1. Introduction
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Though the violin is originally a Western instrument, it has been completely adapted into Carnatic music.
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It’s called “Violin” (“வயலின்”) in Tamil also.
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Introduced to Carnatic concerts in the early 19th century by Baluswami Dikshitar (younger brother of Muthuswami Dikshitar).
2. Structure & Tuning
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Same physical instrument as in Western classical music (four strings, fretless).
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Tuning differs:
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Usually tuned to the tonic (sa) and its fifth (pa) in two octaves.
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Standard tuning for a male pitch concert:
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1st string – Pa (lower)
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2nd string – Sa
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3rd string – Pa
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4th string – Sa (higher)
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This allows easy playing of gamakas and drone effect.
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3. Playing Posture & Style
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Placed while sitting on the floor, scroll resting on the artist’s right foot and body supported on the chest.
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This position enables longer bowing and precise control of microtones (gamakas).
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The style aims to imitate the human voice (gayaki style).
4. Role in Carnatic Music
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Functions as the main melody instrument or as accompaniment to vocalists.
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Provides sruti support and follows the singer note-for-note, including improvisations like raga alapana, neraval, swarakalpana.
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Also played solo in instrumental concerts.
5. Prominent Carnatic Violinists
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Lalgudi G. Jayaraman – created his own bani (style) and composed varnams, thillanas.
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M.S. Gopalakrishnan (MSG) – known for bowing and speed.
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T.N. Krishnan – famous for his classicism.
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Kunnakudi Vaidyanathan – popularized violin among the masses.
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A. Kanyakumari – noted female violinist.
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Next generation: Ambi Subramaniam, Balu Raguraman, etc.
6. Importance
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Today the violin is indispensable in Carnatic concerts, much like the mridangam for rhythm.
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It helps sustain notes, express ragas richly, and acts as a bridge between Western and Indian classical styles.
