Posts Tagged gamaka

Panchadasa Gamakas

Gamakas – Ornamentation of Carnatic Music

Gamakas are one of the primary/essential aspects of Manodharma Sangita which has 22 microtones or srutis. Every Raga has to be necessarily rendered with the appropriate Gamakas for the swaras, since swara is not a discrete note, but a scale degree and all its associated melodic movement, or Gamaka. Specific types of Gamakas depend on the manner of quivering or shaking, inter-swara transitory phrases and swara overtones.

Gamaka is much more than an ornament to Carnatic Music. It is a fundamental element of a raga. Gamaka provides motion and life to a swara and animates it.

“The moment a gamaka clothes the Swarasthana [note position in the octave], the latter is quickened into life. For the gamaka builds up a relationship with neighbouring members of the family [of swaras] to the right and to the left”.

(Ayyangar 1972:148)

The classic treatise on Indian music, “Sangita Ratnakara” defines fifteen variants of Gamakas

Panchadasa Gamakas – 15 Gamakas mentioned by Sārangadeva in Sangita Ratnakara

स्वरस्य कम्पो गमकः श्रोतृचित्तसुखावहः |
तस्य भेदास्तु तिरिपः स्फ़ुरितः कम्पितस्तथः ||
लीन आन्दोलित वलि त्रिभिन्न कुरुलाहताः |
उल्लासितः प्लावितस्च गुम्फ़ितो मुद्रितस्तथा ||
नामितो मिश्रितः पञ्चदशेति परिकीर्तिताः |

A short description of the 15 gamakas:

Tiripa Playing one of the notes of a phrase with some stress
Sphurita A janta swara phrase wherein the lower note in between each janta swara group is faintly heard. The second note of each janta is stressed
Kampita A shake. When one oscillates between two swaras while holding a particular swara, a kampita is achieved
Līna Merging of a note softly into another note
Andolita A free swinging. Holding on a note for some time and then pulling the string or gliding on it so as to reveal a higher note
Vaļi Producing the chhāyā of two or three notes from the same swarasthāna by deflecting the string in a circling manner (only in fretted instruments)
Tribhinna Produced by placing the left-hand fingers on a swarasthāna so that the fingers are in contact with three strings, and then by plucking the three strings with the right hand fingers either simultaneously or successively (only in fretted instruments)
Kurula This is the production from a swarasthāna, of the note of another sthāna with force
Ᾱhata Sounding a note and then producing another note without a separate stroke (only in vina)
Ullasita Jāru or glide

  • Etra jāru (ascending)
  • Irakka jāru (descending)

Starting on a note and reaching a different (higher or lower) note by gliding over the intermediate notes

Plāvita This is a variety of Kampita
Gumpita Belongs to vocal music. The tone is slender at the start and goes on increasing in both volume and pitch
Mudrita Belongs to vocal music. Produced by closing the mouth and singing
Nāmita Belongs to vocal music. Singing in a slender tone
Misrita Mixture of two or three of the other varieties
  • Violin Techniques in Western and South Indian Carnatic Music - Dr. M. Lalitha
  • Gamaka or graces of Music - Sri Parameswara Bhagavatar
  • Ornamentation in South Indian Classical Music - GordonSwift
  • Gamaka and Vadanabedha - Ranganayaki Veeraswami
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Articulation, Vibrato and Gamakas on Violin

Violin - a primary accompanying instrument in Carnatic Music

Violin - a primary accompanying instrument in Carnatic Music

Articulation refers to the different bowing gestures on the violin. In the middle of a long, sustained note, each vibration of the violin string is nearly identical to the one that preceded it. The violin is said to be in a steady state. Of greater importance are differences in violin sounds coming from the transients: the short lived effects at the beginning and end of each note. These are achieved by different articulations or bowing styles.

In western terminologies, some common articulation techniques include:
  • Col legno
[col legno battuto] – is an instruction to strike the string with the stick of the bow, rather than by drawing the hair of the bow across the strings
  • Collé
The lower part of the bow (which can exert more force) strikes the string rapidly. The sound builds up rapidly at the start of each note, and then slows smoothly.
  • Pizzicato
Playing technique that involves plucking the strings of a string instrument, rather than using the bow. The sound is short and percussive, rather than being sustained.
  • Spiccato
The bow is held a short distance above the string and allowed to bounce, resulting in a series of short, distinct notes.
  • Sul ponticello
An indication to bow (or sometimes to pluck) very near to the bridge, producing a glassy sound, which emphasizes the higher harmonics at the expense of the fundamental.
  • Sul tasto
An indication to bow (or sometimes to pluck) over the fingerboard; the opposite of sul ponticello. Playing over the fingerboard produces a warmer, gentler tone.
  • Tremolo
A rapid repetition of the same note or an alternation between two or more performed with the bow by rapidly moving the bow while the arm is tense.
  • Glissando
It is a glide from one pitch to another.

The regular rocking backwards and forwards of the finger on the left hand that stops the string changes the length of the string (and also, slightly, the tension). This causes a cyclical variation in pitch, producing a vibrato.

In its truest sense, every technique mentioned above has been used by violinists in Carnatic music. But of utmost importance is the glissando. It is the glissando that produces the gamakas. Continuous glissando [portamento] is the technique of gliding over a substantial range, and is possible only in unfretted instruments like the violin and stringed instruments with a way of stretching the strings, such as the veena and the sitar.

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