Thesis For Print

A Practical Approach to the Amalgamation of Carnatic
and Jazz Practises for Double Bass
Submitted to the Dublin Institute of Technology in candidature for the Degree of

Masters of Music
Dublin Institute of Technology
Conservatory of Music and Drama
Supervisor: Dr. Mike Nielsen
September 2018
Cormac OBrien B.A (hons)

I declare that the attached work is entirely my own and that all sources have been
acknowledged. This work has not been submitted in part or whole for any other
assessment other than that stated above.
Signature: ________________
Date: ________________
Dublin Institute of Technology September, 2018
i
ACKNOWLEDGEMENTS
Many thanks to all who have helped me with this body of work either directly or
indirectly: Dr K.S. Subramanian, Dr Mike Nielsen, Prof. Cliona Doris, Greg Felton,
Matthew Jacobson, Dr Daniel Rorke, Chris Engel, Ronan Guilfoyle and everyone who
has influenced me along the way. Most importantly, I would like to thank my amazing
wife, Esosa Ighodaro, whose support and feedback have been invaluable.
ii
TABLE OF CONTENTS
DECLARATION i
ACKNOWLEDGEMENTS ii
TABLE OF CONTENTS iii
TRACK LISTING v
ABSTRACT vii
1. INTRODUCTION 1
1.1 Background 1
1.2 Auto-Ethnographic Research 1
1.3 Overview of Carnatic Music 4
1.4 Overview of Jazz 4
1.5 Indian/Jazz fusion 5
2. OVERVIEW OF CURRENT PRACTICES AND ANALYSIS 7

2.1 Music Education in India 7
2.2 Carnatic music 8
2.3 Process for Internalising Vocabulary in Jazz 9
2.4 Combining the Elements 9
2.5 Selected Vijay Iyer Compositions 10
2.5.1. Because of Guns 10
2.5.2. Configurations 12
2.6 Conclusion 13
3. DEVELOPMENT OF PRACTICE METHOD 14

3.1 Use of Konnakol 14
3.2 Basic Patterns 14
3.3 Construction of the Tihai 16
3.4 Applying Melodic Structures to the Tihai 17
3.5 Modulating the Subdivision 18
3.6 Selecting the Tihais 19
3.7 Altering the Tihai Duration 19
3.8 Use of Underlying Harmonic Structures 21
4. THESAURUS OF MELODIC TIHAIS 23

4.1 Explanation of Examples 23
4.2 Tihai Structure 2-3-2-3-2 24
iii
5. CONCLUSION 40
SELECTED BIBLIOGRAPHY 43
WEBOGRAPHY 43
DISCOGRAPHY 44
APPENDIX A 46
APPENDIX B 48
APPENDIX C 50
APPENDIX D 56
iv
TRACK LISTING
1. Example 4.1 Tihai Structure 2-3-2-3-2 Stave 1



v
49. Double Bass improvisation over “Turnaround” c. Ornette Coleman
vi
ABSTRACT
This study aims to combine key elements from South Indian (Carnatic) music and jazz
to create an improvisatory language specifically suited to the double bass.
The research conducted here is primarily based on personal experience from a period
spent studying in Chennai, India, under the tutelage of Dr K.S. Subramanian.
Through an examination of the rhythmically sophisticated Carnatic music, the
tihai concept is identified as a key element to combine with jazz melodic structures to
create a new vocabulary. With consideration to the physical qualities of the double bass,
a progressive practise method is devised. This culminates in a thesaurus of phrases
which are rhythmically tihai based but melodically jazz based. Both the rhythmic and
melodic rules used to construct these phrases are clearly defined so that variation and
thus improvisation of the concept is facilitated. The phrases are constructed over V-I
and II-V-1 chord progressions, making them easily adaptable to common jazz
repertoire. The key elements that are identified are: tihai structures; chromatic voice
leading; and scale and arpeggio type melodic movement.
The educational systems of jazz and Indian music are compared briefly to
provide an appreciation of the degree of sophistication of Indian music and the
justification for its use in this context. A brief overview of both jazz and Indian music is
given and key practitioners in the area of Carnatic/jazz fusion are identified. The music
of John McLaughlin and Vijay Iyer are both examined in more depth, with the main
focus being on two compositions of Vijay Iyer. This provides the context within a jazz
idiom and some key insights into how other jazz musicians have incorporated Carnatic
music into their repertoire and improvisations.
48 original melodic tihais are presented, in both notated and recorded format,
followed by consideration as to the barriers and benefits of incorporating this
improvisatory approach. A recorded improvisation demonstrates the utilisation of
melodic tihais over a blues form.
vii
1 INTRODUCTION
1.1 Background
As Jazz music continues to evolve and to assimilate different styles, one area
that has become very prominent is that of rhythm. Having grown out of blues and
western classical music, jazz has been primarily written in 4/4 and 3/4 time. However,
since the 1950s and on to the present day, odd meters and a focus on rhythmic
complexity have become more and more commonplace. Various rhythmic styles have
been integrated, such as Balkan music, Afro Cuban music, Arabic and African, for
example, but none have proved as effective or specialised as that of Carnatic music
from Southern India1 . In my studies and career to date I have encountered an ever
increasing influence of Carnatic music within my field and have learned various
techniques to become more familiar with Carnatic rhythmic systems. Considering the
importance and impact this complex and highly evolved music has had and continues to
have, not just on jazz but on a wide range of musical genres, I found it necessary to
create a practice method specific to my own instrument, the double bass, that combines
some core elements of both Carnatic music and jazz. This dissertation is based on
research conducted in Chennai, India over a one month period as well as study and
performance in jazz over 20 years. Through this study, I will identify the key aspects of
both Carnatic music and jazz that will contribute to creating a bespoke practice method
that will be informed by the technical attributes of the double bass.
1.2 Auto-Ethnographical Research

In 2011, I enrolled in the Brhaddhvani institute in Chennai for a month and
received private tuition from Dr K.S. Subramanian. During my stay I received 15
lessons of one to three hours in duration. It is usually the case that a student will study
repertoire and learn entire pieces in the Indian tradition. This is a very time consuming
approach, particularly for western musicians whose lifestyles and societal culture do not
afford them an excess of time. My approach as a jazz musician was to understand the
fundamentals of Carnatic music and apply them to my jazz vocabulary so the learning
1
South Indian Classical music of Karnataka region,
1
of entire compositions was not required. Traditionally, songs are learnt by ear and
articulated vocally before, or in conjunction with, playing them. I attempted this
approach but realised very early on that the physical technique of verbalising fast
konnakol2 phrases was beyond my ability and unnecessary when applying the
techniques to the bass. Dr Subramanian was able to suggest a more tailored approach to
my tuition based on a Western format more familiar to me. He focused specifically on
breaking down the Carnatic compositions into their fundamental building blocks. These
included the set of 72 scales, tihais3, konnakol, rhythmic patterns and taalas4.
Subsequently he would demonstrate a systematic scale pattern using one of the 72
scales followed by an improvisation on the pattern. This was practised in a variety of
meters, depending on my requests. It was necessary for me to practice an average of 8
hours per day between lessons. Practise would involve working on the exercise as given
then adapting them to a common jazz format, such as a 4/4 standard.
The exercises presented a number of challenges, such as keeping a different
rhythm in the feet while playing a melodically and rhythmically complex pattern on the
instrument. I would keep the pulse, which could be a complex or regular beat, with
either one or both feet. This essentially replaced the taala, normally played with the
hands. It is necessary to both feel and hear the underlying pulse, particularly in jazz
where there is a high element of improvisation and it is essential that each member of an
ensemble know exactly where he or she is in the music, regardless of what is being
played at a given moment. This is good polyrhythmic training as the melodic phrasing
will suggest one meter and the taala or pulse will suggest another.
The melodic exercises would typically be repeating phrases of a given number
of beats – a 6 beat phrase over a 5 beat pulse, for example. The phrase would also be
broken up according to a binary system where a note can either be played or not. Below
are two possible examples. An X represents a note that is played and an O can be either
a rest or a tied note.
.
● X-O-X-O-X-O
● O-X-X--O-X-X
Example 1.1
2
Konnakol – vocabulary of rhythmic language
3
A rhythmic cadence common to Carnatic music.
4
Underlying pulse common to Carnatic music. There are many different taalas, some simple and short,
some incredibly complex and up to 128 beats in one cycle.
2
In the latter part of the month I formulated more ways to apply this in a jazz
context. I experimented with different meters, namely 3, 4, and 5, before deciding to
focus on 4/4, being the most common meter and thus the most useful point. Keeping a
pulse in 4/4 is much easier and a simple 2 or 4 beat per bar pulse is all that is required in
the feet. This simplicity is helpful when jazz harmony is introduced. By working over
simple 4/4 bossa and straight 8’s tunes, the rhythmic complexity of the form is limited
and allows a better grasp of rhythmic complexity in the melodic line.
At this point that I started to see how a method could be formulated to progress
step by step to reconcile the complex rhythmic structures with more complex jazz
harmony, and also to identify the various technical challenges that would occur on the
double bass. There is still a huge amount of practical work necessary beyond the
development of this system as the scope for variation is so vast. However, an individual
example can be utilised within the context of a jazz standard during one practice session
and integrated into a musicians’ vocabulary within days. From there, as with any new
phrase or technique, it is just about the necessary amount of repetition over time to
internalise the method.
Having experienced this first hand instruction, it is easier to understand how
Carnatic music evolved and to appreciate both the advantages and limitations of its
systems. It also allowed me to understand the obstacles that present themselves when
amalgamating jazz and Carnatic music and to formulate appropriate solutions. The
research I have conducted has shown a number of results, most notably:
1) There are no examples of tihai structures being used in an improvised manner
that are built on bebop melodic phrasing.
2) There is no existing method to develop this vocabulary on double bass.
The aim of this research is to devise a method that provides a definite and logical
process to address these two points and to build a rhythmic approach that is based on an
established jazz language.
The following chapters provide an overview of the relevant musical styles,
identify some of the main practitioners of Carnatic influenced jazz and investigate their
approach to incorporating Carnatic music in to their music. Selected compositions will
be analysed and key elements identified to form the building blocks of a new method.
The main research question is: How does one develop a system to combine the core
elements of Carnatic music with jazz harmonic structures on double bass?
3
1.3 Overview of Carnatic music
Carnatic music is classical music of the Karnataka region in Southern India
dating back to at least 1250. It began to stabilise to its current format around the
sixteenth century5. Carnatic music is a highly logical music and is built on mathematical
systems rather than owing its roots to folk music.
Indian musicians have evolved an incredibly advanced rhythmic system with
which to compose and improvise. Though their music is complex both melodically and
rhythmically, it is void of harmonic movement. When Indian musicians improvise they
use just one scale, so they are effectively playing in a modal format all the time. The
main reason for this is that the music is intrinsically linked to their religious and
spiritual culture so the scales have defined melodic purposes, for instance, a raga6
specifically for morning or a specific emotion. This means that there is very little
intermingling of scales and no harmonic modulation within a passage of music.
The following example shows a morning raga. The piece is almost 25 minutes long
which is an average length. The scale is clearly outlined from the linked starting point.
https://bit.ly/2Nqyz40
Example 1.2
1.4 Overview of Jazz

Jazz has evolved rapidly in terms of harmonic complexity, taking advantage of
the wealth of knowledge within western classical music. Beginning with a simple three
chord blues progression of IV-V-I or V-IV-I and evolving through the work of
musicians like Louis Armstrong, Art Tatum and Charlie Parker, jazz music
encompasses a harmonic world limited only by the practitioners’ imagination. Owing to
Avant-garde visionaries in both the classical and jazz worlds there are no longer any
limits on harmonic or melodic invention.
An improvising musician must have a high level of understanding of harmony to
play jazz, and to have vocabulary in the appropriate style. This could be in a traditional
swing style, a straight 8ths Latin, of which there are many strands, a more contemporary
rock or fusion style, blues, or one of the various European styles.
An accomplished jazz musician will incorporate into their vocabulary the
5
Worlds of music, p268
6
Raga , also spelled rag (in northern India) or ragam (in southern India), (from Sanskrit, meaning
“colour” or “passion”), in the classical music of India, Bangladesh, and Pakistan, a melodic framework
for improvisation and composition. A raga is based on a scale with a given set of notes, a typical order in
which they appear in melodies, and characteristic musical motifs. (https://www.britannica.com/art/raga)
4
various styles mentioned above which will subsequently lead to an original language or
unexplored creative avenues. As part of the overarching philosophy of being a jazz
musician, this is an important key element and ability.
1.5 Indian/Jazz fusion

Jazz is a comparatively young music that has evolved very quickly over little
more than 100 years. Though its beginnings are vague and obscured by time, jazz is
thought to have originated in Storyville, New Orleans between 1897 and 19177. In 100
years of development, most of the evolution has been melodic and harmonic. However,
quite early in the history of jazz various musicians began experimenting with Indian
classical music. Ravi Shankar, John Coltrane and John McLaughlin for instance, began
drawing on Indian music and culture for inspiration. Their results were quite different
from each other. For example, Coltrane used the intensity and modal approach in his
music but never really demonstrated the strict rhythmic structures present in Carnatic
music. McLaughlin, on the other hand, composed music around very specific Carnatic
structures and would feature himself and/or drummer Trilok Gurtu demonstrating
interpretations of traditional Carnatic music8. McLaughlin refrained from using Carnatic
structures over jazz harmony, although the rhythmic nature of his playing suggests that
there is some amalgamation or influence of Carnatic music on his personal vocabulary.
More recent examples demonstrate rhythmic and melodic application but these are most
commonly within a static harmonic or traditional harmonic context. John McLaughlin
demonstrates an in-depth knowledge of the Carnatic tradition in his improvisations with
the group Shakti9. He has absorbed the idiomatic style which sounds authentic to
western ears. There are clear uses of Carnatic melodic embellishments and some use of
tihai cadences. However, as he is playing with quite a traditional Indian line-up, the
format of the tunes tends to be modal and consequently lacks jazz phrasing or bebop
type voice leading within his improvisations.
More recently, two musicians who have developed a high degree of proficiency
in this style are American born Indian musicians Vijay Iyer and Rudresh Mahanthappa.
The differences between these musicians and mainstream American jazz musicians,
such as John Coltrane or Miles Davis, are interesting as we can really hear their cultural
7
Gioia, T. (1998) The history of jazz. USA: Oxford University Press
8
https://bit.ly/2Nr6Sbr 21mins
9
https://bit.ly/2xoblBk 2min30-6min30
5
background expressed in their music. Both Iyer and Mahanthappa sound more like
Indian musicians who have learnt to play a style of jazz that is quite unique to them and
not so connected to the blues and American tradition. This is a result of the modal
nature of their compositions and the dense rhythmic complexity inherent in Carnatic
music which they are so heavily influenced by. The time feel10 in the music of both Iyer
and Mahanthappa is precise and metronomic as opposed to the laid back feel inherent in
African derivative music such as blues. Iyer’s music will be investigated further in the
following chapter.
10
“Time feel”, is a description of how a musician relates to the underlying pulse
6
2 OVERVIEW OF CURRENT PRACTICES AND
ANALYSIS
2.1 Music Education in India

Carnatic music is taught in a very different way to western music. The
guru/apprentice system, also known as the Guru-Sishaya-Parampara (Guru-teacher,
Sishaya - Student, Parampara – System), learning method is still in practice. This
means that from a young age, trainee musicians will live and travel with their gurus,
helping with domestic chores and learning about every aspect of being a musician
alongside their on-going lessons. They will accompany on concerts, keeping simple
taalas11 and gradually progressing over years of constant study and tuition. This system
does not exist in western culture, though some musicians will have a mentor for a
number of years.
As an indication of the complexity of the rhythmic element one can look at how
Carnatic musicians keep a pulse. Where western musicians might tap a downbeat, beats
one and three or 2 and 4, Indian musicians will learn to keep a taala. Just as in western
music, musicians learn to keep a pulse, the first aspect to learn is the taala system. The
taala system defines the method of keeping time and is adaptable to many different
meters. It is a complex exercise in itself and requires a significant amount of practice
and memorising. It is good as an exercise in rhythm but of limited use in jazz,
particularly when the performer has no hands free to keep it. In any given performance
of Indian classical music you will see one or a number of the performers keeping some
kind of taala with their hands, and quite often there will be more than one taala being
played. This means that one person could be keeping a taala in four while another
person could be keeping a taala in 7.
An excellent example of this can be found here:
https://bit.ly/2NpkFz3
“There are 5 murga taalas and 120 desi taalas. The longest of these taalas is the
Simhanandann taala which is 128 beats long12”.
11
Indian, method of keeping time. Much like a conductor beats time but more varied and sophisticated.
12
Mani, T.A.S. (2003). Sogasuga Mridanga Taalamu: A reference book on South Indian percussion
mridangam, Part 1. Bangalore: K.C.P. Publications p.56
7
This is just a method of keeping a pulse so it gives some indication of the depth
of learning involved in just this rudimentary aspect of music.
“The Taala system is perhaps the most difficult and complicated subject of South Indian
Music”13
Investigating the taala system in T.A.S. Mani’s book, it is evident that the taala system
becomes quite complex even at a junior level. It is usual for Indian musicians to begin
training at a very young age, perhaps 4 years old. Though this is also common in
western traditions the method of training is quite different.
.
2.2 Carnatic Music

Carnatic music is an oral tradition. Though much of the information is now
written down and published extensively as a result of abundant and available
technology, it is still taught by ear and relies on constant repetition and memorisation.
This results in a very deeply rooted affinity with the music from the practitioners. It also
explains why the teaching system has evolved the way it has. Carnatic music has a very
organised and systematic structure but there is a large amount of creative freedom
within that structure leading to variation and interpretation of the compositions. Unlike
many Western traditions, it does not owe its origins to folk music. There have been
many attempts at comparing the Carnatic system to Western music but they are
fundamentally different in a number of ways. Western music is heavily reliant and
influenced by the standard notation system. This system is not complete enough to deal
with the level of rhythmic complexity that underpins Carnatic music and also does not
allow for the prolific microtonal embellishments also inherent in the music. The high
demands on the students within the Indian tradition means that the musicians develop an
extremely good memory and ear out of necessity. This is vital when it comes to
performing at a professional level, as is evident from any recording or concert. There
are some important parallels that can be drawn between the traditions of Jazz and
Carnatic music, such as the oral nature of the tradition and the importance of
improvising.
13
Ibid, p.7
8
2.3 Process for Internalising Vocabulary in Jazz
At its core, jazz is an improvised music. Many comparisons have been made
between music and language14, particularly when it comes to improvising. The ability to
use learnt phrases in an improvised order to express an idea is akin to creating sentences
using words in an improvised order to convey our meaning. To create at this level we
must have all the information internalised, leaving very little to chance but relying on a
trained ear and connected muscle memory to produce the sound we are hearing. This
process is very similar to the process required in Carnatic music. Just as Carnatic
musicians are required to have internalised many complex rhythmic systems and be able
to draw on them at will to create an improvisation, jazz musicians will have internalised
a similarly complex harmonic and melodic system and be able to create within that. In a
jazz musician’s development, the student will learn in a variety of ways. For instance,
jazz is traditionally an oral music, though western notation is now standard and much is
taught in line with classical practices. In-depth knowledge of modes from a variety of
scales and the relating chord symbols is essential. The ability to choose other melodic
and harmonic structures that fall outside the suggested harmony is vital as this allows
freedom within the structure of a tune. The emphasis is primarily put on harmony and
melody in terms of memorising phrases, though getting the rhythmic feel right is
important too. One reason for this is that western music is mostly in 4/4 and 3/4 and is
composed of unchanging bar lengths. Though odd meters are becoming more and more
common, jazz musicians aren’t required to memorise rhythmic structures to the same
degree as long as they can improvise within the time signature.
2.4 Combining the Elements

It is hard to compare harmony to rhythm in terms of difficulty but it is quite
obvious that in each tradition the balance is weighted heavily towards either harmony
(jazz) or rhythm (Carnatic). Of course there are many exceptions to this observation,
and that is where the interest for this thesis lies. For example, John McLaughlin, Vijay
Iyer, Rudresh Mahanthappa, Chander Sardjoe, Farmers Market and Steve Coleman,
have all combined extremely high level harmony and rhythm, drawing heavily on
Carnatic music and jazz harmony. Drummer Dan Weiss has studied Carnatic music for
years with a tabla teacher and now incorporates much of what he has learned in a
14
Hamilton, L. (2009) Jazz grammar : the application of linguistic devices for the beginning improviser.
Dublin. DIT
9
modern and quite conventional jazz context.
Iyer demonstrates an effective use of Carnatic systems within a jazz context in his
composition, “Because of Guns”, from the album Bloodsutra15. This track also features
Mahanthappa. The tune is based on the Jimi Hendrix tune, “Hey Joe”, and is very
simple harmonically, comprising of only five chords. The melody is based on Carnatic
structures and uses tihais as its rhythmic cadences. Both Mahanthappa and Iyer make
use of the melody in their solos and the playing is rhythmically complex. However there
is still less focus on the use of structured Carnatic rhythm within their solos than there is
on the harmonic and melodic aspects.
2.5 Selected Vijay Iyer compositions – “Because of guns” and “Configurations”

As Vijay is one of the most contemporary and authentic exponents of Indian/jazz
fusion it is appropriate that his compositions are studied in further depth. The full scores
are included in the appendix but the following extracts highlight the use of Carnatic
systems.
2.5.1. Because of Guns
Example 2.1, bars 5-6
Example 2.1 shows the opening melody and highlights the use of complex
subdivisions more common to Carnatic music, specifically the use of triplet to
quintuplet subdivisions within a single passage. The harmonic sequence, as mentioned
above, is only five chords over 4 bars. Four of those chords can be seen in the above
example and they resolve to two bars of C-Sharp.
15
Vijay Iyer (2003). Because Of Guns, Bloodsutra. New York: Multiplicity Music. Audio clip from
beginning of melody at https://bit.ly/2Npll7z
10
Example 2.2, bar 8
Example 2.2 shows the first tihai. The rhythmic structure is 5-2-5-2-5. This can
be deduced by identifying where the first phrase repeats and comparing the last phrase
with the first phrase. The first C-Sharp in the top (alto) part is repeated in the fourth
quintuplet of the second group of quintuplets, marking the beginning of the second
group of five. The last five quintuplets in the top line confirms the “5” unit grouping of
the tihai. The “2” unit grouping can then be identified as the high F-Sharp and G. This
is mirrored in concert in the lower (piano) part. The konnakol for this would be Ta Di
Ki Na Thom - Ta Ka - Ta Di Ki Na Thom - Ta Ka - Ta Di Ki Na Thom16. The tihai is
19 units long.
Example 2.3, bar 12
Once again in bar 12 there is a tihai based on semi-quaver triplets. Using the
same method as above a 6-2-6-2-6 tihai can be identified. The konnakol is: Ta Di-i- Ki
Na Thom – Ta-a - Ta Di-i- Ki Na Thom – Ta-a - Ta Di-i- Ki Na Thom. The tihai is 22
units long.
16
Konnakol explained in greater detail in chapter 3.
11
Example 2.4, bar16
The final bar of the piece is marked by another tihai. This time septuplets are the
underlying subdivision. The tihai is 9-0-9-0-9 or 9-9-9. The konnakol is: Ta Di Ki Na
Thom Ta Ka Di Mi - Ta Di Ki Na Thom Ta Ka Di Mi - Ta Di Ki Na Thom Ta Ka Di
Mi. The tihai is 27 units long.
Taking a broader view of placement of these tihais it can be seen that there is a
build in intensity with each one, produced by the increasing subdivisions.
2.5.2. Configurations
Example 2.5, bars 103-109
Though the entire form of “Configurations” is based on Carnatic rhythmic

cycles, the main points of interest are shown in the above example. The meter is 7/8 and
12
in bars 103-105 the melody is constructed of a 7 note phrase. It is played in dotted
quavers then repeated in quavers and finally in semi-quavers. This leads into the
beginning of the tihai at bar 106. The tihai, starting on the second quaver of the bar, is
based on semi-quavers and is constructed 6-4-6-4-6. The konnakol for this is Ta Ki Ta
Ta-a Ka – Ta Ka Di Mi - Ta Ki Ta Ta-a Ka – Ta Ka Di Mi - Ta Ki Ta Ta-a Ka. This
entire section can be heard here https://bit.ly/2MNAZEK
2.6 Conclusion
The data presented thus far shows that though there is extensive use of tihais in
jazz, there is little or no harmonic movement. The key elements to be taken from
Carnatic music and jazz are:
 Tihais
 Konnakol
 Bebop/jazz melodic phrasing
 Jazz harmonic forms
Extrapolating from the information in this chapter it is clear that a system can
be derived from both jazz and Carnatic practices to reconcile these aspects to create a
vocabulary that can be used within a jazz context.
13
3 DEVELOPMENT OF PRACTICE METHOD
3.1 Use Of Konnakol

Konnakol is the syllabic language of rhythm used in Indian music. It is common
in both Northern and Southern Indian traditions and has many different variations
depending on the instrument the syllables are mimicking. A basic glossary of konnakol
syllables will be some variation of the example below:
 Ta = 1
 Ta Ka = 2
 Ta Ki Ta = 3
 Ta Ka Di Mi = 4
 Ta Di Ki Na Thom = 5
 Ta Ka Di Mi Ta Ka or Ta Di-i Ki Na Thom = 6
 Ta Ka Di Mi Ta Ki Ta or Ta-a Di-i Ki Na Thom = 7
Example 3.1
There are various ways of notating the syllables and they all have their purpose.
The above version is an amalgamation of konnakol learned through jazz studies and
time studying in India. The extra hyphens and vowels in the 6 and 7 beat tihais indicate
a held note or rest. This is a general rule and can be applied to any of the syllables. An
understanding of konnakol is not essential but is a helpful tool. In the primary stages of
learning a piece of music or technique, it is beneficial to vocalise the passage or exercise
to aid internalisation. In the case of the jazz tihais employed in this paper, konnakol can
make the groupings and articulation of the various tihais easier and clearer. The desired
process in this case is the one that will allow the musician to achieve the outcomes in
the fastest and most efficient manner.
3.2 Basic Patterns

The first step in developing this approach is to master the basic rhythmic
concepts of the tihai and the fundamental groupings of notes. When practicing rhythmic
motifs, it is important to relate to a fixed pulse to insure accuracy. Tapping a foot to a
14
desired metronome pulse while playing a selected motif provides internal rhythmic
development and an understanding of the amalgamation of the pulse and motif.
One of the obstacles to effectively incorporating such dense rhythmic material
on the double bass is the technical challenge of speed and range. Marc Johnson, in his
book “Concepts for Bass Soloing”,17 provides a hammer-on technique which can
overcome this technical challenge. Johnson demonstrates this technique in the
accompanying audio to his book. The basic pattern has been transcribed and expanded
on in the appendix. This technique can be used to play the individual rhythmic
groupings in a cyclical fashion against the metronome to get used to the overlapping
phrasing common to the tihai structure. When this technique is applied to Carnatic
rhythmic structures, it is very effective at delineating the rhythmic groupings.
Ergonomically, the technique is less taxing on both left and right hand. Notes can be
added or subtracted easily enough as the rhythmic groupings demand.
Example 3.2.1, below, gives an example of the basic motif using notes a tone
apart, Bb to C on the G string in this instance because it is a resonant and easily
accessible area of the double bass to play. Holding the Bb down with the first finger the
note is struck with the second finger of the pizz hand18. Next the same note is struck
again with the first finger the pizz hand. Then, hammer-on to the C with the 4th finger
of the fingering hand. Finally, the C is played again with the first finger of the pizz
hand.
Example 3.2
The above example shows notes of similar rhythmic values. It is best practice to
start with an even division of the beat and subsequently developing more complex
subdivisions such as three and five. Once consistency of rhythm is achieved we can
move on to different subdivisions, for example: triplets grouped in 4, quintuplets
grouped in 4 etcetera. With these variations, the technique is maintained in both hands,
17
Sher, C & Johnson, M. (2005). Concepts for bass soloing. California: Sher Music Co.
18
Pizz abr. for pizzicato. Common term for plucking hand.
15
only the relationship to the pulse and how we perceive the pattern will change.
Next the pattern is moved across the strings, keeping the same 4 note groupings.
This presents a new challenge as the string thickness will affect the mobility of the
fingers so compensation is needed to maintain an even rhythm.
Once the previous technique is mastered different tempi, odd meters, different
rhythmic values and simple tihai formats can be introduced. The right hand format stays
the same to aid muscle memory so to play a three grouping, the right hand can either
play fingerings of 2-1-H (H = hammer on), or 2-H-1. This gives two different accent
options.
Example 3.3
To play a group of five a lower note can be added as per the example: Bb-Bb-C-
C-G with the fingering 2-1-H-1-1 or Bb-Bb-C-C-Bb with the fingering 2-1-H-1-H.
Example 3.4
Of course there are more possible variations as more tied notes and different
groupings are introduced but these basic structures will provide all the necessary
technique to deal with a multitude of variations.
3.3 Construction of the tihai

Each of the tihais has 5 parts. These can be thought of as being the external
phrases and the internal phrases. As example below, in a 4-3-4-3-4 tihai the groups of
four are the external phrases and the groups of three are the internal phrases.
Example 3.5
16
If we take the first of the 4 phrases, this can be expressed in binary from 1111 to 0000
and all combinations in between. A “1” means the note is played, a “0” means it is a
rest. The binary expression of example 3.5 above is therefore
1111-111-1111-111-1111
Each note played could in theory be any of the 12 chromatic tones. As the numbers
increase, so do the permutations and this applies to every grouping within the tihai.
Because the number of variations is so vast, it is more prudent to use less material. For
example, three variations from the 4 side could be as below:
1-1-1-1
1-0-1-1
0-1-0-1
Example 3.6
The example below shows this in standard notation. Each group shows one of the binary
variations. The groups of three all represent 111.
Example 3.7
Example 3.3.2
Total combinations within one chromatic octave is 4^12 = 16,777,216 for the four side
and 3^12 = 531,441 for the three side.
For a purely rhythmic approach just 2 notes are required, as based on the Marc
Johnson technique. All the groupings can then be approached in this manner before
moving on to more complex melodic structures. By combining various rhythmic
patterns any tihai can be constructed. In this melodically limited or “modal” form the
tihai is already applicable to complex harmonic passages if the two notes chosen fit
within the scale structure.
3.4 Applying melodic structures to the tihai

The next step is to compose melodies with the selected patterns. To make this
stylistically commensurate with a mainstream and bebop jazz aesthetic we can look to
the general shape and rules of bebop voice leading for example, chromatic enclosures
and approach tones, triadic and scale based motifs and fully chromatic passages.
17
Chapter 4 outlines variations based on this approach. A small amount of variation
occurs from one tihai to the next but they are all based on triads, scales, chromaticism
and arpeggios. Therefore the mechanics needed are very similar allowing a faster rate of
internalisation of the material. The exercises are designed so that once the core concept
is understood passing tones or rests can be added to extend either the internal or external
groupings, thereby creating a new tihai.
3.5 Modulating the subdivision

Another way to vary the tihai is to change the relation of the rhythmic units to
the beat. The written examples in Chapter 4 are in quaver denominations for the first
sets and then triplets for the later sets. Examples should also be practiced as semi-
quavers or even quintuplets, depending on the speed required. Triplets will
automatically fit with the triplet based swing feel inherent to straight ahead jazz while
quavers or semi-quavers will work in conjunction with any straight 8ths feel such as
latin jazz. The even quavers will also work over a swing feel and triplet feel over a
straight 8ths feel but the tihais will produce a polyrhythmic effect that is more
challenging. Quavers and quaver triplets are the two most common subdivisions of the
beat in jazz and should be the starting point. For more advanced variations, further
subdivisions such as semi-quavers and quintuplets can be explored. This is a common
progression of technique within Carnatic music and one which Iyer utilises is in the
aforementioned “Because Of Guns”19, example below.
Example 3.8 Bar 8 “Because of guns”
In this example the tihai is constructed 5-2-5-2-5. The first note, E natural, marks the
first group of 5 followed by a group of two starting on the high Bb and descending to G.
The cycle then repeats to the end of the bar.
19
Bloodsutra, New york 2003
18
3.6 Selecting suitable tihais
The 48 notated examples in Chapter 4 cover a range of tihais with external
groupings of 2,3,4,and 5. Each one has 4 different internal groupings and each of those
has 3 different melodic structures. An exhaustive approach to each tihai would include
every variant of the internal grouping from zero onwards. The first 5 are below:
2-0-2-0-2 (6)
2-1-2-1-2 (8)
2-2-2-2-2 (10)
2-3-2-3-2 (12)
2-4-2-4-2 (14)
Example 3.9
The number in parentheses is the total number of rhythmic units in the tihai.
Having this information memorised allows one to more quickly figure where to start the
tihai in order to land on the first beat of the resolving bar. Initially, it is best practice to
focus on one bar phrases as this will usually fit over one chord or key centre. When
longer tihais are used it is necessary to adjust the melodic shape in order to outline the
underlying harmony.
In favour of presenting a wider range of tihais, a limited number of variations of
each tihai have been selected. Being aware of the overall phrase length of each tihai
aids in the internalisation process and subsequently with utilising them when
improvising. The phrase length will also change depending on the subdivision used, so a
tihai that is structured 2-3-2-3-2 in triplets will fit in a standard 4/4 bar, but played as
quavers it will last 6 beats.
3.7 Altering the tihai duration

If a longer or shorter tihai is required, both the internal and external groupings
can be added or subtracted from. Changing the internal groups by one will add or
subtract two rhythmic units to the overall phrase. The following example shows a
starting tihai of 2-3-2-3-2 in the first stave. In the second stave one extra quaver has
been added to the internal groups to make a 7 beat tihai constructed 2-4-2-4-2. In the
last stave, one quaver has been subtracted from the first tihai to make a 5 beat tihai
constructed 2-2-2-2-2.
19
Example 3.10
Changing the external groups by 1 will add or subtract 3 rhythmic units. Below, the
initial six beat tihai becomes 7 ½ beat tihai then a 4 ½ beat tihai.
Example 3.11
Adding to the external groupings by one but subtracting from the internal groups by one
will extend the overall phrase by one rhythmic unit. The opposite will decrease the
phrase by one unit, as illustrated in example 3.12.
20
Example 3.12
This knowledge is useful when trying to improvise with this approach as some quick
calculations are necessary.
3.8 Use of underlying harmonic structures

The 48 examples in Chapter 4 are constructed over V7-I and II-V7-I chord
progressions, as these form the basis of most traditional jazz harmony. As the melodic
structures are very formulaic, they can be easily adapted to chord movements and
greater chord frequency. In the case of more complex, dense chord structures or non-
cycle of fifths type movement, some more consideration may be required but the
principles remain the same.
In any jazz tune, the harmony is somewhat interpreted with the addition of
passing chords and tritone substitutions. Extra chords like these may be added to
emphasize or facilitate the rhythmic groupings. This can also be used as a method for
creating a variation of a tihai without extensively changing the tihai itself. For example,
a tihai that is based on II-V7-I where there is a triadic outline of the V chord could
easily be changed to II-bII7-I20 where the bII7 is outlined with the same approach as
was used for the V chord. In example 3.13, the tihai remains the same on both staves
while the C7 is substituted for a Gb7(b9) chord a tritone away. The flat 9th is added to
allow for the inclusion of the G natural in the melody.
20
II-flat II7-I or G-7 – G-flat 7
21
Example 3.13
22
4 THESAURUS OF MELODIC TIHAIS
4.1 Explanation of Examples
The following 48 tihais go through a variety of permutations, focusing on the V-
I and II-V7-I chord sequences. They utilise scale, triadic and arpeggiated melodic
frameworks and at times include chromatic voice leading when not diatonic. The
accents notated in the examples mark the beginnings of each rhythmic group. The first
24 tihais may seem simple as they are based on a simple quaver subdivision of the beat
but, as mentioned before, they can be modulated so that they are based on triplets,
semiquavers, quintuplets, or any other desired subdivision. In this case, a seemingly
simple phrase can become very effective at creating the illusion of a different time
signature. This will become more evident in the later variations when quaver triplets are
introduced.
There is intentional re-use of approaches throughout the series of exercises as it
helps to work with limited material when learning a new process. There are still
occasional exceptions to this rule for the sake of variety but only to a limited extent.
Even though many of the tihais use chromatic passing tones the chord progressions
have been left as basic diatonic sequences. In many cases altered changes would work
just as well but the key notes have been primarily diatonic. Recorded examples can be
found on the accompanying CD.
23
4.2 Tihai Structure 2-3-2-3-2
Example 4.1
Stave 1 – Track 1
This starts off simple, being composed over an extended V chord to I chord. It is a
repetitive triadic shape in root position resolving to the tonic.
Konnakol = Ta Ka – Ta Ki Ta - Ta Ka – Ta Ki Ta - Ta Ka
Stave 2 – Track 2
An ascending motif with the inside groupings creating a chromatic enclosure resolving
to the major 3rd
Stave 3 – Track 3
The first note of each group of 2 is the next note of the scale, linked together with
chromatic lead tones
24
From here on the tihais are composed over II-V7-I progressions
Example 4.2
Stave 1 – Track 4
Leading tone to root note and use of hammer on technique.
Konnnakol = Ta Ka – Ta Ka Di Mi - Ta Ka – Ta Ka Di Mi – Ta Ka
Stave 2 – Track 5
This example does not utilise root notes of the chord but uses chromatic enclosures for
the internal structures.
Stave 3 – Track 6
The line is based on a 2 bar C7 chord thereby using a tonal centre over the II-V7
progression. The key notes simply move up through the C scale resolving to the tonic.
25
Example 4.3
Stave 1 – Track 7
The use of crotchets disguises the groupings to some extent. The repeated motif of the
internal 5 grouping serves as an obligato line against the moving outer part.
Konnakol = Ta-a – Ta-a Ta Ki Ta – Ta-a – Ta-a Ta Ki Ta – Ta-a
Stave 2 – track 8
This tihai makes use of two ascending motifs. This will be a common approach through
many of the variations in this series.
Konnakol = Ta Ka – Ta-a Ta Ki Ta – Ta Ka – Ta-a Ta Ki Ta – Ta Ka
Stave 3 – Track 9
A simple chromaticised ascending scale progression. Even though there is a strong clash
of notes when the C# lands on beat 1 of the C7 bar, the overall logic of the line justifies
the accidental to the ear and there is a strong resolution to the tonic to finish the phrase.
Konnakol = Ta Ka – Ta-a Ta Ki Ta – Ta Ka – Ta-a Ta Ki Ta – Ta Ka
26
The phrases are now longer than 2 bars so how to approach the chord and what
the most likely preceding chord is need to be considered. These examples assume there
is a V of II in the preceding bar.
Example 4.4
Stave 1 – Track 10
This is based on two ascending scale fragments moving in parallel, resolving to the 3rd
of the tonic.
Konnakol = Ta-a – Ta Ka Di Mi Ta Ka - Ta-a – Ta Ka Di Mi Ta Ka – Ta Ka
Descending triadic shapes moving in ascending fashion resolving to the 9th.
Konnakol = Ta Ka – Ta-a-a Ta Ki Ta - Ta Ka – Ta-a-a Ta Ki Ta – Ta Ka
This tihai utilises the same phrasing as example 4.4.2 but with a chromatic and less
expansive melodic approach with a scale as its framework.
Konnakol = Ta Ka – Ta-a-a Ta Ki Ta - Ta Ka – Ta-a-a Ta Ki Ta – Ta Ka
27
Example 4.5
Each note of the external groupings is based on the sequence of notes from the Gm triad
with a semitone embellishment.
Konnakol = Ta Ki Ta – Ta Ka - Ta Ki Ta – Ta Ka – Ta Ki Ta
Alternating descending and ascending triads with enclosures linking them together.
This tihai is again based on a scale with chromatic approach tones.
28
Example 4.6
G minor triad linked with chromatic internal groups.
Konnakol = Ta Ki Ta – Ta-a Di-i - Ta Ki Ta – Ta-a Di-i – Ta Ki Ta
Alternating descending and ascending triads with chromatic internal groupings.
Konnakol = Ta Ki Ta – Ta Ka Di Mi - Ta Ki Ta – Ta Ka Di Mi – Ta Ki Ta
External groups outlining a scale linked with chromatic internal groupings.
Konnakol = Ta Ki Ta – Ta Ka Di Mi - Ta Ki Ta – Ta Ka Di Mi – Ta Ki Ta
29
Example 4.7
More use of hammer on technique to accentuate the 5 grouping. This is more of an
intervallic approach rather than scale or triad based.
Konnakol = Ta Ki Ta – Ta Di Ki Na Thom - Ta Ki Ta – Ta Di Ki Na Thom – Ta Ki Ta
The external groups are a simple major triad with descending triadic structures for the
internal groupings.
Konnakol = Ta-a-a – Ta Di Ki Na Thom – Ta-a-a – Ta Di Ki Na Thom – Ta-a-a
Hammer on technique incorporating both an intervallic and scale tone approach.
Konnakol = Ta Ki Ta – Ta Di Ki Na Thom - Ta Ki Ta – Ta Di Ki Na Thom – Ta Ki Ta
30
The series jumps to a 3-7 tihai, skipping 3-6 as 3-6 is comprised of too many 3
groupings. This group of tihais is a little more challenging to execute as the phrases are
longer and there is a lot of rhythmic displacement.
Example 4.8
This is a triad based sequence with some chromaticism of scale type passages internally.
Konnakol = Ta Ki Ta – Ta-a Di-i Ki Na Thom - Ta Ki Ta – Ta-a Di-i Ki Na Thom
– Ta Ki Ta
Alternating ascending and descending triads resolving to the 5th. Some use of chromatic
leading tones.
Konnakol = Ta Ki Ta – Ta-a Di-i Ki Na Thom - Ta Ki Ta – Ta-a Di-i Ki Na Thom
– Ta Ki Ta
Based on a scale progression with a mix of the hammer on technique and chromatic
enclosures. As the phrases get longer it is possible to use a variety of approaches within
one tihai.
Konnakol = Ta Ki Ta – Ta Ka Di Mi Ta Di-i - Ta Ki Ta – Ta Ka Di Mi Ta Di-i
– Ta Ki Ta
31
From this point on all the tihais are based on quaver triplets. The execution of
these is generally much more challenging but the rhythmic displacement is very
effective.
Example 4.9
Chromatic enclosures start the external phrases leading in to strong chord tones. The
first note of each internal phrase is a rest, notated in Konnakol in parentheses
Konnakol = Ta Ka Di Mi – (Ta) Ka - Ta Ka Di Mi – (Ta) Ka - Ta Ka Di Mi
This starts the same as the previous tihai but makes use of wider intervals and resolves
to the 9ths of each chord.
Konnakol = Ta Ka Di Mi – Ta-a - Ta Ka Di Mi – Ta-a - Ta Ka Di Mi
A simple sequence of descending triads in ascending order, the internal groups have
been omitted entirely so there is just a rest.
Konnakol = Ta Ka Di Mi – (Ta Ka) - Ta Ka Di Mi – (Ta Ka) - Ta Ka Di Mi
32
Example 4.10
A chromaticised scale approach. The natural 4th is avoided on the F7 by using the B
natural instead, creating a lydian dominant sound.
Konnakol = Ta Ka Di Mi – Ta-a-a - Ta Ka Di Mi – Ta-a-a – Ta Ka Di Mi
Leading tones to descending triadic shapes resolving to the major 6th.
A very obvious arpeggiated sequence of motifs moving in ascending order. This has a
very clear pattern but is very challenging to play in all positions on the double bass as it
covers a wide range in a short space of time.
33
Sequence 4-4-4-4-4 has also been omitted as it is desirable to have variety
between internal and external groupings.
Example 4.11
Based on ascending scale fragments with chromatic leading tones resolving to the
Major 7th of Bb Major.
Konnakol = Ta Ka Di-i - Ta-a Ta Ki Ta - Ta Ka Di-i - Ta-a Ta Ki Ta – Ta Ka Di-i
A purely diatonic series of alternating ascending and descending triads with little
rhythmic variation. The shape of the phrases helps to outline the rhythmic groupings.
Konnakol = Ta Ka Di Mi - Ta-a Ta Ki Ta - Ta Ka Di Mi - Ta-a Ta Ki Ta – Ta Ka Di Mi
This example also lacks any accidentals and is simply a series of descending arpeggio
fragments resolving to the 3rd.
Konnakol = Ta Ka Di Mi – Ta Ki Ta Thom - Ta Ka Di Mi – Ta Ki Ta Thom
– Ta Ka Di Mi
34
The next series fits very conveniently into two bars, making it easier to
incorporate into an improvised setting. There is still sufficient internal rhythmic
variation to make it interesting but when playing with an ensemble it will be easier to
hear where the start point and resolution point are in relation to the other musicians.
Example 4.12
This tihai starts with a chromatic enclosure resolving to a strong chord tone on the first
internal grouping. This approach continues to the resolution on the major 3rd.
Konnakol = Ta Ka Di Mi – Ta-a Ki-i Ta-a - Ta Ka Di Mi - Ta Ka Di Mi
– Ta-a Ki-i Ta-a - Ta Ka Di Mi
In this variation the phrase revolves around a high D creating a call and answer effect.
There is no chromaticism.
Konnakol = Ta-a Ka-a – Ta Ki Ta Ta-a Ka - Ta-a Ka-a – Ta Ki Ta Ta-a Ka – Ta-a Ka-a
Once again there is no chromaticism but the hammer on technique is utilised again in
the strong 3 and 4 groupings. The faster this one is played the more effective it sounds.
Konnakol = Ta Ka Di Mi – Ta-a Ka Ta Ki Ta – Ta Ka Di Mi – Ta-a Ka Ta Ki Ta
– Ta Ka Di Mi
35
This is the final series of tihais. Within the entire series there have been
groupings from 2 up to 7. As the groupings get higher it is obvious that combinations of
smaller groupings can make up the larger groupings. Once the practitioner has worked
through a number of these it becomes very easy to compose new, longer structures and
improvise them.
Example 4.13
Chromaticised scale resolving to the tonic. This recurrent theme is useful as it fits easily
under the fingers.
Konnakol = Ta Di Ki Na Thom – Ta-a - Ta Di Ki Na Thom – Ta-a
– Ta Di Ki Na Thom
Based on descending triads moving in ascending order with a chromatic enclosure
around the first note of each triad.
Konnakol = Ta Di Ki Na Thom – (Ta Ka) - Ta Di Ki Na Thom – (Ta Ka) –
Ta Di Ki Na Thom
A simple arpeggiated pattern, once again using the B natural over the F7 chord to create
a lydian dominant sound.
Konnakol = Ta Di Ki Na Thom – Ta-a - Ta Di Ki Na Thom – Ta-a –
Ta Di Ki Na Thom
36
Example 4.14
This example uses the same chromaticised scale so it is easy to see how just by adding
an extra rhythmic unit in the internal groupings it is possible to adapt the same phrase to
various tihai durations.
Konnakol = Ta Di Ki Na Thom – Ta-a-a - Ta Di Ki Na Thom – Ta-a-a
- Ta Di Ki Na Thom
Descending triads against ascending internal groupings.
Konnakol = Ta Di Ki Na Thom – Ta-a-a - Ta Di Ki Na Thom – Ta-a-a
- Ta Di Ki Na Thom
This tihai is quite simple in its note choices but difficult to execute because the melodic
structures are so strong that the rhythmic displacement effect is in contrast to where the
bar lines actually are.
Konnakol = Ta-a Di Na-a – Ta Ki Ta – Ta-a Di Na-a – Ta Ki Ta – Ta-a Di Na-a
37
Example 4.15
Once again the chromaticised scale is used here but as the internal groupings are getting
longer there is scope to add in another note without overcomplicating the line.
Konnakol = Ta Di Ki Na Thom – Ta-a Ka-a - Ta Di Ki Na Thom – Ta-a Ka-a
Another relatively simple approach using scale fragments but again quite difficult to
execute as the phrases are deceptive with regards to accents and where they lie against
the beat.
Konnakol = Ta Ka Ta-a-a – Ta Ka Di Mi - Ta Ka Ta-a-a – Ta Ka Di Mi
– Ta Ka Ta-a-a
As before, this tihai is constructed of enclosures around the first note of the triads but
with more notes in the internal parts.
Konnakol = Ta Di Ki Na Thom – Ta-a Ka-a - Ta Di Ki Na Thom – Ta-a Ka-a
38
The final set of tihais are again slightly longer than two bars so it makes sense to
assume a V7 of II-7 as the preceding chord. This is largely irrelevant though as the
phrase starts on the weakest point of the bar so any notes may be used as long as they
lead into the next bar.
Example 4.16
Chromaticised scale with further augmentation and variation of internal groups.
Konnakol = Ta Di Ki Na Thom – Ta-a-a Di-i Na - Ta Di Ki Na Thom - Ta-a-a Di-i Na
- Ta Di Ki Na Thom
A more diatonic scale approach with occasional chromatic leading tones and intervallic
jumps.
Konnakol = Ta Ka Ta-a-a - Ta Ki Ta T-a Ka - Ta Ka Ta-a-a - Ta Ki Ta T-a Ka
- Ta Ka Ta-a-a
The final tihai is based on descending tetrads beginning with an ascending leading note,
linked by intervallic internal movement.
Konnakol = Ta Di Ki Na Thom – Ta-a-a Ka-a-a - Ta Di Ki Na Thom - Ta-a-a Ka-a-a
- Ta Di Ki Na Thom
39
5 CONCLUSION
It is possible to develop a language that combines both the intricacies of jazz
harmony and the complex rhythmic tihai structures. This becomes evident quite quickly
once one starts to memorise a single form and incorporate it over a set of changes at a
predetermined point in the music. Just as with the process of learning a II-V jazz line for
example, there is a period of pre-composition within an improvisation while the passage
is assimilated into the player’s muscle memory. In the short term, perhaps a month,
depending on time spent and the difficulty of the line and form, it is conceivable to
internalize one or two tihai based lines to the degree that their implementation is
intuitive and effortless. This process will speed up the more this approach is considered,
practiced and utilised. Limiting oneself to a particular set will also help to speed up the
internalisation process of that entire set. For example, the learner might begin with just
the 2-x-2-x-2 set as they are shorter and will fit in to less bars, thereby limiting the cross
bar line phrasing that occurs as the sets get longer. As the internal groupings are the
only rhythmic variable it will be quicker to conceptualise and execute tihais exclusively
from this set when improvising rather than having a wider choice of tihais to choose
from. Drawing from a wider range of tihai sets, or the full complement of 48 included
in this paper for instance, will take considerably longer to internalise. This could be a
process and practice regime that could last for a number of years. However the benefits
of following this regime, as with any other regime in music, is that the more one focuses
on a singular and definite approach, the more that approach can evolve with the player,
becoming more intuitive, more musical, less contrived and ultimately more enjoyable.
Artists strive for freedom of expression within their medium so that is the ultimate goal
in using this approach, freedom of expression using a complex rhythmic template. As
the phrases get longer, they become more difficult. Likewise, as the subdivisions change
and move away from quavers they to add complexity and more time is required to
internalise and understand the structure and nature of each tihai. Many variations on the
main theme of each tihai will start to suggest themselves as they are played it is simple
40
to come up with entirely original versions with just a few fundamental approaches.
It may be desirable but not essential that fellow musicians are also well versed in
this language to allow meaningful interaction within the style, however much of the
research conducted in the writing of this paper has shown that as often as not, only one
or two musicians in a group are really conversant in this style while the others play in a
more conventional way within the jazz idiom. This is not detrimental to the music as
jazz has evolved in such a way as to allow many individuals with their own unique
musical interests and stylistic traits to converse and interact very effectively in a way
that benefits the overall musical outcome. In short, common language allows interaction
but variety adds colour.
In the process of researching for this paper, many examples of Carnatic/jazz
fusion have presented themselves. This area is becoming more and more popular with
highly skilled musicians from all practises. There are now many incredible examples of
Indian musicians incorporating jazz solos, compositions and methods in to their own
practice so it is very much a two street. How this coalesces into a definable idiom
remains to be seen, as there are so many ways to combine the many aspects of music,
but it is certain that the knowledge and use of these interesting and complex approaches
will be an invaluable part of an improviser’s language. This paper has proposed just one
possible method for contributing to this new language. By developing a universal
system to converse in this new and evolving musical landscape, there is now a
foundation to build upon governed by a simple set of rules. This is a key attribute to
developing an improvisatory method, and one which was established and maintained
from the beginning of the study. If there are too many “rules” to remember then the
ability to improvise is impaired. By having a simple framework as laid out in this paper,
it becomes easier to conceptualise and implement the improvisatory approach.
 Tihai
 Scale
 Triad/Arpeggio
41
 Chromatic voice leading
The other important aspect of this simplicity is that in order to improvise, the sound
of the phrase must be in the musician’s musical memory. A simple melody or melodic
approach will be more easily recalled than a complex one. The most complex part of
this system to a jazz musician will be the tihai element. This method assumes a certain
level of experience in jazz from the practitioner but given to an Indian musician or non-
jazz musician it will present a different set of challenges. A further simplified format
may have to be considered in order to be effective but, as the elements included in this
paper are clearly defined, the overall method could be adapted very effectively to the
required level. For example, the notes used could be restricted to a basic triad,
augmenting with chromatic tones when required. The rhythmic density of the tihai
could be limited to allow more complex or adventurous note choices.
Further exploration, experimentation and collaboration will greatly benefit this
work and contribute to the ever growing field of Carnatic/jazz fusion. A period of years,
rather than months of intensive practice and research are required to fully understand
and develop the techniques presented, with the aim being to be fully conversant in an
improvised context. The final track (track 49) on the accompanying CD is a recording
of an improvisation over a blues called “Turnaround”, by Ornette Coleman. It features
my working trio F-JoB with Greg Felton on piano and Matt Jacobson on drums. In this
piece I solo while using the tihai 5-2-5-2-5. I improvised each of the tihais but there are
phrases used that occur in the composed tihais in chapter 4. The other members of the
trio do not phrase with me but keep a steady swing time feel so that it is possible to hear
how the rhythmic structure works against a uniform backing.
42
BIBLIOGRAPHY
Hamilton, L. (2009) Jazz grammar : the application of linguistic devices for the
beginning improviser. Dublin. DIT
Mani, T.A.S. (2003). Sogasuga Mridanga Taalamu: A reference book on South Indian
percussion mridangam, Part 1. Bangalore: K.C.P. Publications
Mani, T.A.S. (2003). Sogasuga Mridanga Taalamu: A reference book on South Indian
percussion mridangam, Part 2. Bangalore: K.C.P. Publications
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people,Third Edition. New York: Simon and Schuster MacMillan
Subramaniam, L & Subramaniam, V. (1999). Euphony: Indian classical music. Madras:

Eastwest Books
Sher, C & Johnson, M. (2005). Concepts for bass soloing. California: Sher Music Co.
WEBOGRAPHY
Mad Rasana
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Marc Rossi. 2013

http://sessionville.com/articles/the-influence-of-indian-music-on-jazz
Autoethnography: An Overview (http://nbn-resolving.de/urn:nbn:de:0114-fqs110 1108,

accessed 1 September 2018).
Mohini Dey
https://www.youtube.com/watch?v=o4imiKBwDoc
Nandi Eka Aneka

Pascal Lovergne / Bass, Konnokol
Suresh Vaidyanathan / Ghatam, Kanjira, Morsing, Konnokol
Stefan Orins / Piano
https://www.youtube.com/watch?v=OY84iK1ftU8
43
Shakti, Shringar
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John McLaughlin and Shakti. Joy (Live Montreaux 1976)

https://www.youtube.com/watch?v=VnW2g6qbbrA
John McLaughlin Trio. Are You’re the one? (Antibes 1990) 12.35
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twist/article3931766.ece
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Iyer, V. (2003).Bloodsutra: “Because of guns”. Artists House
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45
APPENDIX A
46
47
APPENDIX B
48
49
APPENDIX C
50
51
52
53
54
55
APPENDIX D
56

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A Practical Approach to the Amalgamation of Carnatic

and Jazz Practises for Double Bass

Submitted to the Dublin Institute of Technology in candidature for the Degree of

Dublin Institute of Technology

Conservatory of Music and Drama

Supervisor: Dr. Mike Nielsen

Cormac OBrien B.A (hons)

Dublin Institute of Technology September, 2018

TABLE OF CONTENTS iii

2. OVERVIEW OF CURRENT PRACTICES AND ANALYSIS 7

3. DEVELOPMENT OF PRACTICE METHOD 14

4. THESAURUS OF MELODIC TIHAIS 23

13. Example 4.5 Tihai Structure 3-2-3-2-3 Stave 1

25. Example 4.9 Tihai Structure 4-2-4-2-4 Stave 1

37. Example 4.13 Tihai Structure 5-2-5-2-5 Stave 1

49. Double Bass improvisation over “Turnaround” c. Ornette Coleman

1.2 Auto-Ethnographical Research

1.4 Overview of Jazz

1.5 Indian/Jazz fusion

2.1 Music Education in India

2.2 Carnatic Music

2.4 Combining the Elements

2.5 Selected Vijay Iyer compositions – “Because of guns” and “Configurations”

2.5.1. Because of Guns

Example 2.1, bars 5-6

Example 2.3, bar 12

Example 2.5, bars 103-109

Though the entire form of “Configurations” is based on Carnatic rhythmic

3.1 Use Of Konnakol

3.2 Basic Patterns

3.3 Construction of the tihai

3.4 Applying melodic structures to the tihai

3.5 Modulating the subdivision

Example 3.8 Bar 8 “Because of guns”

3.7 Altering the tihai duration

3.8 Use of underlying harmonic structures

example, there is a period of pre-composition within an improvisation while the passage

in using this approach, freedom of expression using a complex rhythmic template. As

but variety adds colour.

In the process of researching for this paper, many examples of Carnatic/jazz

possible method for contributing to this new language. By developing a universal

it becomes easier to conceptualise and implement the improvisatory approach.

could be limited to allow more complex or adventurous note choices.

Further exploration, experimentation and collaboration will greatly benefit this

of an improvisation over a blues called “Turnaround”, by Ornette Coleman. It features

how the rhythmic structure works against a uniform backing.

Subramaniam, L & Subramaniam, V. (1999). Euphony: Indian classical music. Madras:

Marc Rossi. 2013

Autoethnography: An Overview (http://nbn-resolving.de/urn:nbn:de:0114-fqs110 1108,

Nandi Eka Aneka

John McLaughlin and Shakti. Joy (Live Montreaux 1976)

Bruno Raberg. Jazz Meets South Indian Carnatic Music

Neha Mujumdar. The Hindu (2012)

Kadri Gopalnath. Saxophone UK Concert

George Brooks, Larry Coryell, Zakir Hussain, Dubai 2002

Farmers Market (1997) Musikk Fra Hybridene, “Ornamentology”. Kirkelig

Iyer, V. (2001). Panoptic modes: “Configurations”. Red Giant

McLaughlin, J (1991) Que alegria: “Que alegria”. Verve