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Gamakas

Gamakas are motifs or phrases

Gamaka as any movement done on a note or in between two notes. Next step of raga scale

Types

  1. Kampita
  2. leena
  3. andolita
  4. plavita
  5. Sphurita
  6. Pratyahata
  7. Nokku
  8. Ahata
  9. ravai
  10. khandippu
  11. Vali
  12. Ullasita
  13. etra jaru
  14. irakka jaru
  15. Humpita
  16. Kurula
  17. odukkal
  18. orikai
  19. Tribhinna
  20. Mudrita
  21. Namita
  22. Misrita

Oscillations Sliding Tapping

Categories

  • Kampita-Deflections/oscillations
  • Janta-Fingered/vocalised Stresses
  • Andola-swings
  • Daalu and Daatu-skips
  • Jaaru and Ullasita- Glides/glissandos
  • Tribhinna-Polyphony-striking 3 notes

1. Tiripa (Nokku): Playing a single note within a phrase with added emphasis, as exemplified in expressions like “N S R S,” accentuating the “R” note.

2. Sphurita: Granting heightened importance to the second note in a “janta svara” phrase while allowing the lower note to be subtly audible.

3. Kampita: Infusing a robust shake into a note without any suggestion of neighboring notes, resembling the vigorous shaking of the “ga” note in specific melodies.

4. Lina: Gently melding one note into another, crafting a seamless transition.

5. Andolita: Swinging freely between notes, briefly anchoring on one note before smoothly gliding to a higher note.

6. Vali: Eliciting nuanced shades in notes by delicately moving the string in a circular fashion, a technique frequently employed in fretted instruments like the Vina.

7. Tribhinna: Orienting left-hand fingers horizontally to touch three strings (Sarani, Panchama, and Mandaram) and subsequently plucking them with the right-hand fingers, resulting in harmonious resonance when all three notes are played together.

8. Kurula: Vigorously producing a note from one position to another.

9. Ahata: Creating a novel note seamlessly, a technique predominantly utilized in the Vina.

10. Ullasita: Gliding from one note to another, either ascending (Ekku jaru) or descending (Digu jaru), effortlessly traversing the notes in between.

11. Plavita: A modification of the “Kampita” technique, introducing a shaking effect.

12. Gumpita (Humpita): Employed in vocal music, this technique initiates with a slender tone that progressively amplifies and ascends, akin to the notes of wind instruments.

13. Mudrita: Singing with the mouth closed, primarily employed in vocal music.

14. Namita: Singing in a gentle and slender tone, a practice commonly found in vocal music.

15. Misrita: Blending two or more of the techniques to create innovative and captivating musical expressions. For instance, amalgamating “Kampita” with “Mudrita” exemplifies a form of “Misrita.”

Kampita

Kampita,nokku,orikai

kampita

Meandering of a svara/note between the adjacent svaras/notes, before and after the svara creating vibrating or querving effect

C - D - C - D - C(forward) C - B - C - B - C(backward)

Vali Gamakam

also known as Valli, is a type of gamakam in Carnatic music that involves a rapid alternation between two adjacent notes. It creates a pulsating or trembling effect, adding texture and embellishment to the melody.

producing the shade(s) of one, two or three svaras is called vali.

C - D - C - D (rapid alternation)

Andolita Gamakam

involves a gentle swinging or oscillating motion between two adjacent notes allowing notes to blend eachother. It adds a subtle vibrato-like effect to the melody, enhancing its expressiveness and emotive quality.

C - D (with swinging motion)

Nokku

characterized by a quick, forceful touch on a note followed by a release back to the main note. This ornamentation involves a swift grace note that creates a distinctive flicking effect.

D - C

Example Exercise: Quickly play D (grace note) forcefully. Immediately release to C (main note).

Orikai(pluck)

odukkal After plucking the string to produce the rshabha, on the same position plucking and pulling the string in such a way as to sound ghandhara on the same position and then sound rshabha.

Janta(double notes)

Sphurita,ahata,pratyahata,khandippu,Tripuchcha

Ahata

In Arrohana or avaarohana the main note and quickly transitioning to an adjacent note before returning the main note

ravai(forward note)

C - D - C

khandippu(backward note)

C - B - C

Ex D and B are quick adjacent played C is main note

Sphuritam (aarohanam)

the main note and quickly forceful touch and release of an adjacent note as grace note before returning the main note.

C - D - C

Pratyahata(avarohanam)

the main note and quickly forceful touch and release of an adjacent note as grace note before returning the main note.

C-B-C

Daalu

Daalu involves a quick skip from one note to another, typically a lower note. It adds ornamentation and variation to the melody, creating a dynamic and lively effect. The skip can be executed in different ways, such as a quick downward movement followed by a return to the original note.

C-G-C

Dhattu

Dhattu is similar to Daalu but involves a skip from one note to another, usually a higher note. Like Daalu, Dhattu adds ornamentation and variation to the melody, but it creates a different dynamic effect due to the upward skip.

C-E-C

Tripuchcha

that involves playing a note, then playing an adjacent note, and then returning to the original note all with normal speed usually in quick thrice

C - D - C, C - D - C, C - D - C

odukkal

This is accessing the higher svara on the lower svarasthana

Ullasita Gamakam:As mentioned earlier, Ullasita Gamakam involves a smooth and graceful glide or glissando between two notes. It adds elegance and fluidity to the melody, creating a seamless transition between pitches.Eetra Jaaru:Eetra Jaaru refers to a wide glissando or slide between two notes, covering a larger distance than a typical glissando. It emphasizes the expansive range and dramatic effect of the glide, adding intensity and expressiveness to the melody.Irakka Jaaru:Irakka Jaaru, on the other hand, refers to a narrow glissando or slide between two notes, covering a smaller distance. It creates a subtle and nuanced effect, adding delicacy and finesse to the melody.

lower note to a higher note Higher note to a lower note

Tribhinna Gamakam

striking three notes at once simultaneously or in rapid succession. It adds complexity and richness to the melody by incorporating harmonies or creating polyphony.

C - E - G

Hampita Gamakam

characterized by a quick, forceful touch or hammering effect on a note, followed by a release. It adds emphasis and intensity to the melody, creating a powerful and dynamic expression

With a hum syllable humkara and in the manner of kahal .a, a wind instrument producing a gradually increasing(in volume) sound while continuously ascending from a svara to four, five or seven svaras or even to the next register according to context or producing a gradually decreasing sound while descending from a high svara is humpita. This too would be a variation of jaaru.

C - (quick, forceful strike and release)

Mudrita Gamakam

a restrained and controlled approach to a note, often with a slight embellishment or ornamentation. It involves a subtle, nuanced expression that adds depth and beauty to the melody.

C (with subtle embellishment)

Namita Gamakam

that involves a subtle, delicate approach to a note, often with a gentle touch and minimal oscillation or embellishment. It is characterized by a restrained and understated expression, adding a sense of elegance and refinement to the melody.

C(delicate)

Orikai: Movement: Main note → Lower note → Main note. Effect: Downward flick and return. Example: C - B - C.

Sphuritam: Movement: Main note → Adjacent note → Main note. Effect: Forceful touch and release. Example: C - D - C.

Pratyahata: Movement: Main note → Higher note → Main note. Effect: Upward strike and return. Example: C - D - C.

Orakallu: Movement: Main note → Upper note → Main note. Effect: Smooth gliding or sliding. Example: C (slide up to D) - D - C.

Kurula Gamakam: This is of two kinds, odukkal and orikai. C - (slide) - B

Mishrita Gamakam

Creating a combination of two or more gamakas mentioned above is known as Misritha gamakam.