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A request to amateur composers who visit this page

Topic started by Vijay (@ 212.137.205.127) on Thu Nov 16 16:58:22 EST 2000.
All times in EST +10:30 for IST.

I'd like to request amateur composers who visit this page to tell me if they've uploaded any of their work onto the internet and if they have, please tell me where I can listen to it. Thank You.

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Some composers to check out (in no particular order): Jay, Srikanth, Ganesh, Eswar, Sridhar Seetharaman, Kumar, Rjay. Vishwesh Obla

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Responses:

• Old responses
  
• From: Jay. (@ 66.28.42.140) on: Mon Sep 15 14:28:25 EDT 2003
  
  Raj,
  In western music the mood created by the chord voicings. Ex: A minor chord suits best for a melancholy mood while a major chord has a very bright tone to it.
  
  
• From: rjay (@ 156.77.105.123) on: Mon Sep 15 16:23:19 EDT 2003
  
  Raj Sekhar
  
  Even though it is not very obvious and known,
  western pop uses a lot of other scales, not just
  minor and major.
  
  For instance, Start with C and play all white notes and end with C, you get our Dheera Sankarabharanam. This corresponds to C major and is also call Ionian mode.
  
  Start with D and play all the white notes, you get Karaharapriya. This corresponds to Dorian mode. Lots of lullabies and ballads use this mode.
  
  Start with E and play all white notes and end in E. You get Todi (Sindhu Bhairavi). This is called
  Phrygian mode (E minor).
  
  Start with F, you get Kalyani - Lydian.
  
  Start with G, you get Harikambodhi - Hypopurigion.
  
  Start with A, you get Natabhairavi - Hypodoric.
  
  Start with B, you get Nilambari - or Locrian mode.
  
  And there are many other scales in Jazz and Blues.
  Sivaranjani for instance is a good blues scale.
  
  These are probably the 5% of the ragas that get used 80% of the time!
  
  All composers from THyagaraja to Beethoven, to Ilaiyaraja, tend to use these important ragams and scales the most. Even amongst these, Sankarabharanam is most often used, followed by Karaharapriya, followed by Harikambodhi and then Kalyani,
  followed by others. I found a good analysis of Dikshitar's kritis statistics by Raga.
  
  All other scales (melakartas) are more and more asymetric and hence more esoteric and less universal appeal. For instance, Shanmugapriya, which gives us a devotional trance, might be seen
  disorienting by a guy from Minnesota. So if you
  are an upcoming composer who wants to compose for others, make sure most of your mainstream tunes stick to these most popular scales and their pentatonic reductions. You will have more chance of mass appeal, if that is what you want.
  
  Rahman cleverly chooses scales and ragas very popular in North Indian traditions to make sure of the hit potential in both south and north.
  In Boys, we see a movement to pentatonics, which
  should appeal to wider audience.
  
  
  
• From: Divakar (@ 68.106.96.22) on: Mon Sep 15 17:09:10 EDT 2003
  
  Rjay,
  at the risk of sounding too puritan, I wanna say while I appreciate the general idea you are trying to drive here, I also wanna point out that Locrian Mode (with B) is not Nilambari (both Carnatic in Janya Sankarabharanam and Hindustani in THaat Kafi). Infact we dont have, in the strictest sense of the notes in the scale, an equivalent raga (Melakartha) for the simple reason locrian mode changes our Sa Pa fixed attributes. Locarian Mode would be Sa, Re1, Ga2, Ma, Ma2, Dha1, Ni2, Sa'..we dont have such a system though one might tend to introduce Misra swaras and have a much more versatile scale than Locrian...
  Anyway this is just a side note and your main idea of moving thru the white keys and forming different modes still holds good!
  
  
  
• From: Divakar (@ 68.106.96.22) on: Mon Sep 15 17:26:07 EDT 2003
  
  BTW thats just a concept of Grahabedham when you start with DheeraShankaraBharanam till you hit the Swara Ni (B, locrian) where you end up having two MA's which is not allowed in our system....
  for more on this
  chek out http://www.geocities.com/Vienna/Strasse/5926/section3_9.htm
  
  
• From: D. Rak Sekhar (@ 61.2.236.112) on: Mon Sep 15 22:23:36 EDT 2003
  
  RJay,
  
  That was a fantastic explanation. It was really helpful. I had never known that western scales/modes and carnatic ragas were same. It was indeed nice. Btw., is there any page on the net where I can find which RAGA is for which type of songs (like you said Karaharapriya for lullabies and ballads) and if possible the construction of the raga (like Sa, Re1, Ga2, Ma, Ma2, Dha1, Ni2, Sa) and the Scale/Mode equivalent of Western Music?
  
  Can you please help?
  
  - DRS
  
  
• From: Sam (@ 132.235.18.15) on: Mon Sep 15 23:31:12 EDT 2003
  
  hi there,
  
  This is the Jeans Theme music, I have sequenced and arranged in on Yamah PSR 550 and then plugged it into the mic of the computer and recorded it as an mp3. The sound quality is not that great. Kindly let me know ur comments
  
  www.ent.ohiou.edu/~samkolli
  
  Go there and click on Jeans THeme or go here directly
  
  http://www.ent.ohiou.edu/~samkolli/nisarisa.mp3
  
  REgards,
  Sam
  
  
  
• From: Aditya (@ 68.62.91.125) on: Tue Sep 16 08:08:46 EDT 2003
  
  Sam: so far you've surprised many musicians here with your questions, observations and analysis...your avid interest and knowledge in harmony is appreciable...I am glad that you made this sequence and you deserve a good appreciation...Very well done. Good Job.
  
  I guess Srik and Swamiji/Kishmu's appreciation of your piece will be rewarding...
  
  Regards,
  Aditya
  
  
• From: rjay (@ 156.77.105.123) on: Tue Sep 16 09:28:49 EDT 2003
  
  Divakar,
  
  Thanks for the update and the link, I have to read and correct my understanding..
  
  Raj Sekhar
  You might find many sites showing Raga constructions, if you do a google search.
  Let me know if you cant find one.
  
  rjay
  
  
• From: Radhika (@ 151.198.169.211) on: Tue Sep 16 09:32:33 EDT 2003
  
  Sam,
  Excellent!!! Very nicely done!!!
  
  
• From: D. Raj Sekhar (@ 61.1.203.178) on: Tue Sep 16 10:01:46 EDT 2003
  
  RJay,
  
  Yea, I 'google'd but I only got sites showing the basic construction of ragas. It was helpful but it would have been better if it included the emotions each raga conveys explicitly? Is there any site giving information on that subject?
  
  Also, since you are very knowledged on Carnatic music, I will ask you another of my big doubts. Why is that almost all carnatic 'singers' are able to say the 'raga' in which the song is based upon on hearing only once (inspite of there being about 72 ragas) but people (keyboardists) trained in Western Music are able to tell the key in which the song is based upon only after finding the actual notes of the song? Especially, when there are only about 24/25 scales in this kind of music?
  
  Also, kindly correct me if I am wrong.
  
  - DRS
  
  
• From: Srik (@ 64.80.98.165) on: Tue Sep 16 10:23:31 EDT 2003
  
  D.R.S, -- This comes by just hearing, hearing, and only hearing.
  Raga is a sound pattern generated by a set of defined notes arranged in a defined format.
  Each raga has something called as prayogam, meaning usage of notes, just mere sa re ga pa dha sa does not give mohanam, we need to give certain emphasis on certain notes and need to form the notes in certain order to get (purified) mohanam.
  Something like a painting, a light blue can be a sky or water; it is the artist’s usage makes it look like a sky or water.
  
  Identifying a raga can by learnt by hearing some light ragas (to identity) like Kalyani mohanam, abogi in film songs. First Easy songs and then step into hardcore Carnatic music just go to concerts. Will take time but will get it.
  On Western scales it is slightly harder, as we need to identity a group of notes. Comes by practice, just hear, hear and hear.
  
  
• From: Srik (@ 64.80.98.165) on: Tue Sep 16 10:26:52 EDT 2003
  
  Western Music are able to tell the key
  in which the song is based upon only after finding the actual notes of the song?
  -- actually many can hear and identify the key. This is called perfect pitch, there are special training to attain this. It will take time but works well once you have mastered it.
  :)
  
  
• From: D. Raj Sekhar (@ 61.2.236.103) on: Tue Sep 16 10:27:46 EDT 2003
  
  Srik,
  
  So, just by practicing 'hearing' songs and combining it with 'scales' practice, we can identify the key just by hearing it? That is, without going into the process of finding the individual notes? I am confused! :-
  
  Can you please explain?
  
  - DRS
  
  
• From: Srik (@ 64.80.98.165) on: Tue Sep 16 10:30:42 EDT 2003
  
  in simple words, each chord or note has an unique sound when played. we need to identify it. :)
  
  
• From: D. Raj Sekhar (@ 61.2.236.103) on: Tue Sep 16 10:36:11 EDT 2003
  
  Srik,
  
  Thanks for that reply. Now, can I bring you to a previous question of mine to you? Probably, you had not noticed it. Well, anyway, here it goes:
  
  "I remember that once here you had told that you were the one who did "Mahakavi" album. And, in your interview to Dhivanii.com, you had told that you had achieved grades from Musee Musicals, Chennai. Since I am also in Chennai, I would like to learn music. So, can you please give me more info as to what sort of grades you had pursued? Was that in Theory or Keyboarding or Piano? Which music college's affliation? How long will the course take? Kindly fill me in. "
  
  - DRS
  
  
  
• From: UV (@ 134.113.62.201) on: Tue Sep 16 10:44:16 EDT 2003
  
  sam very nice man
  great job. well played
  
  
• From: Srik (@ 64.80.98.165) on: Tue Sep 16 10:48:51 EDT 2003
  
  Affilation:Trinity London.
  Course: Grades in classical Piano (includes solo, accompanying and duets and what not), this also includes music theory, sight reading, writing and perfect pitch etc.
  Teacher:Mr.John Jacob. This took me about xx (1989-xxxx -- I am still learning) :)
  seriously 10 years ago, exam fees were little more for middle class chennaians to afford, so i had to dropout after completing some serious stuff. Took a job instead.
  :)
  
  
• From: D. Raj Sekhar (@ 61.2.236.103) on: Tue Sep 16 10:48:59 EDT 2003
  
  Srik? U There?
  
  - DRS
  
  

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