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Cross Fingering Technique - An In-Depth Analysis of the Revolutionary Technique No part of this presentation, either wholly or partially be used as references without the mention of the Vamshidwani institution !or the propa"ation and promotion of the arts, conditional ri"hts will be "iven upon written requests All ri"hts reserved
Pre-requisites
To To complete reading of the following lectures
Introduction to Carnatic Music
Introduction to Carnatic Flute Th The above pre-requisites must be fulfilled in order to understand some some of the the technical technical terms in this presentation presentation as well as to interpret the practical nature of this presentation with ease
Objectives
To introduce commonly used techniques in flute playing To understand the origin of the cross fingering technique in Carnatic flute playing To appreciate the contribution & importance of cross fingering in Carnatic flute playing To highlight the importance of Nadeswaram music in Carnatic music
Synopsis
Earlier Fingering Systems Nageswaram Tradition
Cross Fingering Technique
Earlier Fingering Systems 1. Introduction . Three!Finger System ". #arallel Fingering
Introduction
The earliest music flutes in Indian music did not possess a sophisticated fingering system li$e today due to se%eral reasons Limited understanding of musical notes
Differing fingering styles based on preference
nregulated design of flute ! no standard design
Three-Finger System
This method is one of the earliest traditions in Tamil music. It was among the first accepted techniques in South Indian flute playing "etter #nown as the Mundru $iral %adha#am& this technique allowed the flautist to reach up to the thara sthayi dhaivatha& off-setting the tonic note by one note'
Its tonic position for Shadjam is the current Kaiski Nishada position ( the Panchama is the current Suddha Madhyama position' "y transposing& the rest of the notes can be played in this order'
Three-Finger System
Some of its notable contributions to the e%olution of Carnatic flute playing are )dvocating the use of transposed fingering which lasted till the introduction of the cross-fingering technique by *Flute Mali*
+pening the avenue of playing semitone notes by its own limitations& leading to its eventual disuse'
Parallel Fingering
Introduced by the blind flute prodigy' Sharaba Shastri' it became the first accepted standard in performance flute music It involved playing the notes in a staccato manner
Covered the full range of notes in Carnatic music
Classical compositions could be played cleanly on the flute without much difficulty
Parallel Fingering
Some of its notable contributions to the e%olution of Carnatic flute playing are It is the first time tested technique of serious flute playing& giving the competent flautist the status of a soloist
+pening the avenue of playing the gamakas ,oining slides between notes. semitone notes by its own limitations& leading to it losing popularity today
)lso #nown as the Nadeswaram, this instrument is arguably the world*s loudest non-brass aerophone Its made of a central wood body& carved out from a solid tree trun# with a metal slot at the top for reed placement ( a large flaring bell-shaped piece at the opposite end The body tapers from the smallest point at the blowing point to the largest point at the end Its /orth Indian equivalent is the Shenai & a shorter instrument
Introduction
Designed li#e the flute& it consists of 0 holes with 1 additional holes at the bottom side of the central body Its range is about two ( a half octaves& which is the range of the human voice Modulations between notes are made by controlling the amount of air pressure blown in the instrument as the fingering is highly comple2 ( challenging to master Its sheer si3e ( loud volume calls for great stamina ( respiratory strength on the part of the performing artiste
Signi"icance
+riginally used in fol# music ( later on in Carnatic music& the instrument achieved prominence as an auspicious instrument because of its rich timbre volume ( resonating sound In the past& temple processions in %outh India are accompanied by nadeswaram music during the opening time of the temple of each day The full gamut of the ragas* characters are revealed in this sacred music ( till today& the world of raga alapana is ruled by nadeswaram artistes
Signi"icance
%o great is the e2position of the raga& that great stalwarts of yesteryears would wa#e up early before dawn to listen to the nadeswaram artistes in the temple processions Nadeswaram artistes themselves are highly regarded ( remunerated for their mastery of the challenging instrument "oth connoisseur ( laymen floc#ed readily to listen to great nadeswaram artistes ( their performances' +n the hand& vocal music at that time was at its infancy as a public performance ( had a very selective audience
Playing #ethod
4hile the now-popular cross-fingering method is used in the flute& its origins undoubtedly came from the nadeswaram which aptly produced the vocal nuances of the human voice e2tremely well 4hile partial opening ( closing of the holes are used e2tensively in the Carnatic flute& the nadeswaram has finger wor# using the 1 additional holes is different while the sha#ing of the notes to produce gamakas are used in the flute ( the nadeswaram This method of gamaka production was later used by Flute Mali to great success on the flute& with some changes
In"luence on Carnatic #usic
)t the dawn of the 56 th century& the era of performing music called for new methods for presenting the art to the public as opposed to the limited audience of royal patrons of the past century Nadeswaram music itself became the answer& with the step-by-step delineation of a raga to the clima2 of sweeping brighas appealed to one ( all' The compositions remained crisp ( alluring with a madhyama kala tempo generally 7articularly all the great titans& including %emmangudi %rinvasa Iyer& M' %' %ubbula#shmi ( 8'/'" professed the influenced of nadeswaram music in their renditions
In"luence on Carnatic #usic
7robably& the greatest phenomenon in nadeswaram music is the legendary T' /' 9aarathnam 7illai& a celebrated genius of the instrument as well as a competent vocalist ,he was a disciple of Thiru##odi#aval :rishna Iyer. ;is renditions influenced many great stalwarts to adopt his approach' Flute Mali ( T'/'9 shared a special friendship& ( often practiced together e2changing musical #nowledge In the vocal arena& %emmangudi Iyer& among the many greats& adopted T'/'9*s performing approach significantly' 8'/'" completely assimilated the technique almost singing li#e a nadeswaram performance with his 8od-given voice
In"luence on Carnatic #usic
/eedless to mention& the trio< %emmangudi %rinivasa Iyer& M' %' %ubbula#shmi ( 8'/'" perpetually left an indelible influence in the performing era of Carnatic music The many disciples of %emmangudi %rinvasa Iyer ( 8' /' "alasubramaniam have over the years modified ( refined their gurus* techniques to suit the new-age audience while retaining the core techniques of their gurus )lthough nadeswaram musicians once numbered in the hundreds because of the music*s appeal& today& their numbers dwindle ( rising stars li#e the Inu##udi brothers ( %embanar#ovil brothers are #eeping this art alive
In simple terms& cross-fingering is a method where air is allowed through a finger hole,s. left open between closed finger holes In cross-fingering technique& semitones ,sharp ( flat notes. ( quarter-tones ,altered sharp ( flat notes for sruthi specific playing. can be played appropriately %emitones can be played alternately with different fingering
E$planation
The production of semitones of some notes will be discussed )ssuming suddha rishaba ,9?. is played with ?& @& A& 1& B& ( 0 finger-holes closed& it will be the same as playing ?st finger-hole closed ( the 5 nd partially closed 7laying suddha dhaivatha ,D?. with ? ! A& B ( 0 fingerholes closed& leaving the 1 th finger-hole open& will yield the same note as playing ? ! A finger-holes closed ( leaving the 1th partially opened
E$planation
The production of semitones+ janta svaras will be discussed 7laying 9? with cross-fingering as discussed earlier& will yield a double note< 9& 9& when the 5 nd finger-hole is tapped ( released' In conventional play& 9& 9& is obtained by sliding the finger to % position ( bac#< 9?& %& 9? 7laying D? with cross-fingering as discussed earlier& will yield a double note< D& D& when the 1 th finger-hole is tapped ( released' In conventional play& D& D& is obtained by sliding the finger to % position ( bac#< D?& 7& D?
E$planation
The production of quarter!tones will be discussed uarter-tones are produced by altering the e2tent of opening the finger-holes for the note for specific sruthi ,pening -ole
Shruthi
opened
E#ashruthi
opened
Dvishruthi
G opened
Tisruthi
opened
Chautsruthi
Due to the nature of this topic& further details on the 55sruthi system will not be discussed
Future
It is therefore important to ta#e note& that Flute Mali did not completely assimilate the cross-fingering technique from the nadaswaram& but adapted appropriately to certain notes to improve the ease of playing the flute while producing the vocal nuances of Carnatic music appropriately The current flute prodigy %hashan# further added a new dimension to the Mali*s technique by introducing HTransposed Fingering which is discussed separately from this topic& ,a lin# is provided on the Tutorial site.
Conclusion
The importance of cross-fingering in flute playing should never be forgotten& for almost all avenues of Carnatic music has witnessed the Hvocal capacity of the Carnatic flute Evolution on the other hand has to progress ( refine the current techniques of flute playing' +ne such approach is the HTransposed Fingering introduced by %hashan#& which is a modification of the Mali*s technique ( also corrects some subtle limitations of the Mali*s technique