavidha Gamakas ArohanaAvarohanaDhlu Sphurita Kampita hataPratyhata TripuschaAndola Murchhan 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 31. Dasavidha Gamakas ArohanaAvarohana Dhlu Sphurita Kampita hataPratyhata TripuschaAndolaMurchhan A shake. The manipulation of the note is such that there is not even the remotest suggestion of the adjacent notes.23 January 2011IMCF 2011 32 32. Dasavidha Gamakas ArohanaAvarohanaDhlu SphuritaKampitahata PratyhataTripuschaAndola Murchhan A grace present in the arohana s rr g g m m p23 January 2011 IMCF 201133 33. Dasavidha Gamakas Arohana AvarohanaDhlu SphuritaKampita hata Pratyhata Tripuscha Andola Murchhan A grace present in the arohana s r r g g m m p23 January 2011 IMCF 2011 34 34. Dasavidha Gamakas Arohana AvarohanaDhlu SphuritaKampita hata Pratyhata Tripuscha Andola Murchhan Swaras in triplets sss rrr ggg mmm23 January 2011 IMCF 2011 35 35. Dasavidha Gamakas Arohana AvarohanaDhlu SphuritaKampita hata Pratyhata Tripuscha Andola Murchhan Playing swaras in the following manner: srsDdsrsPp srsMm23 January 2011 IMCF 2011 36 36. Dasavidha Gamakas ArohanaAvarohanaDhlu Sphurita Kampita hataPratyhata TripuschaAndola Murchhan 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... .. ... ... . srgmpdNrgmpdnS gmpdnsR mpdnsrG pdnsrgM23 January 2011IMCF 201137 37. Grouping of gamakas1 2 Sphurita Kampita Tripuscha Lina Andolita Vali Ullasita GumpitaFingered stresses (Ravai) Slides / ShiftsVibratoPortamento23 January 2011 IMCF 2011 38 38. Western Classical Music23 January 2011IMCF 201139 39. Down / Up bowOn-string and Off-string bowing Slur / Unslur Crossing Strings23 January 2011 IMCF 2011 40 40. Playing the notes smoothly without separation Legato Legato is indicated by a slur Separated or detached type of bowingStaccato 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 mannerDetache Direction of the bow changes for every note Fast or repetitive sound of increasing intensityTremolo Produced by playing the up and down-bow strokes fast on the string Playing the notes of a chord in successionArpeggio Sounded usually from the lowest to the highest23 January 2011 IMCF 201141 41. Bariolage Same note is played on two strings alternatelySul 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 Arcoportion of the bowPizzicato Strings are plucked with fingers23 January 2011IMCF 2011 42 42. GlissandoDouble StopVibrato HarmonicsPizzicato Shifting technique Finger slides from one note to another Sliding by a semitone, tone, octaveAscendingDescendingChromaticglissando glissandoglissando23 January 2011 IMCF 201143 43. Glissando Double Stop VibratoHarmonicsPizzicato 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 stringsDouble stopTriple stop Quadruple stop23 January 2011 IMCF 2011 44 44. GlissandoDouble Stop Vibrato HarmonicsPizzicato 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 rolling23 January 2011IMCF 201145 45. Glissando Double Stop VibratoHarmonics Pizzicato A vibrating string is touched lightly at certain points Overtones are heard Harmonics or upper partials Frequency is integral multiples of the original soundNatural HarmonicsArtificial Harmonic23 January 2011 IMCF 201146 46. GlissandoDouble Stop Vibrato Harmonics Pizzicato The left hand plucks the string23 January 2011IMCF 2011 47 47. South Indian Classical Music23 January 2011IMCF 2011 48 48. For every note or svara, there is a change in bow strokeSvara vil Used for all the speeds Played according to the text part of the song (meaningful words) Shitya vil Bow is turned for each syllable of the words, and not for every note Similar to shitya vil, but there are no meaningful words lpana vil There is a combination of all speeds Based on pressure and release of the right hand. The bow jumps along Tna vil Fingers and wrist of right hand are used to produce this effectPressure Index finger of right hand gives pressure to the notesbowing This pressure is not fully released Tilln Resembles swara vil and shitya vil, but it demands a technique bowing Certain phrases are rendered fast, where there is a sense of quickness23 January 2011IMCF 2011 49 49. Double Playing on two strings simultaneouslystops Used in tnam, lpana or svara Playing very fast passagesTremolo Middle of the bow or the nut of the bow is usedFluttering Similar to tremolo, but rendered fast with the tip of the bow bowing Notes are equally spaced23 January 2011 IMCF 201150 50. StoppingHitting RollingShakingJantaSlide Jump Stopping a finger at a particular point to produce a note Stops on E string: FINGERFIRST POSITIONTHIRD POSITIONFOURTH POSITION1-f dhaSaRi2-fniRiGa3-f Sa GaMa4-fRiMaPaMultiple Finger Stopping23 January 2011IMCF 201151 51. StoppingHittingRollingShakingJantaSlideJump Left hand finger hits the string for a particular note and returns. Used for rendering plain svaras viraladi23 January 2011 IMCF 2011 52 52. StoppingHittingRolling ShakingJantaSlideJump Point of contact of fingers is shifted not by sliding but by rolling23 January 2011IMCF 2011 53 53. StoppingHitting RollingShakingJanta Slide Jump Finger oscillates without moving out of its position Tip of the finger rocks back and forth23 January 2011IMCF 2011 54 54. StoppingHitting Rolling Shaking JantaSlide Jump Occurrence of twin notes Played by releasing the finger and replacing them Rendered in one turn of the bow for both notes23 January 2011 IMCF 2011 55 55. StoppingHitting Rolling ShakingJantaSlide Jump Movement of one or more fingers along the string Upward slide Downward slide Up and down slideSingle Finger Slide Multiple Finger Slide23 January 2011 IMCF 201156 56. StoppingHitting Rolling Shaking Janta Slide Jump Finger jumps and lands on a different note23 January 2011 IMCF 201157 57. Comparison of Violin Techniques23 January 2011IMCF 201158 58. WesternCarnaticDetacheSvara vil Legato Shitya vil -Tna vilDouble stops Double stopsTremoloTremoloLeft Hand Techniques Fluttering bowing Fluttering bowingArpeggio - Col Legno -Staccato - Bariolage (no specific name)Martele-Pizzicato(no specific name)23 January 2011IMCF 201159 59. WesternCarnatic- HittingGlissandoJru (gamaka) (or) Portamento- Janta (gamaka) Right Hand Techniques Vibrato Shake VibratoVibratoVibrato (slow)Rolling HarmonicsHarmonics Left hand pizzicato (no specific name)23 January 2011IMCF 201160 60. 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 lpana, kalpanswara and the tna. Every musical form employs some unique violin techniques.23 January 2011IMCF 2011 61 61. T H A N K YO U23 January 2011 IMCF 201162 62. Violin Techniques in Western and South Indian Carnatic MusicDr. M. Lalitha Gamaka or graces of Music Sri Parameswara Bhagavatar Ornamentation in South Indian Classical Music GordonSwift Gamaka and Vadanabedha Ranganayaki Veeraswami23 January 2011IMCF 2011 63