A Violin by Any Other Name?
When you think of the violin, you might envision an older gentleman in a tuxedo playing in a grand concert hall. But in Indian classical music, the violin takes on a whole new identity.
Carnatic violin, rooted in ancient Hindu music, has been an integral part of the South Indian classical music tradition for centuries. Historians believe it was introduced to India by British colonisers in the 18th century. Due to the versatility of its sound, it quickly gained popularity, not only as an accompanying instrument, but also for striking solo pieces.
Over time, the plaintive lilt of the instrument has been etched into the Carnatic tradition’s essence.
Since the colonial era, Carnatic violinists have experimented with the instrument, exploring new ways to play and incorporate it into the traditional ensemble of instruments used in Indian classical music. Advances such as the increasingly common use of double stops (playing two notes simultaneously) and glissandos (sliding continuously between two or more notes, creating a smooth, flowing effect), added a new dimension to the Carnatic violin’s sound. Carnatic violinists also experimented with new ways of tuning the instrument, resulting in a broader range of sounds and tonalities that differs from the standard Western tuning system. This allowed for greater flexibility in playing ragas, which are the melodic frameworks used in Indian classical music.
As a fundamental aspect of Carnatic music (including Carnatic violin) the Melakarta system is a system of 72 fundamental ragas that serve as the foundation for creating other ragas. Each raga is defined by a specific set of notes and has its own unique melodic structure. It provides a framework for constructing new ragas by combining subsets of the notes from the fundamental ragas, and with the Carnatic adapted and tuned violin, the possibilities and permutations are truly boundless.
But perhaps the most conspicuous difference – and development – in the way the violin is played in India has been the playing position.
Unlike a Western violin recital, expect to see Carnatic violinists play the violin sitting cross-legged on the floor with the scroll resting on their foot – a technique believed to have been developed to allow for greater control and flexibility in playing, as well as to enable the violinist to produce a richer, more resonant sound.
The playing position allows for precise, fluid movements and relaxed playing – perfect for playing complex melodies with ease. Carnatic violinists use intricate melodies to improvise during performances, and often embellish the melodies with ornamentation. It is clear that the style, the genre and the instrument all distinctly celebrate improvisation, melody, and ornamentation.
Look closer, though, and it becomes apparent that even beyond the technical differences, a violin in the hands of a Carnatic musician just sounds different.
That’s because Carnatic violinists have a unique approach to their craft, one that prioritises continuity over individual notes. This approach, which differs from that of Western violinists, is rooted in the belief that the notes are part of a larger, continuous flow of music that has been passed down from generation to generation.
For Carnatic violinists, playing the violin is not just about hitting the right notes but also about connecting with the deeper essence of the music. The result is a mesmerising violin performance that is both technically demanding and emotionally moving.
