Best Strategy to Shape a Violinist

Aparna · Post by **Aparna** » 10 Sep 2007, 02:41

What is the best startegy to shape a violinist who excels in solo? Should the violinist just do solo's or learn to accompany artists even if the violinist is not very experienced in accompanying?
Any advice is welcome.

mri_fan · Post by **mri_fan** » 10 Sep 2007, 07:06

A violinst must be able to accompany. The best remedy in my opinion is just to start accompanying others in concerts and build experience. It isn't easy, but it's the best/only way

Sathej · Post by **Sathej** » 10 Sep 2007, 09:36

The primary necessity of a violinist atleast in Carnatic Music is to accompany. Solos are not an end by themselves.
Sathej

shadjam · Post by **shadjam** » 10 Sep 2007, 10:30

Starting as an accompanist helps a violinist in many ways. First and foremost, he would be able to improve his repertoire. There are plenty of things which cannot be obviously learnt from the guru himself. It also helps embellish their own pAtAntharam with better sangatIs learnt from the vocalists. Accompanying also presents a lot of challenges like adopting to the vocalistâ€™s style etc. which will certainly help to improve the technique and also, in many cases, brings the best out of a violinist. Most importantly, it helps the violinist get in touch with knowledgeable musicians from whom one can learn a plenty. My personal opinion is one should accompany for as many concerts (dances and light music inclusive) as possible to be a successful violinist.

Aparna · Post by **Aparna** » 10 Sep 2007, 23:03

Thank You All

vijay · Post by **vijay** » 11 Sep 2007, 16:36

I agree with the opinions above, esepcially Shadjam's perceptive analysis - accompaniment on the voilin is probably one of the most challenging aspects of CM, probably one of the greatest musical challenges in the world...most leading voilinists earned their stripes as accompanists before branching out into solo careers

bilahari · Post by **bilahari** » 11 Sep 2007, 20:59

Akkarai Subbulakshmi once said in an interview that she used to accompany the old greats using their recordings and this helped her hone her skills tremendously. Even if you do not get chances to accompany others live, you could perhaps attempt accompanying recordings. Something my violin teacher always emphasises is the development of a keen ear. He told me to start by identifying the notes musicians hold in alapanais. At the outset, it's not important to be able to distinguish all the phrases they use, but simply that one note they hold during intervals. And it's best to start with simple pentatonic ragas like Hamsadhwani or Mohanam. Even if you don't have your violin with you, when you're listening to a concert, you can try to play this swara-guessing game. I personally think it's great fun, even though I'm mostly dead wrong.

vasanthakokilam · Post by **vasanthakokilam** » 11 Sep 2007, 22:06

Thanks Bilahari. Though I am not a violinist, some of your suggestions are useful for my ever ongoing personal project to increase my swara gyanam. I have started a thread in the Kalalaya sub forum : http://www.rasikas.org/forums/viewtopic.php?pid=58168#p58168

rshankar · Post by **rshankar** » 11 Sep 2007, 22:42

bilahari wrote:Akkarai Subbulakshmi once said in an interview that she used to accompany the old greats using their recordings and this helped her hone her skills tremendously.

It was her father's doing: Read in this article:
http://www.hindu.com/fr/2007/09/07/stor ... 810300.htm

The relevant passage:

Swaminathan evolved his own teaching methods. Everyday, Subbulakshmi and sister Swarnalatha, had to accompany on the violin, radio concerts of Carnatic or Hindustani. They listened, through the day, to the concerts he recorded. They had to focus on M.S.Gopalakrishnanâ€™s alapana, Lalgudi Jayaramanâ€™s kriti, T.N.Krishnanâ€™s sruti; he insisted the girls must have them all. A severe critic, he pointed out lapses, blemishes, and anything less than the best.

Shadjam's suggestions have all been incorporated into this plan for the Akkarai sisters!

arasi · Post by **arasi** » 12 Sep 2007, 03:05

Ravi,
Thanks! I wondered how Akkarai S's playing had such sweetness to it (kuzhaivu). I found the answer here...

bilahari · Post by **bilahari** » 12 Sep 2007, 06:31

Ravi,

A very informative article, thank you. This does make me wonder though-- how did the violin trio of TNK, LGJ, and MSG train for accompaniment? How did they practise? From the recordings I've heard, TNK andd LGJ achieved a significantly higher level of articulation on the violin than any of the greats who had preceeded them. Did they learn "on the job" accompanying the masters?

rshankar · Post by **rshankar** » 12 Sep 2007, 07:46

Wasn't SSI TNK's guru? - sort of 'on the job' teaching and training - very similar to how MLV 'taught' Kanyakumari...(according to an interview with Smt. Sudha Raghunathan)

mri_fan · Post by **mri_fan** » 12 Sep 2007, 08:53

TNK did consider SSI his guru

arasi · Post by **arasi** » 12 Sep 2007, 09:00

Mainly through mEDAi gnAnam (stage knowledge) by accompanying him countless times--kELvi gnAnam (learning through listening) from close quarters, and there was no teaching through skype then!

mri_fan · Post by **mri_fan** » 12 Sep 2007, 09:11

I think her smiling demeanor on stage can't hurt either!