An Introduction to Hindustani Violin Technique

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Authors Hutchison, Callie

Publisher The University of Arizona.

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AN INTRODUCTION TO HINDUSTANI VIOLIN TECHNIQUE

by

Callie Hutchison

______Copyright © Callie Hutchison 2014

A Document Submitted to the Faculty of the

SCHOOL OF MUSIC

In Partial Fulfillment of the Requirements For the Degree of

DOCTOR OF MUSICAL ARTS

In the Graduate College

THE UNIVERSITY OF ARIZONA

2014

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THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE

As members of the Document Committee, we certify that we have read the document prepared by Callie Hutchison, titled An Introduction to Hindustani Violin Technique and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts.

______Date: 4/21/14 Janet Sturman

______Date: 4/21/14 Mark Votapek

______Date: 4/21/14 Hong-Mei Xiao

Final approval and acceptance of this document is contingent upon the candidate’s submission of the final copies of the document to the Graduate College.

I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.

______Date: 04/21/14 Document Director: Janet Sturman

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STATEMENT BY AUTHOR

This document has been submitted in partial fulfillment of the requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.

Brief quotations from this document are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.

SIGNED: Callie Hutchison

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ACKNOWLEDGEMENTS

I would like to express my sincerest appreciation to the many individuals whose assistance made the completion of this document and degree possible. I am thankful for the support, patience and help of my mentor and teacher Kala Ramnath, without whom this paper would not exist.

I would like to thank my advisor Dr. Janet Sturman for her wisdom, time, guidance, encouragement and all of the hours spent helping me edit and develop this project. I would have never finished without your hard work and encouragement. I would also like to thank the rest of my committee, Mark Votapek and Hong-Mei Xiao for the hard work and contributions to this document, and to my violin teacher Mark Rush for leading me to this topic and putting me in touch with Kala Ramnath in the first place.

I would also like to thank John Rabuck for turning me into a better writer.

Finally, I would like to thank my parents for their constant support of everything I pursue.

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TABLE OF CONTENTS

LIST OF FIGURES ...... 7

LIST OF MUSICAL EXAMPLES ...... 8

ABSTRACT ...... 10

I. INTRODUCTION ...... 11

Hindustani Practice from a Western Player's Perspective ...... 11

Hindustani Music ...... 14

The Value of Studying Hindustani Performance ...... 15

Plan of Study ...... 15

II. THE VIOLIN AND ITS ANTECEDENTS IN INDIA ...... 17

The Assimilation of the Violin into Indian and Hindustani Music ...... 17

The Sarangi, the Violin’s Older Cousin ...... 22

III. HINDUSTANI MUSIC THEORY ...... 27

An Introduction to Hindustani Music Theory ...... 27

Raag ...... 27

Rasa ...... 31

Rhythm ...... 33

Hindustani Concepts of Form, Composition and Improvisation ...... 37

Form ...... 37

Composition ...... 38 6

Improvisation ...... 38

IV. HINDUSTANI VIOLIN TECHNIQUE AND EXERCISES ...... 41

Hindustani Violin Basics ...... 41

Beginning Exercises ...... 43

Intermediate Exercises ...... 47

Improvisatory Exercises ...... 50

Emulating the Voice ...... 56

V. TRANSCRIPTION OF A COMPOSITION AND IMPROVISATION IN RAAG YAMAN ...... 58

Notating the Oral Tradition ...... 58

VI. CONCLUSION: COMPARING THE ART OF THE VIRTUOSO ...... 62

APPENDIX A. TRANSCRIPTION OF COMPOSITION AND IMPROVISATION IN RAAG YAMAN ...... 66

APPENDIX B. VIVA VOCE RECITAL PROGRAM ...... 74

REFERENCES ...... 75

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LIST OF FIGURES

Figure 1.1 Kala Ramnath ...... 12

Figure 2.1 Sarangi player Parshuram Bhandari ...... 23

Figure 4.1 Hindustani Playing Position ...... 41

Figure 4.2 Photo of Franco-Belgian Bow Hold ...... 42

Figure 4.3 Photo of Hindustani Bow Hold ...... 42

Figure 5.1 Viva Voce Recital Program ...... 74

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LIST OF MUSICAL EXAMPLES

Musical Example 3.1 Hindustani and Solfeggio Scale Systems ...... 28

Musical Example 3.2 Hindustani Chromatic Scale ...... 29

Musical Example 3.3 Division of Shrutis ...... 30

Musical Example 3.4 Raag Yaman ...... 33

Musical Example 3.5 Teentaal Beat Pattern ...... 35

Musical Example 3.6 Teentaal Beat Pattern Variation 1 ...... 35

Musical Example 3.7 Teentaal Beat Pattern Variation 2 ...... 35

Musical Example 4.1 Hindustani Violin Open-String Tuning ...... 43

Musical Example 4.2 D-String Sliding Exercise ...... 44

Musical Example 4.3 A-String Sliding Exercise ...... 44

Musical Example 4.4 D-String Taan Exercise Using the Second Finger ...... 45

Musical Example 4.5 D-String Taan Exercise Using the Third Finger ...... 45

Musical Example 4.6 A-String Taan Exercise Using the Second Finger ...... 45

Musical Example 4.7 A-String Taan Exercise Using the Third Finger ...... 46

Musical Example 4.8 D-String Finger Transition Exercise ...... 46

Musical Example 4.9 A-String Finger Transition Exercise ...... 46

Musical Example 4.10 D-String Jumping Technique in Groups of Two ...... 47

Musical Example 4.11 D-String Jumping Technique in Groups of Three ...... 48

Musical Example 4.12 D-String Jumping Technique in Groups of Four ...... 48

Musical Example 4.13 D-String Jumping Technique in Groups of Five ...... 48 9

Musical Example 4.14 D-String Jumping Technique in Groups of Six ...... 48

Musical Example 4.15 D-String Jumping Technique in Groups of Seven ...... 48

Musical Example 4.16 D-String Jumping Technique in Groups of Eight ...... 49

Musical Example 4.17 Improvisational Exercises with 4-Note Permutations . 56

Musical Example 5.1 Composition and Improvisation in Raag Yaman ...... 73 10

ABSTRACT

In this document I fuse a study of performance technique and pedagogy, introducing Hindustani violin technique through the lens of a performer trained in western violin practice. While a large body of research on Hindustani music theory, history, and the performance of other instruments currently exists, very little has been written about the Hindustani violin. Aside from a few short interviews with prominent

Hindustani violinists, nothing has been published on technique, performance practice or pedagogy. My research involves a comparative analysis of Hindustani and Western violin techniques, enhanced by data from my violin performance and pedagogy lessons with

Hindustani performer/teacher Kala Ramnath. The research includes documentation of the history of the violin’s regional predecessors such as the sarangi, it’s introduction to

India, and the first compilation of Hindustani violin techniques and exercises, for basic sliding, shifting and improvisation. Knowledge of the Hindustani violin performance tradition offers Western musicians new perspectives on creative violin approaches, and enhances their ability to perform with greater flexibility and virtuosity.

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I. INTRODUCTION

Hindustani Practice from a Western Player's Perspective

My journey towards studying Hindustani violin technique started in an unlikely place, the University of Arizona Mariachi Ensemble. I discovered the world of alternative string techniques here. Mariachi showed me young violinists with beautiful intonation who shifted into positions fearlessly.1 These discoveries led me to explore other non- western techniques for the violin and also taught me a painless method for teaching vibrato. After this experience I wanted to explore other non-western styles of string technique. The classical Indian style of violin seemed like a perfect fit. Luckily my violin teacher, Mark Rush, had just attended a concert by the tabla2 player Ty Burhoe in

Colorado. We looked at his website, which happened to be linked to a website for the

Hindustani violinist Kala Ramnath. We emailed her to ask if she knew of an Indian violinist in the area and she responded with an offer to teach me herself. When I started studying with her I had no idea how lucky I was. I did not, at first, realize the difference between Hindustani (North Indian) and Carnatic (South Indian) music. I soon learned that there existed little research on the Hindustani violin. I also learned that I happened to be studying with the preeminent Hindustani violinist in the field.

1 Mariachi Violinists learn to sing at the same time that they learn to play the violin, and are expected to be able to shift into different positions on the violin as beginning students, and therefore never learn that new positions are “difficult to play”, like beginning violinists learning in a traditional western setting. 2 A matched set of hand drums used in traditional Indian music. 12

Ms. Ramnath is a Hindustani violinist belonging to the Mewati gharana (musical lineage). She has taught at the Rotterdam Conservatory, the University of Giessen, and

Carnegie Hall’s Weill Institute. In addition to performing at all of the major music festivals in India, she has performed with major international symphony orchestras, including the London Symphony Orchestra and the London Philharmonic. She has collaborated with star musicians of diverse backgrounds, including Ustad Zakir Hussain,

Edgar Meyer, Bela Fleck and Ray Manzarek. She also performed on the soundtracks for the films Born into Brothels and Blood Diamond and was nominated for a Grammy for her work on the album Miles from New York.3 In short, she is the preeminent Hindustani violinist performing today.

Figure 1.1 Kala Ramnath4

3Kala Ramnath, "Kala Ramnath Bio," Kala Ramnath, http://www.kalaramnath.com/bio/ (Accessed Oct. 28, 2013). 4 Ramnath, "Kala Ramnath Photos," Kala Ramnath, http://kalaramnath.com/galleries/ (accessed Feb. 16, 2014). Used with permission. 13

Engaging in participant observation5 as a learner and performer, I employed a method of comparative analysis of Hindustani and Western violin techniques based upon lessons with the Hindustani performer and teacher Kala Ramnath. My experience as a learner is thus critical to the findings of this study. My initial focus was on understanding the many distinctions between the western and Hindustani violin styles, including posture, the bow hold, fingerings, and approaches to improvisation. I then supplemented those lessons with a review of the relevant literature on the history and theory of

Hindustani music as well as listening to recordings of Hindustani music. My study also includes structural analysis of the musical elements and forms used by Hindustani violinists, making use of the scholarship published by Kaufman, Shankar, and Ruckert.6

The participant observation dimension of my research extended over several years. I began studying with Ms. Ramnath via Skype in February of 2011. I was later fortunate to have the opportunity to experience a more traditional learning environment when I went to live in the home of Ms. Ramnath in Redwood City, California in May of

2011. During that time, I spent two weeks intensively training and also had the opportunity to observe her teaching other students. Additionally, I attended several

5Participant observation is a research technique developed in anthropology. It involves the researcher engaging in the activities associated with the particular event or process that he or she wishes to study. In the case of this study, I wished to observe the student-teacher dynamic. It is an essential technique of qualitative research in ethnomusicology and other social sciences. See Bruno Nettl, The Study of Ethnomusicology, Thirty-One Issues and Concepts (Chicago: University of Illinois Press, 2005). 6Walter Kaufmann, The Ragas of North India, (Bloomington: Indiana University Press, 1968). Robert Morris, Architectonic Composition in South Indian Classical Music: The "Navarangamalika Varnam," Analytical Studies of World Music. Michael Tenzer (New York: Oxford University Press, 2006), 303-331.

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workshops hosted by Ms. Ramnath in August of 2011 and June of 2012 and 2013 in

Redwood City. Lessons continued, via Skype, during the writing of this document in the fall and spring of 2014.

Hindustani Music

Hindustani music is the style of classical music played in northern India, while

Carnatic music is the style of music played in southern India. While the two are very similar in style, Hindustani music evolved from Vedic ritual chants in the 12th century and is heavily influenced by the Islamic music from Pakistan, Bangladesh, and to some extent Nepal and Afghanistan. In contrast, Carnatic music is largely influenced by Hindu

Indian sources traced to the Rigveda the ancient collection of sacred Sanskrit verse and knowledge.

While the violin was adapted to be a traditional instrument by both Hindustani and Carnatic musicians, it is far more commonly employed as a Carnatic instrument.

There exists an extensive body of information on the use of violin in Carnatic music.7

While this material offers an introduction to the violin in India, the differences between the two schools outweigh the similarities. The Hindustani violin is used as a solo instrument, meant to replace the vocalist, while the Carnatic violin is generally used as an

7 See Gordon Swift’s work, "The Violin as Cross-Cultural Vehicle: Ornamentation in South Indian Violin and its Influence on a Style of Western Violin Improvisation." Ph.D diss., Wesleyan University. 1989. "South Indian Gamaka and the Violin". Asian Music 21 (1990): 71-89. And, "Exploring Carnatic Violin: The Sinuous Style of South Indian Classical Music." Strings Magazine. February, 2005. 15

accompanying instrument. The "showier" position of the violin in Hindustani music demands greater virtuosity of the soloist, as well the violinist in ensemble performance.

The Value of Studying Hindustani Performance

While there is a large body of research on Hindustani music theory, history, and instrumental performance techniques, very little has been written about the violin in

Hindustani music. Aside from a few short interviews with prominent Hindustani violinists, nothing has been published on the technique of playing the violin in the context of Hindustani music. According to Ms. Ramnath there are probably several reasons for this deficiency. Hindustani music is extremely complex and notoriously difficult to transcribe into Western notation. Furthermore, the violin did not appear on the Hindustani music scene until the middle of the 20th century, and until very recently

Hindustani musicians closely guarded their methods, keeping them within the few musical families or gharanas that performed Hindustani music on the violin.8

Plan of Study

This document will examine the history of the violin and its predecessors in India, the theory behind Hindustani music, and the techniques and exercises associated with playing the violin in the Hindustani style. It will conclude with a transcription of a

8Kala Ramnath, personal communication with the author, Redwood City, CA, May 24, 2011. 16

Hindustani raag9 in western notation. The Hindustani violin tradition offers western violinists a new perspective of the violin that enhances the player's sensitivity towards creative approaches to the instrument and enriches the player’s ability to perform with greater flexibility and virtuosity. The purpose of this document is to examine how the violin is played and taught in the Hindustani classical music tradition through the lens of a western violinist.

9Walter Kaufman states that "The word raga or its colloquial and Hindi form rag, or raag, originally denoted color or atmosphere; it is derived from the Sanskrit word ranga, ‘color’ ...most definitions of raag will first state that a raag consists of a fixed, unchangeable number of notes which frequently are presented in the form of an ascending and descending scale. The number and pitches of scale degrees may change from one raag to another, although there exist several raags which possess identical tone material." Walter Kaufmann, The Ragas of North India (Bloomington: Indiana University Press, 1968), 1-2. 17

II. THE VIOLIN AND ITS ANTECEDENTS IN INDIA

The Assimilation of the Violin into Indian and Hindustani Music

The history of how the violin became a traditional Indian instrument is deeply tied to European colonialism10 and India’s ability to adapt to western influence. The violin has been in South Asia for over 250 years and was first brought to Calcutta by French and

British colonial officials around 1800.11 In that time it has transitioned from an instrument of European heritage to one that replaced traditional Indian instruments like the sarangi (a bowed instrument similar to the cello) and the veena (a lute-like instrument with a long neck). In current practice the violin seems as if it is indigenous to India.

While the violin is played throughout India in both Northern and Southern Indian music, it has been most widely accepted in Carnatic music, appearing on the Hindustani music scene only in the last century.12

The stories and myths surrounding the origins of the violin in Southern India are as rich as the history of the instrument itself. The most popular story is that of

Baluswamy Dikshitar, a son of a famous Brahman who heard the instrument from French

10 European colonization of India began in 1502 with the occupation of India by Portugal and ended when the British Empire recognized India’s independence in 1947. Berkeley Library,“South Asian History: Colonial India,” Accessed March 19, 2014, http://www.lib.berkeley.edu/SSEAL/SouthAsia/india_colonial.html. 11 Amanda J. Weidman, “Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India,” (Durham, NC: Duke University Press, 2006), 25. 12 Gordon Swift, "The Violin as Cross-Cultural Vehicle: Ornamentation in South Indian Violin and its Influence on a Style of Western Violin Improvisation," (Ph.D diss., Wesleyan University, 1989), 1. 18

colonials at the end of the 18th century and quickly adapted it to the Carnatic style of music. Others attribute its adaptation to his brother Muthuswami Dikshitar.13 Another origin story says that Vaidveliu, a musician employed in the in the royal court of

Tanjavur whose skills were so impressive that he became the personal instructor to the king, transformed the violin from an instrument of the colonials, to a Carnatic instrument.14 Still other accounts, one based on paintings found of a woman playing a violin, and another tracing the incorporation of the word "violin" into the Kanadda language, suggest that the violin could have arrived in India even earlier than the colonial period.15

Most myths and legends surrounding the introduction of the violin to Southern

India suggest that colonial personnel introduced the violin to Southern India during the mid-18th century from England and France. Political opportunities for cultural exchange provided the means by which the instrument was initially shared and Brahmans and non-

Brahmans alike adopted the violin. Early Carnatic compositions suggest that the violin was associated with fiddlers and folk music. European influence on Indian songs from the colonial era indicates that the instrument was both a marker of colonial presence in Indian life and a vehicle for the translation of Western music into the Carnatic musical language.16

The violin did not immediately find a role as an Indian classical instrument.

13 Amanda J. Weidman, “Singing the Classical, Voicing the Modern: The Postcolonial Politics of Music in South India,” (Durham, NC: Duke University Press, 2006), 29. 14 Weidman, 32. 15 Ibid. 16 Ibid. 19

According to Weidman, Indian musicians who played violin were exposed to Irish and

Scottish fiddling instead of Western classical violin playing. This Western folk tradition became the foundation for Indian violin as a folk instrument. The evidence is further supported by the music of Muthuswami Dikshitar (1775 -1835), a composer of prominence (Indian music lovers consider him, along with his brother Baluswamy and fellow musician Tyagaraja to be part of the “holy trinity” of Carnatic music) during the violin’s early history in Southern India.17 His compositions, based on “European Airs,” appear to be created in a radically different way than many compositions native to

Carnatic music. His compositions include none of the typical ornamentation used in the

Carnatic style. Instead, he adapts the European melodies to suit his Sanskrit lyrics. This transmission and transformation of ideas is the beginning of the incorporation of the violin into Indian musical existence.18

As Indian musicians adapted the violin, they also began to redefine its role. The violin functioned primarily as an instrument for accompaniment of the voice. Violin, like the sarangi, could both emulate the voice and provide contrast for Carnatic music. As a folk instrument the violin was used all across southern India in political or official gatherings, dance settings, and for Harikatha (musical storytelling). Violin music was combined with poetry or implemented in religious services. Although adoption of the violin was not applied universally in Indian folk music, its inclusion allowed for the potential of the violin to be realized outside of folk traditions, and into the classical

17 David Reck, "India/South India," in Worlds of Music, 5th ed., edited by Jeff Titon, (Belmont, CA: Cengage, 2008), p. 278. 18 Weidman, 33. 20

idiom.19

The transition of the violin from folk to classical instrument is fairly recent, mostly occurring in the early 20th century. This transition happened when the violin began to appear regularly on the concert stage. Its old image and sound as a fiddle did not fit into the refined sound of Indian classical music. Violinists had to establish techniques and traditions for playing if they were going to compete with other string instruments in

Indian classical music. Much like European performers during the Renaissance, Indian performers played the instrument as they saw fit, using a myriad of systems for finger and hand positions as well as unsystematic applications of the bow.

During the early 1900s, when a general reformation of Carnatic music was taking place, more standard methodologies of violin performance were codified. One violinist of note, T.C.R. Johannes, provided a significant treatise for violin playing and violin technique within Indian music in 1912.20 His commentary indicates one of the primary reasons the violin may have been a natural fit for Indian music. He argued that the violin had always been an Indian instrument that the Europeans simply refined; the instrument could naturally accommodate itself to other instruments, the human voice, and the sounds of animals. He suggested that although the instrument needed to remain distinctly Indian, the violin also needed to be approached with a similar Western system of notation, composers, compositions, conservatories, and concerts. His treatise also introduced standards for finger placement, bow technique, and performance practice that were true

19 Weidman, 37. 20 Weidman, 37. 21

both to the spirit and ideals of classical Indian music.21

The movement of the Carnatic music audience in the mid-20th century from the streets to the concert hall also marks a pivotal point in the violin’s transition from its folk applications to those of classical music. With concert hall performances came more opportunities for violinists to accompany singers. As vocal amplification became a necessity, it was discovered that the violin was an instrument well suited to amplification.

It could be played in a manner that would not muffle ornamentation or diminish the subtlety required for Indian classical music.

Musicians brought the violin into Northern Indian Hindustani classical music in the last century. It has been adapted into Hindustani music by violinists who came out of the Carnatic tradition, like Vidwan Narayana Iyer. His granddaughter Kala Ramnath continues the tradition, “[Iyer] created a unified fingering and bowing technique necessary for playing in the ghayaki ang (the singing style associated with Hindustani music).” 22 He passed this technique on to his children and grandchildren: the notable violinists T.N. Krishnan, Dr. Narayana Rajam, Sangeeta Shankar, and Kala Ramnath.

21 Weidman, 41. 22 T.N. Krishnan Foundation, “Documentary on Vidwan A. Narayana Iyer,” T.N. Krishnan Foundation, http://www.tnkrishnan-foundation.org/2008/04/documentary-on- vidwan-narayana-iyer.html (accessed Nov. 15, 2014). 22

The Sarangi, the Violin’s Older Cousin

A discussion of the violin in India cannot be complete without discussing the violin’s predecessor, the sarangi. The sarangi is a complex traditional Indian bowed string instrument that is held similar to the cello (see figure 2.1). The three main playing strings are made of thick gut. Their sound is enriched by the 35 to 37 non-played sympathetic strings, known as tarabs (the Arabic word for ecstasy). The three main strings are bowed with a heavy horsehair bow (comparable to a German bass bow) and stopped with the nails of the left hand instead of the fingertips. The sympathetic strings are divided into 4 "choirs" with two sets of pegs, one on the right and one on the top. The two choirs of resonance strings on the right are tuned to a chromatic scale and a diatonic scale, while the two choirs of strings on the top of the instrument are tuned to the important notes of the raag (the basic pitch set of an Indian composition).23 The instrument’s major role has been to provide singers with melodic accompaniment and tabla (hand drum) players with a rhythmic timeline.

The history and decline of the sarangi is closely tied to India’s caste system, its occupation by Britain, and India’s fight for independence. For Indians, sarangi players are most closely associated with teachers and accompanists of courtesan-singers and dancers in salons of the time. “Both instrument and player have been stigmatized by the urban middle class that dominated the expansion of classical music after Independence in

23 A raag is the basic scale that Hindustani musicians play is similar to the western scale; however the Hindustani scale is not tempered like the western diatonic scale. A raag is also commonly referred to as a raga or rag. 23

1947, superseding the (Muslim-dominated) cultural milieu of princely courts and salons.”24 Sarangi players were the most numerous among hereditary instrumentalists since the beginning of the 20th century. They were found all across northern India, and all of them came from hereditary musical backgrounds. This meant that musical knowledge was kept within the family gharana (musical lineage and distinctive practice) and passed on to younger generations who then continued the legacy of the gharana.

Figure 2.1 Sarangi Player Parshuram Bhandari25

24 Regula Qureshi, “How Does Music Mean? Embodied Memories and the Politics of Affect in the Indian “sarangi”,” American Ethnologist, Vol. 27, No. 4 (Nov., 2000), 806. 25 Kathmandu Post, “On a Sarangi Master,” Kathmandu Post, http://www.ekantipur.com/the-kathmandu-post/2012/11/11/et-cetera/on-a-sarangi- master/241677.html, (accessed Feb. 16, 2014). 24

While the sarangi evokes some special interest in India and the west, it has also become marginalized and is now viewed as a threatened part of India’s musical heritage.

The question of the sarangi’s survival remains uncertain. Fifty years ago sarangi players were among the most numerous of Indian hereditary musicians; however, among young musicians today, only a small number of sarangi players are still active. Their number has dropped drastically, particularly when compared to the popularity of other North

Indian instruments such as the sitar and tabla. Ethnomusicologist Regula Quershi explains: “The crucial difference is that the sarangi was left out of the huge constituency of middle-class music lovers, amateurs, and professionals.”26 Unlike tabla, sitar, flute and harmonium, sarangi performance is not a standard subject at schools and colleges.

The problem stems from the sarangi’s place in India’s social history. According to Regula Qureshi, “Until the early 20th century, hereditary musicians were the only guardians and exponents of Hindustani music”.27 It was the sarangi player’s duty to deliver music to patrons at the feudal courts for royalty and major landholders across northern India. At court, sarangi players held roles as both soloists and accompanists for the singers.

A second economy that emerged from the feudal system of patronage surrounded the urban salons that housed courtesan performers. Like the court, these sites were also patronized and sustained by rich nobles. Regula Qureshi, explains the relationship between male sarangi player and female courtesans: “Sarangi players acted as the

26 Regula Qureshi, Master musicians of India: hereditary sarangi players speak (New York: Routledge, 2007) 13. 27 Ibid. 25

principal teachers, composers, and accompanists for these singers; they also accompanied their dance.” She goes on to say that, “The kotha, or salon, in fact was the first secular public venue for art music, but one that was unacceptable to the Victorian morality of the educated Indian elites who would lead the country to independence.”28

In 1906 the nationalist movement supported the reform of classical music to make it a centerpiece of Indian national culture. Educated reformers in Madras, Calcutta, and

Bombay established an infrastructure for musical institutions and schools. These institutions gave the middle class access to musical training and literacy. The greatest patron and arbiter of classical Indian music was All India Radio.29

All India Radio was designed to sustain and distribute classical Indian music.

“The radio created a graded audition system for performers, a hierarchy of educated music administrators, and a cadre of ‘staff artists’ for accompaniment and for membership in the new national orchestra.”30 When All India Radio excluded the harmonium and called it musically inadequate for accompaniment, sarangi players stepped in to that role and secured an improved status as well as some job security.

Indian independence in 1947 effectively terminated court patronage and left sarangi players without support. All India Radio provided a new authority for determining musical value and gradually replaced traditional patronage system. This replacement was firmly established with the abolition of Britain’s princely states and landed properties in 1952. Sarangi players were further devalued in the mid-1960s when

28 Qureshi, “How Does Music Mean?,” 819. 29 Qureshi, Master musicians of India, 14. 30 Ibid. 26

public opinion of courtesans shifted to one of stigmatization, and police proceeded to shut down their salons. Because of this shift in patronage, positions at All India Radio became extremely competitive for sarangi players.

While status of the sarangi benefitted from the expansion of Indian music into the west in the twentieth century—it was helped by the success of the tabla and European reverence for string instruments— players to struggle for acceptance and popularity in

India. Because Indians continue to associate the sarangi with the courtesan salons popular in the previous century, and because there are so few middle-class performers

(sarangi players tend to hold low status), the sarangi suffers from a major image problem. Many accomplished sarangi players have switched instruments, or have taken up singing, while others have left music completely. Most sarangi families have refrained from passing the tradition on to their children and instead encourage them to seek careers playing different instruments or to go to college to pursue careers outside of music. The violin helped fill the void left by the diminishing role of the sarangi. 27

III. HINDUSTANI MUSIC THEORY

An Introduction to Hindustani Music Theory

According to Ravi Shankar, “Indian music too [like western music] is based on melody and rhythm, but has no comparable system of harmony and counterpoint. Rather, it is melody that has been developed and refined to a very high degree, with an infinite variety of subtleties that are completely unknown in Western music.”31 An understanding of Hindustani music theory can be broken down into three basic elements, the raag or melodic scale system, the taal or rhythmic cycles, and the form of the raag, or composition.

Raag

The basic scale that Hindustani musicians play is similar to the western scale. In its simplified form the Hindustani scale typically contains seven pitches, similar to a western scale; however the Hindustani scale is not tempered like the western diatonic scale. Therefore the intervals between consecutive notes are not equal and can be varied slightly to suit the particular raag that is being performed. This is not an unfamiliar concept to violinists, after all when we play unaccompanied or in a string quartet we use what Joseph Szigeti refers to as functional intonation. Szigeti states, “Functional intonation is founded on the harmonic structure of the music and is not invariable. Any

31 Ravi Shankar, My Music My Life (New York: Simon and Schuster, 1968), 19. 28

note of the scale may vary in frequency depending on its function so that when behaving as a leading tone it will be sharper than in other contexts.”32 Similar to the combination of Just, Mean-tone and functional tuning systems that western musicians use when playing unaccompanied Bach, Hindustani musicians find that the same note may have slightly different locations depending on its position in the raag. The Indian scale is made up of seven svaras, or notes. This series of seven notes with the repeated tonic note is known as the saptaka, or “cluster of seven.”33

The names of the svaras in the Hindustani scale do not align with a fixed pitch, and instead function similarly to the notes used in solfeggio with a moveable “Do.” Ravi

Shankar explains that the tonic (Sa) is the soul, Ri is the head, Ga the arms, Ma the chest,

Pa the throat, Dha the hips and Ni the feet; while other ancient music scholars maintained that the intervals of the notes of the natural scale were determined by the sounds certain animals make.34

Hindustani: Sa Ri Ga Ma Pa Dha Ni

Western: Do Re Mi Fa Sol La Ti

Musical Example 3.1 Hindustani and Solfeggio Scale Systems

32 Hasse Borup, A History of String Intonation, http://www.hasseborup.com/ahistoryofintonationfinal1.pdf (accessed March 3, 2014). 33 Ibid. 34 Ravi Shankar, 19. 29

Sa, Re, Ga, Ma, Pa, Dha, and Ni are referred to as shudda, or pure unaltered tones. Their arrangement corresponds to the western major diatonic scale. Between these seven shuddas exist five intermediate notes similar to western sharps and flats that further the divide the scale into twelve chromatic semitones (see Musical Example 3.2). The term komal refers to a lowered or flatted note, while the term tivra refers to a raised or sharped note. The four tones between Sa and l Re, Re and Ga , Pa and Dha and Dha and

Ni are lowered komal notes and are referred to as Komal Re, Komal Ga, Komal Dha and

Komal Ni; while the fifth tone lies between Ma and Pa and is called Tivra Ma.

Sa Komal Re Re Komal Ga Ga Ma Tivra Ma Pa Komal Dha Dha Komal Ni Ni

Musical Example 3.2 Hindustani Chromatic Scale

The Indian scale system diverges from the western scale system, according to

Ravi Shankar, when the Indian scale becomes the basis of a musical composition. Here, the octave is further divided into even smaller units. According to the Indian system, twenty-two intervals exist within the octave that may be played and notated. These microtones are known as shrutis. It is important to note that the intervals between two consecutive scale steps are always more than one shruti. Shruti literally means “that 30

which can be heard.”35 Vishnu Bhatkhande in his treatise Hindustani Sangeet Paddhati, states that the octave is divided into twenty-two intervals, or shrutis. The main notes remain the twelve notes in the octave with these extra notes in between.36

C Db D Eb E F F# G Ab A Bb B

Sa re Re ga Ga ma Ma Pa dha Dha ni Ni

1 234 5 678 9 10 11 12 13 14 15 16 17 18 19 20 21 22

Musical Example 3.3 Division of Shrutis

The different combinations of these notes (shruti and svara) comprise the most fundamental element of Indian music, the raag as a scale and a composition. According to Shankar, it can never be said that a musician invents a raag, instead a raag is

“discovered as a biologist might discover a new species.”37 While only several hundred raags are currently in use, the number of possible raags is in the thousands.

Melodically, all Hindustani music is based on the concept of the raag, a notoriously difficult term to define. Each raag has several structural characteristics that help define it. A raag consists of an ascending and descending pattern of notes accompanied by characteristic melodic movements. A raag cannot be identified by scale

35 Shanti Raval, "The Adaptation of the Clarinet to Hindustani Music: The Playing Style of Master Ebrahim" (Ph.D. diss., New York University, 2009), 95. 36 Nazir A. Jairazbhoy, The Rags of North India: Their Structure and Evolution, (Middletown, Connecticut: Wesleyan University Press, 1971), 35. 37 Shankar, 20. 31

only, since many raags share the same scale. Similarly, a few characteristic melodic movements do not necessarily make a raag.38 A raag usually has one important defining phrase39 that is used frequently to differentiate it from other raags having the same scale.

If the phrase is short, it is called the pakad or catch; if it is longer it is called the swarup or feature. In addition to this defining phrase, a raag may also have an area of melodic concentration. Raags that are mostly developed in the lower tetrachord of the scale are called purvanga, while those in the upper tetrachord are called utteranga.40

Rasa

Besides structural characteristics, each raag also has a defining rasa or mood, or as Ravi Shankar calls them, “the nine sentiments.” 41 They are:

1. Shringara - erotic or divine love, 2. Hasya - comic and humorous, 3. Karuna - extreme longing and loneliness for god or a lover, 4. Raudra - expresses fury or anger, 5. Veera - sentiment of heroism, bravery and dignified excitement, 6. Bhayanaka - frightening or fearful, 7. Vibhatsa - disgust, 8. Adbhuta - wonderment and exhilaration, and 9. Shanta Rasa - peace and tranquility.

38 Nad Sandeep Bagchee, Understanding Raag Music (Mumbai: Eeshwar, 1998), 93. 39 Raval, 94. 40 Ruckert, “Introduction to the classical music of North India,” (East Bay Books: St. Louis, 1991), 261. 41 Shankar, 26. 32

The rasa of a raag has an impact on the type of ornamentation and taal, or rhythmic cycle used. The rasa of a raag also closely relates to the time of day it is performed or prahar. Raags have specific three-hour time slots in which they are traditionally played (although modern concert life is changing this practice). The prahar of a raag relates to its rasa, its pitch content, and its melodic development (purvanga or utteranga). Purvanga raags are usually played in the evening, while utteranga raags are typically played in the morning.42 According to Walter Kauffman, “Indian performing musicians pay no attention to [precise definitions of microtones or srutis] and are guided solely by the rasa, the sentiment and mood of a raag, in order to achieve the required intonations. They refuse to define microtonal alterations by means of mathematical speculations.”43 He goes on to compare the concept of rasa to the ethos or moral character of the Greek modes, or the Doctrine of Affections from the late Baroque period.

The transcription included in this document is in raag Yaman, or the Kalyan That, and is one of the first raags taught to students because it is thought to be an important foundation for other raags.44 Raag Yaman is a purvanga raag which means that it is typically played in the first part of the night.45 The term Kalyan comes from Sanskrit, and Yaman, is a Persian term; both are used interchangeably by most Hindustani

Musicians as names for this raag

42 Ruckert, 255. 43 Walter Kaufmann, The Ragas of North India, Bloomington: Indiana University Press, 1968, 9. 44 Shanti Raval, 98. 45 Kauffman, 62. 4 Beginning shifting exercises

105 permutation 14 Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

109 Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ permutation 15 113 Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

117 Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

121 permutation 16 Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

125 Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ permutation 17 129 Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

133 33 Vln. # œ œ œ œ œ œ # # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # 16 & œ œ œ œ œ œ œ œ œ œ 4

Vln. # # 16 œ œ n# 4 & # 4 œ œ œ œ œ œ œ # 4 œ œ œ œ œ ˙

Musical Example 3.4 Raag Yaman

Rhythm

Taal, in its broadest sense means rhythm, but it also denotes an organized

rhythmic cycle composed of various matras, or rhythmic units. While there are over a

hundred different taals, only fifteen to twenty taals are commonly used by Hindustani

musicians. A rhythmic cycle can be composed of anywhere from 3 to 108 beats.46

Similar to the accents in metered Western music, within the cycle of each taal there are

different beats with different degrees of importance. Rather than having just a strong and

weak beat in succession, in taal the cycle of strong and weak beats occur in different

combinations. In order to make each taal easier to remember, it is divided into several

sections. For example, the work transcribed in this document is in teentaal. Teentaal is a

sixteen beat cycle that has four sections of four beats each. All of the sections added

together represent one complete cycle of the taal, which is then repeated over and over

again for the duration of the work. Teentaal is the most popular taal and is most often

heard as an accompaniment to instrumentalists.47

46 Shankar, 29. 47Shankar, 30. 34

The strongest beat in a rhythmic cycle is the sam. This could loosely translate to the downbeat, although the sam will not necessarily be located at the beginning of the taal (indeed it is usually felt at the end of the cycle). The other two important beats are tali, which is slightly less accented than sam, and khali, which is an unstressed or empty beat. When clapping the taal, the sam and tali are shown by clapping the hands, khali is shown by a wave of the hand. The other beats are counted on the fingers starting with the little finger and counting the unstressed beats between the sam and tali. Tali sections are played with a resonating effect, while khali sections are played with a dry or metallic sound. The different sonorities give texture and variation to the rhythm as well as providing the singer or instrumentalist with an aural clue as to which part of the taal sequence is currently being played.

Fixed raag compositions, or bandish, are usually set to a certain taal, which means that each line is melodically structured to fit into that taal. Generally in

Hindustani music the taal is performed with an instrument called the tabla, a set of two small tuned drums with the range of about an octave. The accompaniment of the tabla is called sangat. The specific sequence of beats that define a taal is called its theka. For example, the theka of Teentaal is:

35

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 sam tali tali tali tali tali tali tali khali tali tali tali tali tali tali tali dhaa dhin dhin dhaa dhaa dhin dhin dhaa dhaa tin tin taa taa dhin dhin dhaa

Musical Example 3.5 Teentaal Beat Pattern.

Every taal has a standard theka, but within the basic structure, the beats are often modified to suit the song. There can be also regional or individual variations. For instance, teentaal can also be also played in two basic ways.

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 sam tali tali tali tali tali tali tali khali tali tali tali tali tali tali tali dhaa dhin dhin dhaa dhaa dhin dhin dhaa naa tin tin naa taa dhin dhin dhaa

Musical Example 3.6 Teentaal Beat Pattern Variation 1

1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 sam tali tali tali tali tali tali tali khali tali tali tali tali tali tali tali nhaa dhin dhin naa nhaa dhin dhin naa naa tin tin naa teke dhin dhin naa

Musical Example 3.7 Teentaal Beat Pattern Variation 2 36

The standard theka of a taal is considered its simple version. At slower tempos, the tabla player fills in the long gaps between the beats with detailed improvisations.48

Similar to western music, Hindustani music can often vary in tempo or laya. Since

Hindustani classical music performances involve a gradual increase in tempo over the duration of the performance, it is never feasible to talk about tempo precisely in terms of beats per minute. Instead, there are three main speeds, vilambit (slow), madhya

(moderate), and drut (fast). Roughly speaking, vilambit is from 30 to 70 beats per minute

(bpm), madhya is from 70 to 180 bpm, and drut is from 180 to 350 bpm. In combination these layas can be used to come up with more moderate laya; madhya vilambit becomes moderately slow and madhya drut becomes moderately fast. Additionally, the term ati

(similar to the Italian suffix -issimo in western classical music) increases the inherent value of the tempo it is used with. For example ati vilambit means very slow while ati drut means very fast. Similar to western music where any meter can be played at any tempo, any taal can be performed at any laya.

The transcription of the composition in raag Yaman, seen in figure 5.1, starts in a slow and unmetered vilambit laya, after this slow introduction, the composition picks up tempo starting at a moderate speed, as the improvisations of the soloist increase in virtuosity, the tempo of the raag also increases from madhya vilambit all the way to ati drut, which furnishes the piece with an exciting ending. Constant communication between the soloist and table player during these improvisations is an absolute must in order to gage the slow increase in tempo as well as beginning the various improvisations

48 Raval, 104. 37

on the correct beat. During the tabla’s beat cycle, the soloist must enter with part of the composition and/or a new improvisation on very specific parts of the beat cycle.

Generally in a taal like Teentaal, the soloist enters on either the sam, beat one, or the khali, beat nine. This means that the soloist is in constant interaction with the tabla player during the performance, especially since jumping in on the correct beat becomes increasingly difficult to do as the tempo increases.

Hindustani Concepts of Form, Composition and Improvisation

Form

According to Ravi Shankar, “a musician of good tradition usually begins a raag with the alap.” The alap is a slow, serene solo exposition, without measured rhythm, that develops the raag by delineating its tonal centers and main expressive phrases. An example of an alap can be seen in the first page of the transcription in Musical Example

5.1. The alap gradually develops into the more rhythmic gat section, (seen on the second page in Musical Example 5.1) typically marked in ensemble performance by the entrance of the percussionist. This section often introduces the main composition to listeners. The gat is composed of two melodic themes that alternate with increasingly complicated improvisations. The first theme is called the asthai while the answer phrase is called the antara. The combination of these melodic themes is commonly referred to as the composition or bandish. The tempo generally increases at this point, and the tabla makes its entrance. Finally, the jhala (beginning on m. 35 of Musical Example 5.1) is composed 38

of fragments of the composition, mixed with increasingly virtuosic sections of improvisation. The tempo often accelerates as the player exhibits increased virtuosity, ending the piece on a climax.

Composition

The composition or bandish can be an instrumental or vocal melody and is usually only a few lines long. It may be a new work by a musician or have been passed down by countless generations. Ruckert calls this process of composition “reassembling”, meaning that a musician takes material from his own knowledge of a certain raag, including other compositions, and combines them to create a new work.49 Once the outline of the composition is completed, musicians will add or change the ornamentation according to their taste. This process is not considered improvising or changing the composition, just putting a personal mark on the performance. As long as the main pitches and rhythms are intact this is considered perfectly acceptable. Ruckert notes that the same composition in the hands of two different musicians can be “as different as night and day,” since each will have his own interpretation of ornamentation and expression.50

Improvisation

Aside from the bandish —the few phrases that comprise the asthai and antara

49 Ruckert, 287. 50 Ruckert, 289. 39

section of the piece—the rest of the raag is commonly referred to as improvised. This includes the entire alap, and any development and runs that are interspersed within the composition. If improvisation is understood as simply random, unplanned musical expression, the term could be misleading. Just as the set composition must follow the rules and conventional movements of a raag, so must the improvisation. Phrases are developed with regard to certain notes of the raag, and there is a logical sequence of development. Because of the methodical nature of the development of these improvisational sections, some Indian musicians take issue with terming it improvisation and prefer to call it "on-the-spot composition."51 Ruckert relates the response that Ali

Akbar Khan gave to a journalist who used the word improvised when describing his music:

No, this music is not improvised. In jazz maybe you can improvise, but I don't think like that. The way my father taught was that this music is composed in a very traditional way…you can say, maybe, 'composed on the spot.' But you have to learn so much just to compose one line… I have to learn a thousand-thousand compositions from my father in a single raag. Then, when I play, I remember something from this one, something from that one, and I combine them together…on the spot…but I can't just make it up…because always you must follow…follow the raag, follow the taal, follow the composition. When you make some line, then you must come back with this line... otherwise you just have garbage.52

The process of improvising, then, is similar to creating one's own composition, with the difference that the composition will be set (with regard to both notes and framework in the taal), while the improvised lines can vary according to the performer's

51 George Ruckert, “The Music of Ali Akbar Kahn: An Analysis of His Musical Style Through the Examination of His Compositions in Three Selected Raags,” (PhD diss., University of California, Berkeley, 1994), 354. 52 Ibid. 40

inclination at the moment of performance. It should be noted that while Ali Akbar Khan does not care for using the word improvised, many Indian musicians do use this term.

However, it may be misleading to Western performers who are not familiar with Indian music.

Hindustani music is a unique combination of spontaneity and structure.

Performers have the freedom to adjust the music to their own abilities, add or subtract ornamentation, combine phrases in ways that suit them, and adjust the length of sections.

On the other hand, everything a classical musician does must follow the structure of the raag, and also fit into the framework of the taal. A musician is judged not only on his technical mastery, but also on how creatively and expressively he can maneuver the movements of a raag.

41

IV. HINDUSTANI VIOLIN TECHNIQUE AND EXERCISES

Hindustani Violin Basics

The violin emulates vocal music in both western and Hindustani music. In

Hindustani music, students learn vocal technique before learning to play the violin.53

That said, a first step toward learning how to play any instrument is learning to hold it properly. The postures of Hindustani and western violinists are markedly different. In

Hindustani music, the violinist traditionally sits on the floor with the violin balanced between the collarbone and the right foot (see Figure 4.1).

Figure 4.1 Hindustani Playing Position

53In Europe it was long the custom for young learners to sing and learn solfege first before learning playing technique on an instrument. This custom is not always followed so rigorously in the United States. 42

This position facilitates an extremely stable grip on the instrument and gives the player complete freedom with the left hand when shifting. The bow hold is the same as the Western style bow hold, but with slightly more pronation, making it more akin to a

Russian rather than a Franco-Belgian bow hold (see Figures 4.2 and 4.3).

Figure 4.2 Franco-Belgian Bow Hold

Figure 4.3 Hindustani Bow Hold 43

Unlike western violinists, Hindustani violinists use only their first three fingers

when playing. The fourth finger is rarely used according to Kala Ramnath because, "it is

too weak to correctly play meend [a slide between pitches] and is not necessary to play

the compositions properly."54 Score A very distinct differenceHindustani between the Western exercises and Hindustani violinfinal technique is

the tuning. Hindustani violinists remove the violin’s e-string and add a c-string so that the

string arrangement is the same as that of a viola C-G-D-A. The two lower strings are Violin then tuned& up a4 major second! to a D! and an A, making! the string! tuning D-!A-D-A across! ! the violin (Musical Example 4.4).

Vln. # œ ! ! ! ! ! ! ! # 4 & œ 4 œ œ

Musical Example 41.1 Hindu1 stani Violin2 Open-String3 Tuning3 2 1 1 0 0 # 0 0 Vln. # " j j j j # 4 j j œ œ j j 4 & 4 œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. ˙ œ. ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ 4 Beginning Exercises 3 3 1 0 1 0 1 2 2 1 0 0 While there" are many# techniques to learn, shifting is the most basic and important Vln. # # 4 œ œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ œ ˙ 4 step& in learning4 to. Jplay the violinJ in HindustaniJ music.J There areJ several exercisesJ usedJ to . J 4 teach fingering and shifting techniques in this style of music. The first exercise begins

1 2 2 1 0 with the first finger0 sliding from the open D string up to E# and then back to open D. Vln. # " # 4 œ œ œ œ œ œ œ œ œœ. œœ. œ . œ 4 (Musical& Example4 œ 4œ.5).œ Thisœ raagœ is continued in ascending order in the equivalentœ of œD. œœ. œœ. 4 major or Raag Bilaval, with each finger until the third finger starts on G, slides to A, and 1 3 3 2 1 0 0 # Vln. #54Kala Ramnath," personal communication with the author, Skype, February 13, # 4 œ œ œ œ œ œ œ œ œœ. œœ œ œ 4 2011.& 4 œ œ œ œ œ . œ. œ. œœ. œœ. 4

2 0 # " 1 2 œ œ œ œ 1 0 Vln. # 4 œ œ œ œ œ œ œ. œ œ. œœ. œ œ 4 & # 4 œ œ œ œ œ. œ. œœ. 4

3 0 # " 1 3 2 1 œ œ œ œ 0 Vln. # 4 œ œ œ œ œ œ œ. œ œ. œœ. œ œ 4 & # 4 œ œ œ œ œ. œ. œœ. 4

© Score Hindustani exercises final Score Hindustani exercises final 44

Violin 4 & 4 ! ! ! ! ! ! ! retreats back to G. The exercise is then reversed and played in descending order, starting Violin 4 ! ! ! ! ! ! ! with the third& 4 finger and finishing with the first finger. The student is instructed to Vln. ## 4 practice& this exerciseœ on! all of the! strings (Musical! Example! 4.!6). ! ! 4 œ œ Vln. œ ! ! ! ! ! ! ! ## 4 & 1œ 1 2 3 3 2 1 1 4 œ "0œ 0 # 0 0 Vln. #œ# 4 j j j j j j j j 4 & 4 . œ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ . œ 4 œ. œ1 ˙ œ1 ˙ 2 3 3 2 œ1 ˙ œ. œ1 ˙ "0 0 # 0 0 Vln. # j 55 j 4 j j 3 3 j j 1 4 Musical# Example0 1 j 04.2 D1 -String Sliding2 Exerciseœ œ 2 1 0 j0 & 4 "œ. œ ˙ #œ. œ ˙ œ. œ ˙ œ. ˙ œ. ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ 4 Vln. # . œ . œ # 4 œ. œ ˙ œ. œ ˙ œ. œ ˙ œ ˙ œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ 4 & 4 0 1 0 1 2 J 3 J 3 J 2 J 0 1 0 4 " J # J 1 J J Vln. ## 4 œ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ 4 & 4 œ. 1 ˙ 2 J J 2 J J 1œ. ˙0 4 0 J J # J J Vln. " ## 4 œ œ œ œ œ œ œ œœ. œ œ 4 Musical& Example4 4.3œ A-œStringœ œ Sliding Exercise œ. œ. œœ. œ . œ 4 œ œ1 2 2 œ1 œ0. 0 # Vln. # " # 4 œ œ œ œ œ œ œ . œ 4 œ œ œ œ œ œ 2 & 4 1 3œ œ œ 3 . œ. œ. œ 1 . œ 0 4 0œ œ # œ œ. Vln. " ##The4 second exercise is a variationœ œ œonœ a oneœ-octaveœ œ scaleœ meant to simulate various 4 & 4 œ œ œ œ œ œ. œ. œœ. œœ. œ . œ 4 œ œ1 3 3 2 œ1 œ0. 0 # Vln. taan, or# fast raag" passages that appear in Hindustani music. This exercise (Musical # 4 œ œ œ œ œ œ2 œ œœ. œ œ 4 & 4 0 œ œ œ œ # œ. œ. œœ. œ . œ 4 Example 4.7)"œ begins1œ 2 on open D and moves step-wise to E with the first finger andœ1 F# œ0 . Vln. œ œ œ œ œ œ œ . œ ## 4 œ œ œ œ œ œ œ œ. œœ. œœ. œœ. œ 4 & 4 œ 2 œ. 4 with the second0 finger. From F# the second finger# slides or glissandos for the rest of the " 1 2 1 0 Vln. # œ œ œ œ œ œ œ œ œ œ. œ œ. œ . œ passage,# reaches4 œthe œtop œD œoctave, and descends in3 the same fashion. Theœ violinistœ. œœ. œ 4 & 4 0œ # œ. 4 " 1 3 2 1 Vln. # œ œ œ œ œ œ œ œ œ. œ œ 0 practices# 4the sameœ scaleœ œwitœh theœ same fingering on the A string œ(Musical. œ. œExampleœ. œœ. 4œ.9). 4 & 4 œ 3 œ. 4 0 # " 1 3 2 1 Vln. The violinist# switches the fingering,œ œ replacingœ œ œ œ theœ secondœ œ fingerœ. œ œF#. (onœ the. œ D string) with0 & # 4 œ œ œ œ œ œ œ. œœ. œœ. 4 the third finger (Musical Examples 4.8 and 4.10).© The violinist applies this same exercise

to the A string starting with C#. ©

55 This and all subsequent exercises, unless indicated otherwise, is the author’s original notation based on the oral instructions of instructor Kala Ramnath. Score Hindustani exercises final

Score Hindustani exercises final 45 Violin 4 & 4 ! ! ! ! ! ! ! Score Hindustani exercises final Violin Hindustani4 violinists! practice! these! scales because! it is traditional! in! Hindustani! Vln. & 4 # 4 music to obscureœ one’s fingering! as! much as! possible! from potential! observers.! Since! # & œ 4 œ œ Violinmusicians were4 hired by the royal court to perform, according to Kala Ramnath, Vln. 1 ! 1 ! 2 !3 3! 2 ! 1 ! 1 !# & 40 0 # 0 0 # 4 Vln. & " œ ! ! ! ! ! ! ! 4 obscuring## 4theirœ fingeringj techniquesj jfrom competitorsj meantj job securityj forj the nextj 4 & œ4 œ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ œ 4 generationœ of œmusicians. ˙ in their gharana.56 Ramnath advises that these scales areœ played. ˙ 3 3 Vln. 1 1 2 2 1 1 0 0 # 3 3 0 1 0# "0 1 0 1 2 2 1 0 0 # 4 Vln. over& and## over4 " (100œj times#! inj a row! forj each !stringj and! eachj finge! ring)j in !a continuousj ! j 4 Vln. & 4 œ œ œ. œ ˙ œ. œ ˙ œ 4 ## œ4 œ. œœ ˙ œœ.. œœ ˙ œœ.. œ ˙ œ. œ ˙ œ. œ ˙ œ.. œ ˙˙ œ. œœ ˙˙ œ. œœ ˙ 4 cycle,& œaccelerating4 œ. ˙ in speedJ until theJ player "topsJ out." J J J œ. ˙ 4 J 3 3 J 1 1 2 3 3 2 1 1 "00 1 0 #1 2 2 1 0 1 00 Vln. # 4 " j j j j j j 4 Vln. ## j1 2 2 1 j0 & # 44 0 . œœ œœ. œœ ˙ œœ.. œœ ˙˙ # œ.. œœ ˙˙ œ. œœ ˙˙ . œœ 4 Vln. œœ".. œœ ˙ œœ. ˙ . . œ. ˙˙ œ. œ ˙˙ & ## 44 J J œJ œ œ œJ œ œJ œ . œ J J J 4 & 4 œ œ œ œ œ œ œ. œœ. œœ. œ . œ 4 œ œ 3 3 œ 1 œ. "0 1 0 #1 2 2 1 0 0 1 2 2 1 0 Vln. Musical# Example0 4.4 D-String Taan Exercise. œ Using# the. œ Second Finger Vln. ## 4 " œ 1 3œ. œ ˙ œ. œ ˙ œ ˙ 3 œ ˙ œ. œ ˙ œ. œ2˙ 1 œ 0 4 & # 44 œ0. ˙ J œJœ œ œ œJ œ# œJ œœ. œ J œ J œ. ˙ 4 Vln. & # 4 " J œ œ œ œ œ. œ. œœ. œ . œJ 4 # 4 œ œ œ œ œ œ œ œ œ œ œœ. œœ œ œ œ œ. 4 & 4 œ œ œ œ œ . œ. œ. œœ. œœ. 4 1 2 2 1 0 0 1 3 #3 2 1 0 Vln. # "0 #2 Vln. # 4 "0 œ œ œ œ œ# œ œ . œ 4 & # 44 " 1 2 œ œ œ œ œ œ œœ œ. œœ. œ œ 1 0 4 Vln. # œ œ œ œ œ œ œ œ œ œ œ œœ. œœœ œ œœ. œ. œ & # 44 œ œ œœ œ œ œ œ. œ.. œœœ.. œœ. œ . œ œ. 4 & # 4 œœ œœ œ œ œ. œ. œœ. 4 2 Musical Example1 4.53 D-String Taan Exercise Using32 the Third Finger 1 0 00 # Vln. # " 1 2 3 1 0 Vln. 4 0 œ œ œ# œ 4 ## " 1 3 œ œ œ œ œ œœ.. œ œ œœ œ 2 1 & # 44 œœ œœ œ œ œ.. œœ.. œœ.. œ . œ 0 4 Vln. & # 4 œœ œœ œ œ œ œ œ œ œ œ œ œ. œ œ. œ . œ œ œ. 4 & # 4 œ œ œ œ œ œ œ. œœ. œœ. 4 2 0 #3 "0 1 2 # 1 0 Vln. # " 1 3 œ œ œ œ œ œ œ œ œ. œ œ 2 1 Vln. # 4 œ œ œ œ œ œ œ œ œ œ œ . œ œ. œ. œœ. œ . œ 0 4 & # 44 œ œ œ œ œ © œ œ. œœ. œ œ œ œ. 4 & # 4 œ œ œ œ œ. œ. œœ. 4

Musical Example 4.6 A-String Taan Exercise Using3 the Second Finger 0 # " 1 3 2 1 œ œ œ œ 0 Vln. # œ œ œ œ © œ œ. œ œ. œ . œ & # 4 œ œ œ œ œ œ œ. œœ. œœ. 4

56Kala Ramnath, personal communication with the author, Redwood City, CA May 27, 2011. © Score Hindustani exercises final

Violin & 4 ! ! ! ! ! ! !

Vln. # œ ! ! ! ! ! ! ! # 4 & œ 4 œ œ

1 1 2 3 3 2 1 1 0 0 # 0 0 Vln. # " j j # 4 j j j œ œ j j j 4 & 4 œ. œ ˙ œ. œ ˙ œ. œ ˙ œ. ˙ œ. ˙ œ. œ ˙ œ. œ ˙ œ. œ ˙ 4

3 3 1 "0 1 0 #1 2 2 1 0 0 Vln. # œ œ # 4 œ œ ˙ œ. œ ˙ œ. œ ˙ œ. ˙ œ. ˙ œ. œ ˙ œ. œ ˙ œ œ ˙ 4 & 4 . J J J J J J J . J 4

1 2 2 1 0 0 # Vln. # " # 4 œ œ œ œ œ œ œ œ œœ. œœ. œ . œ 4 & 4 œ œ œ œ œ œ œ. œœ. œœ. 4

1 3 3 2 1 0 0 # Vln. # " # 4 œ œ œ œ œ œ œ œ œœ. œœ œ œ 4 & 4 œ œ œ œ œ . œ. œ. œœ. œœ. 4 46 2 0 # " 1 2 œ œ œ œ 1 0 Vln. # 4 œ œ œ œ œ œ œ. œ œ. œœ. œ œ 4 & # 4 œ œ œ œ œ. œ. œœ. 4

3 0 # " 1 3 2 1 œ œ œ œ 0 Vln. # 4 œ œ œ œ œ œ œ. œ œ. œœ. œ œ 4 & # 4 œ œ œ œ œ. œ. œœ. 4

Musical Example 4.7 A-String Taan Exercise Using the Third Finger ©

The third set of exercises is meant to emphasize flawless transitions from one

finger to another (Musical Examples 4.11 and 4.12). The fingers slowly, carefully, slide

up the fingerboard. The slide is played with the destination finger on both the ascending

and descending scales. For example, when sliding from E to F#, the player starts with the

first finger on E and then transfers to the second finger seamlessly by placing it next to E

while sliding up to F#. Conversely, when descending, the second finger starts on F#

while the first finger slides flawlessly down to E. The Hindustani violinist’s ultimate

goal is for the entire scale to sound like it was played with only one finger. 2 Hindustani exercises final

1 1 2 2 3 3 2 2 1 1 0 # 0 Vln. # 4 " 4 2 & # 4 Hindustani˙ exercises˙ final 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙

1 1 2 2 3 3 2 2 1 1 0 0 Musical Example 4.8 D-St# ring Finger Transition Exercise 0 Vln. # "0 3 3 # 4 " 1 #1 2 2 2 2 1 1 4 Vln. & # 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4 & # 4 ˙˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4

0 0 3 3 " 1 sim.#1 2 2 2 2 1 1 Vln. ## 4 "3 3 3 3 # ˙ ˙ ˙ ˙ ˙ ˙ 4 Vln. & # 4 ˙ ˙ ˙ ˙ ˙ ˙ 4 # 4 œ œœœœœ œœœœœœœœ œœœœœ œ 4 & 4 œœœœœœœœ œœœœœœœœ œ œ œ œ œœœœœœœœ œœœœœœœœ 8 Musical Example 4.9 A-String Finger Transition Exercise sim. 3 3 3 3 " # sim. Vln. ## 4 "3 3 3 3 # œ œ œœœœœœœœ œ œ 4 Vln. & # 4 œ œ œœœœœœœœ œœœœœ œ œ œœœœœ œœœœœœœœ œ œ 8 # 4 œœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ 5 & 8 œ œ œ œ œ œ œ œ œ œ œ œ 8 sim. 3 3 3 3 # " 3 sim. Vln. 3 3 # 4 3 3 # œ œ 5 Vln. & ## 8 " œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 # 5 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6 & 8 œ œ œ œ œ œ œ œ œ œ 8

3 3 3 sim. 3 3 3 3 sim. # Vln. " 3 # # 5 3 3 3 œ œ 6 Vln. # " œ œ œ œ œ œ œ œ & ## 86 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 83 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 3 3 3 sim. 3 3 3 # Vln. " sim. # 6 3 3 3 # œ œ 3 Vln. # " œ œ œ œ œ œ œ œ œ œ & ## 83 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ 78 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 sim. 3 3 3 # "3 3 3 3 sim. Vln. # 3 3 3 " 3 # œ œ 7 Vln. & ## 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 # 7 œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ 4 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4

3 3 3 3 sim. 3 3 # sim. "3 3 33 3 3 Vln. 3 3 # # " 3 Vln. ## 7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 & # 84 œ œ œ œ œœ œ œ œ œ œ œ œœœ œœ œ œ œ œ 4 & 4 œ œ œ œ œ œ œ œ sim. 3 3 3 3 3 3 3 # " 3 Vln. ## 4 œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ 47

Intermediate Exercises

The final set of exercises is meant to teach a technique that is unique to Kala

Ramnath and her students. She calls it the "jumping technique," which can be very

challenging to play. The violinist places all three fingers on the lower A-string,

(clustered in half-steps—third finger on D, second finger on C#, and first finger on C),

lifts all three fingers off the string together, and "jumps" with all three fingers to the note

above, E in this case. The hand makes a hopping motion, and since the bow stroke is

always slurred and legato, the open string is briefly heard during the jump. This is one of

the few techniques that emphasize the separation of notes rather than sliding between

them. The violinist, with an emphasis on intonation and keeping the three fingers "glued

together," slowly works his or her way up the scale, starting with jumping in groups of

two (Musical Example 4.13). Once this is mastered, a third note is added and the violinist

jumps in groups of three (Musical Example 4.14), continuing to add a note to the 2 Hindustani exercises final groupings, first in runs of four, then five, six, seven and finally a full octave (Musical 1 1 2 2 3 3 2 2 1 1 0 # 0 Vln. Examples## 4 4".15-4.19). According to Kala Ramnath, when the violinist can play these 4 & 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4 exercises in tune, the speed is then slowly accelerated, something that requires practice

0 0 3 3 and experience" over1 the course#1 2 of a lifetime.2 2 2 1 1 Vln. ## 4 ˙ ˙ ˙ ˙ ˙ ˙ 4 & 4 ˙ ˙ ˙ ˙ ˙ ˙ 4

sim. "3 3 3 3 # Vln. # 4 œ œœ œ 4 & # 4 œ œ œœœœœœœœ œœœœœœœœ œ œ œ œ œœœœœœœœ œœœœœœœœ œ œ 8 œœœœœ œ œ œœœœœ

Musical Example 4.10 sim.D-String Jumping Technique in Groups of Two "3 3 3 3 # Vln. # # 4 œ œ œ œ œ œ œ œ œ œ œ œ 5 & 8 œ œ œ œ œ œ œ œ œ œ œ œ 8

3 3 3 sim. 3 3 # Vln. # " # 5 œ œ œ œ œ œ 6 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8

3 3 3 sim. 3 3 3 # Vln. # " # 6 œ œ œ œ œ œ œ œ œ œ œ œ 3 & 8 œ œ œ œ œ œ œ œ œ œ œ œ 8

sim. 3 3 3 # Vln. # " # 3 œ œ œ œ œ œ œ œ œ œ œ œ 7 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8

3 3 3 3 sim. 3 3 " 3 # Vln. # # 7 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4

sim. 3 3 3 3 3 3 3 # " 3 Vln. ## 4 œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ 2 Hindustani exercises final

1 1 2 2 3 3 2 2 1 1 0 # 0 Vln. ## 4 " 4 & 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4

0 0 3 3 " 1 #1 2 2 2 2 1 1 Vln. # 4 ˙ ˙ 4 & # 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4

sim. "3 3 3 3 # Vln. # # 4 œ œœœœœ œœœœœœœœ œœœœœ œ 4 & 4 œœœœœœœœ œœœœœœœœ œ œ œ œ œœœœœœœœ œœœœœœœœ 8

sim. "3 3 3 3 # Vln. # # 4 œ œ œ œ œ œ œ œ œ œ œ œ 5 & 8 œ œ œ œ œ œ œ œ œ œ œ œ 8

3 3 3 sim.# "3 3 Vln. # 5 œ œ 6 2 # œ Hindustaniœ œ œ exercises finalœ œ œ œ & 8 œ œ œ œ œ œ œ œ œ œ 8

1 1 2 2 3 3 2 2 1 1 48 0 3 3 # 3 sim. 0 Vln. # "3 3 3 # Vln. ## 4 " 4 2& # 46 ˙ ˙ ˙œ ˙ Hindustani˙œ œ˙ exercisesœ œ˙ œ finalœ˙ ˙ œ˙ ˙ ˙ 43 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 1 1 2 2 3 3 2 2 1 1 0 # 0 0 3 3 Vln. 2 " 1 1 2 Hindustani2 exercises final2 2 1 1 ## 4 " sim. # 4 Vln. & # 4 3 3 3 # ˙ ˙ 4 Vln. 2 ## 4 ˙" ˙ ˙ ˙ Hindustani˙ ˙ exercises˙ final˙ ˙ ˙ ˙ ˙ 4 & # 43 1 1 2 2 œ 3 œ œ 3œ œ 2œ 2 1 1 47 & 8 0 œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 0 8 Vln. "œ œ œ œ œ œ œ œ œ œ œ œ # 1 1 2 2 3 3 2 2 1 1 0 # 4 00 # 3 3 0 4 Vln. & 4 "" 1 sim. 1 ˙2 ˙2 ˙ ˙ ˙2 ˙2 1 1 4 Vln. Musical## Example4 ˙3 3 3 3 #˙ 4.11 D˙#-String Jumping Technique in Groups of Three˙ ˙ ˙ 4 # 4 "3 3 3 3 sim. ˙ ˙ 4 Vln. & ## 4 ˙ ˙˙ ˙3 3 ˙# ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4 Vln. & # 4 ˙" 3 œ œ œœœœœœœœ œ œ ˙ 4 & # 4 œ œœœœœ œœœœœ œ œ œœœœœ œœœœœ œ 0 8 # 7 0œœœœœœœœ œ œ œ œ3 œ œ 3œ œ œ œ œœ œ œœœœœœœœ 4 & 8" 1œ œ œ 1 2 œ œ2 œ 2 œ œ 2œ 1 œ 1 œ œ 4 Vln. œ œ # œ œ 0œ œ # 0 sim. 3 3 # 4 3 3 3 3 1 1 ˙2 ˙2 ˙ ˙ ˙2 ˙2 1 1 4 ˙" #˙ sim.˙# ˙ ˙ ˙ Vln. & # 4 "3 3 3 3 4 Vln. # 4 " # ˙ ˙ sim. 4 # 4 3 3˙ 3 ˙ 3 ˙ ˙ œ3 œœ œ ˙ ˙ ˙ ˙ 4 Vln. & # 4 ˙ œ 3œœœœ3œ œ œ œ#œ œœœœœ œ ˙ 4 & # 4 " œ œœœœœ3 œ œ œ œ œœœœœ œ 8 Vln. # 4 œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœ 5 & ## 84 œ œ œsim. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 & 4 3œ3 3 3 # œ œ œ œ œ œ œ "œ œ sim.œ œ œ œ Vln. # 3 3 3 3 sim. Musical# 4 Example3" 3 # 34.123 D-#String Jumpingœ œœœ œTechniqueœ œœœœœœ œinœ Groupsœœœœœ ofœ Four 4 Vln. & # 4 " œ 3œ œ3œœœœ3 œœsim.œ œ œ œ œ œœœœœœœœ œ œ 8 Vln. ## 4 œ3œœœ3œ œ # œ œ œœœœœœœœ œ œ œ œœœœœ 4 Vln. & # 44 " œ œœœœœ œœœœœ œ œ œ œ œ œ œœœœœ œœœœœ œ 85 & # 85 œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœœ 68 & # 8 œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ 8 œ 3 œ3 sim. œ œ "3œ 3 # œ Vln. 3 3 3 sim. # 4 "3 3 3 # 3 sim. œ œ 5 # 3 3 3 3 3 sim.œ #œ œ œ œ œ œ œ œ œ Vln.Vln. & # 8 " œ œ œ œ œ # œ œ œ œ œ 8 ### 54 œ"3 3 3 œ œ œ œ œœ œœ œ œœ œ œ œ œ œ 65 Vln. && # 868 œ œ œœœ œ œ œœ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ 38 & # 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 œ œ œ 3 3 3 œsim. œ œ œ œ 3 3 # 3 3 sim. Vln. Musical Example" 4.3133 3D-3Stringsim. Jumping Technique in Groups of Five # 3 3 # # 5 3 3 3 # œ œ œ œ 6 Vln. & # 8 "" sim.œ œ œ œ œ œ œ œ œ œ œ œ 8 Vln. ## 65 œ3 3 œ3 # œ œ œœ œ œ œ œ œ œ 63 Vln. && ## 88 " œ œœ œœ œ œ œ œœ œ œ œ œ œ œœ œ œœ œœ œœ œ 8 # 3 œœ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œœ 7 & 8 œ œ œ3 œ3 œsim. œ œ œ œ œ œ œ 8 œ œ œ3 # œ œ œ "3 3 3 3 3 3 sim. Vln. # 3 3 sim.3 # # 6 3" 3 3 # œ œ œ œ 3 Vln. & # 8 "3 3 3 œ3 œ œ sim.œ œ œ œ œ œ œ œ œ 8 Vln. ## 6 œ œ œ 3 3 œ # œ œ œ œ œ œ œ œ 3 Vln. & # 38 " œ 3œ œ œ œœ œœ œ œ œ œ œ œ œœ œœœ œ œ œ œ œ 78 & ## 87 œœœœ œœ œ œ œ œœœœœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœœ œœ œœ 48 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œsim. œ œ œ œ Musical Example3 3 3 # 4.14 D-String Jumping Technique in Groups of Six " sim. sim. Vln. # 3 333 3# 3 # 3 " 3 3 # œ œ œ œ sim.œ œ 7 Vln. # "3 3 33 3œ œ œ œ œ œ 3 œ œ œ œ œ œ Vln. & # 83 œ œ œ œ œ œ 3 3 œ œ# œ œ œ œ œ œ 78 # 7 œ"œ œ 3 œ œ œ œ œœ œœ œ œ œ œ œ œ œ 4 Vln. & # 8 œœ œœœœ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œœ 8 & ## 84 œ œœœ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œœœ 4 & 4 œ œ œ œ œ œ œ œ œ œ 3œ 3 3 3 sim. œ 3 3 "3 3 3 3 3 sim.# sim. Vln. 3 3 3 3 3 3 3 # " 3 # 3 3 # Vln. # 7 " œ œ 3 œ œ œ œ œ œ œ œ 4 Vln. & ### 87 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 44 & # 48 œ œ œ œ œ œœ œœ œ œœ œ œ œœœ œœ œœ œ œ œ œ œ 4 & 4 œ œ œœ œ œ œ œ œ œ œ œ œœœ œœ Musical Example 4.15 D-String Jumping Techniquesim. in Groups of Seven 3 3 3 3 3 3 3 #sim. "3 3 3 3 3 3 Vln. 3 3 # # " 3 Vln. # 4 œ œ œ œ œ œ œ œ & # 44 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ 2 Hindustani exercises final

1 1 2 2 3 3 2 2 1 1 0 # 0 Vln. ## 4 " 4 & 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4

0 0 3 3 " 1 1 2 2 2 2 1 1 Vln. # # & # 4 ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ ˙ 4

sim. "3 3 3 3 # Vln. ## 4 œ œœœœœ œœœœœœœœ œœœœœ œ 4 & 4 œœœœœœœœ œœœœœœœœ œ œ œ œ œœœœœœœœ œœœœœœœœ 8

sim. "3 3 3 3 # Vln. # # 4 œ œ œ œ œ œ œ œ œ œ œ œ 5 & 8 œ œ œ œ œ œ œ œ œ œ œ œ 8

3 3 3 sim. 3 3 # Vln. # " # 5 œ œ œ œ œ œ œ œ œ œ 6 & 8 œ œ œ œ œ œ œ œ œ œ 8

3 3 3 sim. 3 3 3 # Vln. # " # 6 œ œ œ œ œ œ œ œ œ œ œ œ 3 & 8 œ œ œ œ œ œ œ œ œ œ œ œ 8

sim. 3 3 3 # Vln. # " # 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 7 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 49

3 3 3 3 sim. 3 3 " 3 # Vln. # # 7 œ œ œ œ œ œ œ œ œ œ 4 & 8 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4

sim. 3 3 3 3 3 3 3 # " 3 Vln. # # 4 œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ Musical Example 4.16 D-String Jumping Technique in Groups of Eight

While the exercises in this paper are all presented in D major, which is the basis

for Raag Bilaval,57 it is useful to know that in practice players practice the exercises in

many keys and apply them to the hundreds of other raags used in Hindustani music.

These exercises are essentially the basic scale book of Hindustani violin music, if one

adds a few hundred key signatures to the scale book. To assuage any Western musician’s

potential feelings of musical inadequacy, it bears mentioning that according to Walter

Kaufman, "Theoretically, [North] Indian music possesses thousands of raags.

Practically, however, only a few hundred are known. The average Indian musician may

probably know most of them, but experience has shown that some of the very famous

North Indian artists usually do not perform more than about a dozen raags each." 58

Shifting is one of the most fundamental aspects of performance, and perhaps the

single most important technique to learn if one is to successfully play the violin in the

Hindustani style. The above shifting exercises barely scratch the surface of the important

symbiosis that exists between Hindustani music and shifting on the violin. While these

shifting exercises may appear daunting at first to the western violinist, once they are

57Raag Bilaval is introduced by Ravi Shankar in My Music, My Life, as the equivalent of the western C major scale. Ms. Ramnath transposed this scale to start on D in my first lessons in order to better introduce the exercises to a western violinist. 58Kaufmann, 7. 50

mastered they can be directly applied in the context of actual compositions and improvisations.

Improvisatory Exercises

Hindustani music is closely tied with the concept of improvisation. Similar to jazz musicians practicing variations of the blues scale, improvisation in Hindustani music is learned through practicing permutations of the raag. Relative to western jazz improvisational styles, Hindustani improvisation equates more closely to a controlled freedom. Improvisations always stay within the raag and taal that is being performed.

To learn how to improvise, Hindustani musicians start with permutations of groups of two or three notes in the raag and work their way stepwise through the raag, transferring this variation to the other notes. From there the musicians expand the groupings to four- note permutations, five-note permutations, etc., until the musician has played all of the possible variations of note groupings in a raag. This study is done over a lifetime since adding to a grouping quickly multiplies the number improvisational possibilities. A permutation of 8 notes, taking into account the range of rhythmic and ornamental options, can produce over 40,000 possible improvisational variations. The exercises below are to be played at an even tempo with typical western scale fingerings. 51

permutation 1 Violin # œ œ œ œ œ œ # 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

permutation 2 Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

permutation 3

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ permutation 4 Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

© 52

2 permutation 5

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

permutation 6 Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

permutation 7 Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

permutation 8 Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ permutation 9

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

53

3

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ permutation 10

Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ permutation 11 Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ permutation 12 Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

permutation 13 Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

54

4 permutation 14

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ permutation 15

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

permutation 16

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ permutation 17

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

permutation 18

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

55

5

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ permutation 19

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

permutation 20 Vln. # œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ permutation 21

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ permutation 22

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vln. œ ## œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

56

6 permutation 23

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

permutation 24 Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ

Vln. # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

Musical Example 4.17 Improvisational Exercises with 4-Note Permutations

Once the musician has mastered all of these variations they can use different

combinations of these improvisations to create their own improvisations and use them in

performance. The bowings, tempo, rhythm, and fingering are just a few ways that a

violinist can choose to change and expand these improvisations.

Emulating the Voice

The desire for the violin to sound like the human voice is a goal shared by

Hindustani and western violinists. In Hindustani music the singing style of violin playing

is known as ghayaki ang. The desire to achieve a singing sound is so important to

Hindustani music that young musicians spend several years learning to sing before they 57

ever touch an instrument. Kala Ramnath took the concept of ghayaki ang so seriously that she spent 15 years as a disciple of the Mewati vocalist Pandit Jasraj in order to develop her style, earning the title “the singing violin.”59 The mechanisms for achieving this sound are very similar to the mechanisms that Ivan Galamian describes for western violinists:

In instrumental music, the relationship of the percussive elements to those of the purely singing sound is analogous to that of the consonants and vowels in speech and song. That consonants are essential for speech is shown by their omnipresence in every language. This same principle has to be transferred to instrumental music, where percussive sounds of a consonant character are often needed to give a clearer definition and form to the vowel sounds of the continuous tone. 60

In Hindustani music, the violin performs compositions that are normally sung, therefore the bowings, shifts, slides, and fingering choices are all determined by the lyrics of the bandish and the breaths and inflections that a vocalist would make.

59 "Kala Ramnath," accessed October 28, 2013, http://www.kalaramnath.com/bio/. 60 Ivan Galamian, Principles of Violin Playing and Teaching, (Englewood Cliffs, NJ: Prentice-Hall, 1962), 10. 58

V. TRANSCRIPTION OF A COMPOSITION AND IMPROVISATION IN RAAG YAMAN

Notating the Oral Tradition

Shanti Raval’s 2009 dissertation, The Adaptation of the Clarinet to Hindustani

Music: The Playing Style of Master Ebrahim discusses adapting a solo instrument to

Hindustani music. Raval addresses the challenges of transcribing an aural tradition like

Hindustani music into western notation, including whether to create a prescriptive or descriptive transcription and the problems inherent in both systems. Prescriptive transcriptions, generally intended to guide performers, do not usually give enough information and are generally only useful to the performer who knows something about the tradition. In contrast, descriptive transcriptions, created to capture every audible sound for analytic purposes, can become complex to the point of being almost unintelligible.61 I chose to create a hybrid of the two to serve performers desiring to learn to play Hindustani violin, and to deepen my own understanding of the tradition.

My full transcription of Kala Ramnath's performance of Raag Yamen appears in appendix A of this document.

Because I was taught to perform the piece that I transcribed, and had video of

Kala Ramnath performing the work, I did not have to employ the complete method mapped out by noted Polish-Swiss researcher Zymunt Estreicher, but I did use elements from his process.

61 Raval, 117. 59

His method is in three steps:

1. Listen to the whole performance and outline general sections 2. Listen at half-speed for details 3. Listen at regular speed for confirming rhythm62

Similar to the Estreicher method,63 I watched the video phrase by phrase. Then I played the phrase back, often at half or a quarter of the tempo, and transcribed that phrase informed by my performance of it. In the metered gat and jhala sections, I sketched out the taal and figured out the approximate place where the violin line fell against the beat of the taal, and then performed the sections in order to insert more precise rhythm and ornamentation.

Because slides and ornamentation on the violin are mostly informed by the fingering used, particularly in the Hindustani style, this transcription includes fingerings for every note in order to create a practical and readable transcription.

If a finger number is absent from a note, the previous fingering is to be used.

Slides are indicated by a dash between the notes. Slides between fingers are to be played in the fashion of the previous exercises (See Musical Examples 4.11 and

4.12). As is traditional with western violin Roman numerals indicate the string that the phrase is played on in the alap and gat sections. Roman numeral IV indicates the lowest D string and Roman numeral I indicates the highest A string.

62Ibid. 63 Zygmunt Estreicher, "Die Musik der Eskimos. Eine vergleichende Studie", Anthropos, 45, no. 4/6 (1950): 659-720. 60

In the jhala section there are no Roman numerals, instead the player should use traditional violin fingering in the lowest position possible.

Hindustani violin does not include the concept of positions on the fingerboard; however, most of Hindustani violin music generally stays in the range of 1st to 4th position. The fingerings and string indication should inform any shifts and position work. I used traditional bowing symbols, based on the bowings of the recording. Unless a retake with an up-bow or down-bow symbol is inserted, bowing is to be taken as indicated. It is important to note that

Hindustani violinists aim to mimic the human voice; therefore, the speed, sounding point, and weight of the bow should reflect this philosophy.

In the viva voce performance accompanying this document, I performed this version of Raag Yaman after transcribing it for violin. While I initially learned the raag in a more traditional oral setting, after transcribing it, I had a difficult time thinking of it as a set of improvisations, and instead found myself practicing it as a fixed composition like unaccompanied Bach or a concerto. I found that a western method of learning, in this particular work, made it more difficult to retain the intricate improvisations. I often found myself having to go back during practice session in order to relearn it orally and free myself from the grip of the sheet music. In my opinion the oral process is critical to the realization and improvisatory nature of this composition, however having only the music in front of you can lead to more exploration within the piece rather than creating a 61

rote copy of what Kala Ramnath played. The some self-motivation the music can act as a template instead of a crutch for the performer.

62

VI. CONCLUSION: COMPARING THE ART OF THE VIRTUOSO

The process of learning to play the violin in the Hindustani style taught me to use the whole range of my instrument. Having to learn a style of music that regularly incorporates microtones and a completely different system of tonality, tailored to a non- tempered instrument has greatly expanded my understanding and performance of intonation. It has taught me to listen to my instrument and my performance of it in new ways.

The experience of living with Kala for two weeks in the tguru (teacher)-shishya

(student) model, used in India, was an eye opening experience. In a traditional guru- shishya relationship, the student lives with their teacher. The student is expected to display total obedience and reverence to their teacher, often beginning students practice up to 15-hours a day, and are expected to do chores like cooking and laundry for their teacher.64 This system is becoming more rare even in India as modern lifestyles become more common. While I only helped Ms. Ramnath clean out a junk closet during my guru-shishya experience, I learned more in that two weeks of complete immersion about

Hindustani music than I had in all of my previous lessons combined. I not only learned about the violin, I learned about the food, the culture, the lifestyle of Hindustani musicians, career management, and teaching traditions of Hindustani culture. I spent many nights listening to Kala regale me with tales of travelling throughout India with her guru, Pandit Jasraj, over homemade chipati’s and tea. The bond that develops between a

64 Nettl, Bruno, Ruth M. Stone, James Porter, and Timothy Rice, The Garland Encyclopedia of World Music, New York: Garland Pub, 1998. 63

student and a teacher in a traditional teaching style is extremely close, and I think the constant interaction between the student and teacher pushes the student to work even harder than they do in a modern teaching style.

This journey has expanded my thoughts on shifting technique, beyond the techniques found in Whistler65 and Yost,66 and established the important link between aural acuity and muscle memory for consistency. It has also expanded my virtuosity when it comes to shifting on my instrument. After studying the Hindustani style, I am much more confident in the accuracy of my shifts in both the Hindustani and Western styles. I’m also more musically creative with fingerings in western music that are now less restricted by technical limitations.

Learning to improvise on the violin has also expanded my knowledge and confidence as a musician. This is not a skill that is generally taught to classically trained violinists, but is becoming increasingly important to learn in the ever changing landscape of what defines today’s typical music career. The spontanaity inherent in improvised music became a transformative musical and academic experience for me as I developed this document and lecture recital. Studying any improvisational style, one of which is the

Hindustani style, can be a useful tool for any violinist.

Many musicians struggle to achieve performances that are spontaneous; instead they depend on their hours of practice, and as soon as they step on stage they find themselves on autopilot. Instead of engaging with the performance in the moment, less

65 Harvey Whistler, Introducing The Positions-- for violin, Chicago: Rubank, 1947. 66 Gaylord Yost, The Yost System for Violin: "The Key to the Mastery of the Finger-Board", Boston: Boston Music Co, 1934. 64

experienced (and some very experienced) performers often catch themselves thinking about the difficult passage ahead, or where they’re going to go for dinner that night.

Authors like Barry Green67 and Eloise Ristad68 have written extensively on how to abate performance anxiety and achieve this artistic spontanaity in music performance, often referred to as a state of flow. I have found through studying and performing Hindustani muic that the improvisatory style and requirement of spontaniety from the performer are significant in achieving a state of flow in any performance.

This study offers previously unavailable information regarding the performance of the violin in Hindustani music and provides material to guide western violinists interested in learning the techniques of playing. This study uses a research framework of bimusicality, the idea that a researcher should learn the style of music that they are researching, instead of acting as a strict observer. This approach, first developed by

Mantle Hood, enables the researcher to study the music from the inside and experience its aesthetic, technical, and conceptual challenges.69 The existing body of information on the use of violin in Carnatic music is of limited use for learning Hindustani performance technique. The Hindustani violin is used as a solo instrument, meant to replace the vocalist, while the Carnatic violin is generally used as an accompanying instrument. The

"showier" position of the violin in Hindustani music, as opposed to Carnatic music,

67 Barry Green, The Inner Game of Music, New York: Anchor Press/Doubleday, 1986.

68 Eloise Ristad, A Soprano on Her Head: Right-Side-Up Reflections on Life and Other Performances, Moab, Utah: Real People Press, 1982. 69 Mantle Hood, “The Challenge of Bi-Musicality,” Ethnomusicology, 4(2)(1960): 55-59. 65

demands greater virtuosity of the soloist as well as the violinist in the ensemble performance. My experience learning this tradition has taught me that the Hindustani violin offers western violinists a new perspective on the violin. It develops sensitivity towards creative approaches to the instrument and enriches the violinist’s ability to perform with greater flexibility and virtuosity.

66

APPENDIX A. TRANSCRIPTION OF COMPOSITION AND IMPROVISATION IN RAAG YAMAN

Raag Yaman Kala Ramnath Arr. Callie Hutchison ALAP III ! ! Violin 1 2 1 3 2 3 & 1 œ œ w œ œ œ œ œ œ w

! Vln. # # 1 3 2 1 3 2 ! 2 # 1 1 0 & œ œ œ œ œ œ œ w œ œ w III IV! Vln. # # 3 & # 3 2 2 œ œ œ œ œ œ w œ œ w

Vln. # # ! & # 1 3 2 2 1 3 2 œ œ œ œ w œ œ œ œ w

II

Vln. # ! 3 2 !3 2 ## 1 3 2 1 & œ œ œ œ œ œ w œ œ œ w

III

3 2 1 3 Vln. # # 2 2 2 # 1 & œ œ w œ w œ œ œ œ œ œ œ œ œ œ œ

II 3 2 2 3 3 2 Vln. # # ! 1 1 2 & # 2 œ œ œ œ œ œ w œ œ Œ œ œ œ œ w III II 3 ( ) Vln. # # ! 1 2 1 " # 2 œ œ 0 & œ œ œ œ œ œ œ w œ œ w

©

67

Raag Yaman Composition and Improvisations

GAT II 2 2 3 3 1 1 2 1 2 1 ! 0 Violin # # r j # 16 „ œ œ œ œ œ œœœ & 4 œ œ œ œ œ œ œ

2 3 3 2 2 1 2 2 2 33 1 2 1 2 1 0 Vln. # # r j # œ œ œ œ œ œ œ œ œ œœ & ˙. œ œ œ œ œ œ œ œ œ œ

3 3 3 3 2 2 2 2 2 2 2 1 Vln. # # # œ & ˙. œ œ œ œ œ ˙ œ œ œ œ œ œ œ

III II 4 3 2 3 3 2 2 2 2 2 1 2 1 3 2 Vln. # # & # œ œœœ œ ˙ œ œ œ œ œ œ œ œœ œ œœ. œ œ œ œœœ œ œ III II 5 2 2 2 3 3 2 33 1 1 2 1 2 1 2 1 3 2 0 Vln. # # r j & # œ œœœ œ œœ œ œ œ œ œ œœ œ œ œœ œ œœ. œ œ œ œœœ œ œ œ œ œ œ

6 3 3 2 2 2 2 2 3 3 1 1 2 1 2 1 0 Vln. # # r j # œ œ œ œ œ œ œ œ œ œœ & ˙. œ œ œ œ œ œ œ œ œ œ

III II 7 3 2 1 2 2 2 1 2 1 2 1 0 0 Vln. # 3#3 2 # j œœ œ j & œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ ˙ œ. œ ˙ III 8 2 2 3 3 1 1 2 1 2 1 3 2 1 1 0 2 2 3 3 2 Vln. # # r j # œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ œ œ

©

68

9 2 2 3 3 2 1 2 1 1 1 3 2 Vln. # # 1 2 & # œ œ œ œ œ œ œ œ ˙ œ œœœ œ œ œ œ œ œ œ œ œ œ II 10 3 2 2 2 3 2 3 1 1 2 1 2 1 2 3 2 1 0 1 Vln. # # r j & # œ œœ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œœ œœœ œœœ ˙ œ œ œ

11 III 3 2 2 3 2 3 2 1 Vln. ### & œ œ ˙ œ œ œ ˙ ˙ œ œ ˙ ˙ œ œ œ œ

12 II III 1 2 1 3 2 3 3 2 3 2 2 1 3 2 2 2 Vln. # # 2 3 # j & œ ˙ œ œ œœ˙. œ œ. œ œ œ œ. œœ œ œ œ II 13 2 2 3 2 1 2 2 2 2 2 2 2 1 1 3 2 1 0 Vln. # # & # j ˙ œ œ œ œ j œ. œ œ. œœ œ œ œ œ œ œ. œ ˙

14 3 2 2 3 1 1 2 1 2 1 1 2 2 1 2 3 1 0 2 Vln. # r # œ j j j & # œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ. œ œ œ. œ œ III II 15 2 2 2 2 3 2 3 1 2 1 2 1 2 3 2 3 1 2 2 1 1 2 Vln. # # j & # œ œ œ œ œœ œ œœœœ œ œœ œ œ œ œœœ œ œ œ œ œ œ œ œ œ

16 2 2 12 2 2 2 3 3 1 2 1 2 1 III2 II1 1 1 0 0 Vln. # # r j # œ œ œ œ œ œ œ œ œœ & œ œ œ œœ œ œ œ. œœ œ œ œ œ œ œ œ œ œ œ

17 2 1 III 2 2 1 2 12 1 2 Vln. # # 1 # œœ 0 & œ œ œ ˙ œ œ œ œœœ j œ. œ w.

69

II 1 18 3 2 2 3 2 2 1 1 1 1 2 1 3 3 3 Vln. # # j # j œ ˙ œ ˙ œ œ œ œ œ œ & œ œ œ œ œ œ œ J J J

19 3 2 1 2 2 2 1 2 1 2 1 2 Vln. # # # œœœ œ j j & œ œ œ œ J ˙ œ œ œ. œ œœœ œ œœœ œ œ œ œ œ œ III II II 20 2321 2 2 1 3 1 2 1 III 1 2 1 0 1 0 2 Vln. # # & # œ j j j œ œ œ. œ œœœœ œ œ. œ ˙ œ œ œ. œ ˙

21 III II 2 2 1 2 1 0 3 3 1 1 2 1 2 1 2 0 Vln. # # r j # j œ œ œ œ œ œ œœ & œ œ œ. œ w œ œ œ œ œ œ œ I II 3 3 2 22 2 2 2 3 2 3 2 3 2 3 2 1 Vln. # # # œ œ œ œ œ œ œ œ œ œ. œ j & ˙. œ œ œ J œ. œ

23 0 1 III II1 2 3 I 3 2 2 1 2 1 2 1 2 1 Vln. # # œ œ & # œ œ œ œ. œ œ œ œ ˙ œ. œ œ œ œ J R J II I 24 2 2 3 3 2 3 2 3 2 3 1 2 j1 2 j1 2 1 Vln. # # œ œ # œ œ œ œ œ œ œ œ. œ œ. œ œ œ œ œ œ œ œ. & œ J J J

25 2 3 2 1 2 1 2 j1 2 Vln. # # œ # œ œ œ œ ˙ œ œ. œ œ œ œ œ œ œ œ œ œ & J J J II 26 0 II 2 3 3 2 2 1 1 0 0 1 Vln. # # œ œ œ ˙ ˙ 2 & # œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ

70

27 I 0 3 3 3 2 1 2 1 Vln. # # œ œ œ œ œ œ œ œ œ œœ & # œœœœ œ œ œ œ œ œ œ œ œ ˙.

II I 28 2 3 2 0 3 3 3 2 1 2 1 Vln. # # œ œ œ œ œ œ œœ & # œ œœœ œ œ œ œ œ œ œ œ œ ˙.

29 3 2 3 3 2 3 2 3 2 1 3 2 1 1 2 1 2 1 1 2 Vln. # # œ œ œ œ œ œ œ œ œ œœœ œ œœ œ œ. œœ & # œ œ œ œ œ œ œ œ œ œ œ

30 II2 3 2 I 3 2 1 2 3 2 1 3 3 2 Vln. # # œ. œœ œ œ œ œ. œœ œ œ œ œ œ œ & # œ œ œ œœœ œ œ

II 31 0 2 1 2 3 2 1 3 2 1 2 1 0 Vln. # # œ # œ œ œ œ œ œ œ œ ˙ œ j & . œ œ œ œ œ. œ œ II 32 2 2III 3 3 2 1 2 3 2 1 2 1 3 2 0 Vln. # # & # œ œœœ œ œ œ œ j œ œœ œ œœ. œ œ œ œœœ œ œ œ. œ œ III II 33 2 2 2 3 3 2 3 3 1 1 2 1 2 1 2 1 3 2 0 Vln. # # r j & # œ œœœ œ œœ œ œ œ œ œ œœ œ œ œœ œ œœ. œ œ œ œœœ œ œ œ œ œ

34 3 3 2 2 2 2 2 3 3 1 1 2 1 2 1 0 Vln. # # r j # œ œ œ œ œ œ œ œ œ œœ & ˙. œ œ œ œ œ œ œ œ œ JHALA 35 0 1 0 2 2 3 2 3 3 1 1 2 1 2 1 1 0 0 Vln. # # r j 2 # œ œ œ œ œ œ œ œ œ œœ & œ œ œ œ œ œ œ œ œ œ œ w

71

2 45 3 3 2 1 2 2 2 3 3 1 2 1 2 1 0 Vln. # # r j # œ œ œ œ œ œ & ˙. œ œ œ œ œ œ œ œ œ œ œ œ œ œ

46 1 3 1 0 3 0 2 3 2 2 3 3 2 3 3 2 1 3 2 3 2 1 1 1 2 2 1 2 2 1 1 2 Vln. # # œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

47 0 0 1 0 2 2 2 3 2 1 3 3 2 33 1 1 2 1 2 2 1 2 1 1 0 0 Vln. # 2 r # œ œ œ œ œ j & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ

48 0 3 1 0 1 2 2 2 3 2 3 3 2 3 1 1 0 0 1 1 0 1 2 1 2 2 2 1 Vln. # # 2 2 1 2 œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

49 3 1 0 0 2 3 3 2 1 3 2 2 2 2 2 2 1 1 2 2 1 2 2 1 2 2 1 Vln. # # œ œ œ œ œ œ 1 1 1 & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

50 3 3 2 2 2 2 2 33 1 1 2 1 2 0 Vln. # # r j # œ œ œ œ œ œ œ œ œ œ œ & ˙. œ œ œ œ œ œ œ œ œ

51 3 3 3 2 2 2 2 2 2 2 1 Vln. # ## œ & ˙. œ œ œ œ œ ˙ œ œ œ œ œ œ œ

52 2 2 2 3 2 3 2 33 1 1 2 1 2 1 1 3 2 0 Vln. # # r j & # œ œœœ œ œœ œ œ œ œ œ œœ œ œ œœ œ œœ. œ œ œ œœœ œ œ œ œ œ

53 3 3 2 3 2 2 2 2 3 3 Vln. # ## œ œ œ œ œ œœ & ˙. œ œ œ œ œ œ œœœ œ

72

2 54 0 3 2 3 3 3 2 1 2 1 Vln. # # œ & # œ œ œ œ œ œ œ œ ˙. œ œ œ œ œ œ œ œ œ œ

55 1 0 3 1 2 3 2 2 3 2 1 3 2 3 3 2 2 1 2 2 Vln. # # œ œ œ œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ

56 2 3 2 2 3 2 2 3 3 2 1 3 2 2 1 2 Vln. # # œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ & J J œ

57 3 1 3 1 3 1 2 3 2 1 2 3 2 3 3 2 2 1 1 2 2 1 2 1 2 2 1 2 2 2 Vln. # # œ 1 2 œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

58 1 0 3 1 1 0 1 0 3 2 2 3 2 1 2 3 2 3 3 3 1 2 2 2 1 2 2 2 1 2 2 Vln. ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

59 0 2 3 3 3 2 3 3 3 1 2 2 1 2 2 3 2 1 2 1 Vln. # # œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.

2 60 3 2 0 3 3 3 2 1 2 1 Vln. # # œ œ & # œ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.

2 61 3 2 0 3 3 3 2 1 2 1 Vln. # # œ œ œ œ œ œ œœ & # œ œœœ œ œ œ œ œ œ œ œ œ ˙.

2 62 3 2 0 3 3 3 2 1 3 3 2 2 2 2 2 1 2 1 1 Vln. ### œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œœœ œ œ œ œ œ œ œ

73

63 3 1 0 1 0 0 2 3 2 3 2 1 3 2 3 3 3 0 2 2 1 0 1 0 1 2 2 1 2 Vln. # # 2 œ œ œ 2 0 œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

64 3 0 0 3 0 3 2 3 3 2 1 3 3 2 3 2 3 2 3 3 3 2 2 2 1 1 0 1 1 2 2 Vln. # # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ

65 0 2 3 3 3 2 3 3 3 1 2 2 1 2 2 3 2 1 2 1 Vln. # # œ œ œ œ œ œ œ & # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙.

66 0 3 2 2 2 1 2 3 2 3 2 0 1 3 2 Vln. # # # œ j œ œ & œ œ œ œ œ. œ œ œ œœœœ œ œ œœ. œ œ œ œœœ

67 0 3 2 2 2 1 2 3 2 3 2 0 1 3 2 Vln. # # & # œ œ œ j œ œœœ œ œ œ œ. œ œ œ œœ œ œœ. œ œ œ œœœ

68 2 2 3 3 33 1 1 2 1 2 1 2 2 2 0 Vln. # # r j # œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ ˙. œ œ œ œ œ

69 2 2 3 3 33 1 1 2 1 2 1 2 2 2 0 Vln. # # r j # œ œ œ œ œ œ œœ œ œ œ & œ œ œ œ œ œ œ ˙. œ œ

70 2 2 33 1 1 2 1 2 1 2 2 1 2 1 0 3 2 3 3 2 3 Vln. # # r j & # œœ œ œ œ œ œ œœ œ œ œ œ œ œ ˙ œœœ œ œ œ œœœ œ A 71 3 1 2 1 2 1 0 ( ) Vln. # # " ! # œ œ j & œ . œ œ œ œ œ. œ œ W

Musical Example 5.1 Composition and Improvisation in Raag Yaman 74

APPENDIX B. VIVA VOCE RECITAL PROGRAM

CALLIE HUTCHISON CALLIE HUTCHISON Doctoral Lecture Recital Doctoral Lecture Recital March 13, 2014 March 13, 2014 Library, Little Chapel of All Nations Library, Little Chapel of All Nations 1052 N. Highland Ave, Tucson, Arizona 85719 1052 N. Highland Ave, Tucson, Arizona 85719

Lecture Lecture Introduction to Hindustani Violin Technique Introduction to Hindustani Violin Technique

I. The Value of Hindustani Violin Performance I. The Value of Hindustani Violin Performance II. The Violin and Its Antecedents in India II. The Violin and Its Antecedents in India III. Hindustandi Music Theory and Terms III. Hindustandi Music Theory and Terms a. Raag l. Raag b. Svara m. Svara c. Shruti n. Shruti d. Rasa o. Rasa e. Taal p. Taal f. Teentaal q. Teentaal g. Alap r. Alap h. Gat s. Gat i. Jhala t. Jhala j. Bandish u. Bandish k. Improvisation v. Improvisation IV. Hindustani Violin Setup IV. Hindustani Violin Setup V. Beginning and Intermediate Exercises V. oBeginning and Intermediate Exercises VI. Creating a Full Performance of a Raga VI. Creating a Full Performance of a Raga VII. Notating the Oral Tradition (Author’s Transcription VII. Notating the Oral Tradition (Author’s Transcription of Rag Yaman) of Rag Yaman)

Musical Performance Musical Performance

Rag Yaman………………………………..Kala Ramnath (b. 1967) Rag Yaman………………………………..Kala Ramnath (b. 1967)

Ms. Hutchison is a student of Dr. Janet Sturman. She studied Ms. Hutchison is a student of Dr. Janet Sturman. She studied violin with Professor Mark Rush. This recital is presented in violin with Professor Mark Rush. This recital is presented in partial fulfillment of the Doctor of Musical Arts. partial fulfillment of the Doctor of Musical Arts.

Figure 5.1 Viva Voce Recital Program 75

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Yost, Gaylord. The Yost System for Violin: "The Key to the Mastery of the Finger- Board". Boston: Boston Music Co, 1934.