Voice: Of the innumerable instruments developed by man, very few can match the human voice. Carnatic music gives pride of place to vocal music, and melody instruments try to approximate vocal standards.
A key factor that has contributed to this is the importance of lyrics and the vocal proficiency of many composers, which led them to compose in a ‘vocal-style’. This of course does not mean that not a single composer was proficient in any instrument. In fact, even instrumentalists among composers were well versed in vocal music, and chose to create music that was amenable to both vocal and instrumental renditions.
Even today, a student interested in a career in instrumental music is advised to learn to sing first and then repeat the music on the instrument. The voice is the best medium to negotiate the minute nuances and graces that Carnatic music demands, and I ndian listeners revel in a vocal concert, especially if they know i he language of the song.
The range of the vocalists is between 2-1/2 & 3-1/2 octaves. High calibre vocalists have an enviable command over dynamics, which they use instinctively. The basic pitch of most male vocalists is C to D# and the female vocalists prefer F# to A. Their speed ranges from slow to super fast. Some are capable of the super-slow as well. Since there are many types of voices and styles, even the same piece of music can sound different when rendered by different artistes.
Instruments : Though vocal music is popular among those who are sufficiently habituated to Carnatic music, the uninitiated listener generally gravitates to instrumental music. The system makes use of stringed, wind and percussion instruments of many types. Of late, electronic instruments have made reasonable inroads into the system. Here are a few prominent instruments in use today.
Stringed : The strings are activated either by plucking or by using the bow. In certain instruments like the guitar, a plectrum is used to strum the strings.
i. Veena : The veena is a widely used, 24-fretted lute-type instrument with seven strings, which evolved to its present state around 400 years ago. The playing
technique, especially on the left hand side, is comparable to that of the sitar or the guitar. The instrument is held in a slightly oblique position, and the strings are plucked with the fingers of the right hand, while the fingers of the left hand press them between the frets to produce notes. Sometimes, the strings are also deflected with the left hand to produce graces, like oscillations. The timbre is pleasantly mellow and warm. The usual basic pitch is D# or E and the range is 3-1/2 octaves.
ii. Chitravina : The chitravina (also spelled chitraveena) is considered by many experts in world music to be the oldest slide instrument in the world. It is an exquisite, fretless instrument, capable of producing a smooth singing tone and intricate nuances, as also exciting dynamics and tonal variations. With a span of about 5-1/2 octaves, the chitravina is second only to the piano in world music, as far as range is concerned. This has contributed to its success in both traditional Carnatic and contemporary world music.
The playing technique is akin to that of the Hawaiian guitar. The fingers on the right hand activate the strings and the palm and fingers of the left hand glide a cylindrical piece of ebony or teflon over them. The chitravina has 21 strings – six above, three for rhythm and drone, besides a set of 12 sympathetic strings tuned to resonate automatically when the strings above are used. The timbre of the instrument is especially impressive. The lower ranges are grand and warm, the higher ones are bright and sharp. The instrument sounds best when its basic pitch is tuned to G or G#. The instrument has also been referred to as gotuvctdyam.
iii. Tanpura : Tanpura is a four or five-stringed drone, tuned to the tonic note and its fifth. It is plucked throughout the concert, serving as a reference point for artistes, and enabling them to render all the other notes in their correct relative positions. High-quality electronic versions of the tanpura are gaining greater acceptance now due to their portability, flexibility in pitch, volume and tone, and also because they eliminate dependence on a human player during practice or performance.
Stringed instruments in Carnatic music also include those adopted from other cultures, like the violin, viola, guitar and mandolin. The violin and the viola are, however, tuned to the tonic note and its fifth, in two octaves, and not as in Western music. The artistes’ posture and playing techniques have also been modified to suit the requirements of the system. The violin is among the most widely used instruments, both as a main instrument and as an accompaniment.
Wind: The bamboo flute and the slightly bigger nadaswaram (a double reed instrument like the Oboe and Shehnai) have been in use for many centuries, while the clarinet and saxophone have found a place in Carnatic music in recent times.
Keyboard Instruments : Dedicated artistes have bravely tried the harmonium and electronic organ, which are not capable of producing minute graces. Their being tuned to the tempered scale (notes slightly flattened or sharpened from their natural centres for the sake of harmony) acts as a deterrent to the sensitive listener. But it must be mentioned that with the pitch-bending wheel, the scope of the electronic organ has improved appreciably.
Percussion : Carnatic music uses both idiophones (instruments whose bodies vibrate to produce sound) and membrophones (those that depend on a vibrating membrane).
Mrdangam, the double-headed drum, is considered by many to be the king of percussion. It can produce tones of definite pitch and can be tuned by nearly two full tones. Ghatam, which is just a special type of clay pot, has endeared itself to listeners all over the world. Kanjira, which also occupies a distinct position, is essentially similar to the tambourine -only the palm and fingers of one hand are used to produce breath-taking rhythmic variations at amazing speeds. Tavil, the standard accompaniment for the nadaswaram, is a very bright instrument in terms of volume and timbre. Instruments like the tabla, morsing, dholak and gettuvadyam are also employed occasionally in concerts.
Function of Instruments in concerts : Percussion instruments are used as accompaniments, while the violin enjoys both the lead and accompanying roles. The others are lead instruments, though they may don the role of an accompanist on occasion.
Role of a Melodic Accompanist : This is generally dependent on the requirements of the main artiste. Some artistes may prefer the accompanist to repeat at least a part of their music, especially during alapana and tanam. Others may require the accompanist to just provide a background of long, sustained notes. Thus, it is quite possible for a listener to see the same accompanist using different approaches while accompanying different artistes.
During melo-rhythmic improvisation like neraval and kalpana swaras, the accompanist provides appropriate responses and an interactive atmosphere is built up. The most important function of the melodic accompanist, however, is to ensure that the creative impulses of the lead artiste are not sidetracked but enhanced. During compositions, the accompanist may either ‘double’ the main artiste or (if not very familiar with the song or the style of the leader) just ‘shadow’ along. The concert format provides adequate opportunities for both the lead and the accompanying artistes to display their talent in full.
Role of a Rhythmic Accompanist : Besides the obvious one of maintaining the basic rhythmic cycle and speed, the Carnatic percussionist plays an active role in making the concert livelier, by playing contrasting, configurative rhythmic patterns, either in the speed of the composition, or at speeds and gaits complementary to it. During the rhythmic interlude (tani avartanam), the limelight is on the percussionist, and the main artiste keeps time as rapturous rhythmic patterns are played.
APPRECIATING VOICE AND INSTRUMENTS
Tastes and preferences vary from person to person, and a preference for one over the other is inevitable. But it is important to remember that each instrument has its own allure, though it may take longer for one to take to certain instruments.