Topic started by rjay (@ 206.152.113.140) on Thu Aug 24 12:45:43 EDT 2000.
All times in EST +10:30 for IST.
Composing Secrets - Tracks and Instruments
Most songs have the following structure:(you can
think of them as parallel tracks)
1. Melody
2. Bass
3. Chord/Accompaniment
4. Drums
5. Percussion
Melody is sung by the singer or could be the
'solo' played by an instrument, when singer
is taking breath. In most music,
melody states the theme of the song/composition
and carries the emotion. All the other tracks
should provide a context to what is says or
reinforce and enhance it.
Human voice, flute, sax, trumpet, and synthetic
sounds serve well as melody instruments.
Drums set the basic pulse and rhythm and there
are many drum kits: acoustic, jazz, techno(used
in ;chandralekha - Thiruda; for example), power
(pottu vaitha kadhal thittam) and many many more.
Bass is usually played by a double bass - huge
violin, plucked like a guitar, or with a guitar
itself. With electronics, synth bass sounds are
generated from keyboard itself(kadalikkum pennin
kaigal - has a wonderful synth bass sound
in its intro.) Slap, Electric, Fretless,
are a few more common sounds. I will get you
recordings of these in isolation.
Accompaniment or backing is usually provided
by piano or guitar class of instruments.
And there are two types: block chords, where
you play the whole chords and hold them,
versus arpeggio and broken chords where
you strike the notes one after another.
In most western music, piano and guitar
are 2 pieces of the five piece orchestra
(voice, piano, guitar, strings, drums)
Strings typically provide counterpoint,
but can also play accompaniment.
My definition, Counterpoint is nothing but alternate melody
which either responds to the lead melody
or plays against it. Examples to follow.
Percussion is the name given by westerners
to all non-western beat instruments! ;)
Shakers, Morocos (chicku chiku) and sticks
and claves and others are examples.
Even bongos (from Africa) and our Tabla are
named percussion, but they are actually
drums because they can play alone and provide
rhythm without the drums.
We can proceed learning in two ways:
(i) We will explore the General midi sounds
128 instruments (16 categories and 8 in each)
and one drum kit. We will take each sound one
by one and learn to identify it and see what
its unique value is and how it has been used
in TFM. I can upload audio demos.
(ii) We can later see the song structure along time
axis (measures) - in terms of intro, theme, break, pallavi
, charanam structure and learn how orchestration
is effectively varied to serve the needs of
the listener at each position.
Basically, tracks and measures are the two
dimensions to understand a composition.
As an aid we can pull apart some famous songs of your choice to see how they are put together. And I can take one of my own compositions and share what thoughts and decisions guided its creation.
Game?
Here is a link to the tutorial that RJay has prepared:
Melody Making Exercise.
Responses:
- Old responses
- From: Udhaya (@ 69.19.157.178)
on: Fri May 16 16:08:11 EDT 2003
4. Now sing the songs pallavi melody outline using our phrase.
rjay,
step 4 above is where I lose you. Is this exercise only for musicians? I don't get what you're talking about after step 3. Of course, lyric writing is easier than all this for me.
From experience, I can say, I break down the tune into humming blocks (irrespective of musical phrasing) that is:
Da Da | Dadadada | Dee
in lay terms I turned this sandham as:
thaanaa thananana nee
and got:
vaadaa valarpirai nee
I'm just saying all this to show I got to the end lyrics in an entirely non-musical way. Now, I want to understand your phrasing way of doing it. Can you explain further? Or am I an LKG level stepping into a Ph.D. class here?
- From: rjay (@ 156.77.105.121)
on: Fri May 16 16:33:06 EDT 2003
Udhaya
Your step 4 is from the first exercise (melody understanding exercise) which is for musicians to simplify a melody line. If you wanted to find the skeleton of a melody you can do this.
Second exercise (Exercise for lyric writers) is for musicians or non-writers who want to start writing lyrics. No musical steps involved in it.
- From: rjay (@ 156.77.105.121)
on: Fri May 16 17:24:38 EDT 2003
UV, Looking forward to hearing your mohanam piece.
- From: Udhaya (@ 64.136.26.232)
on: Fri May 16 17:40:44 EDT 2003
rjay,
I get it. I strike out on both counts, no wonder I was stumped. Anyway, carry on the brilliant work. Even though you're breaking down the art of composing into basic elements, the artistic freedom you invite, and the way you demystify the composer's capability is refreshing. If everyone did this to an extent in their fields, especially in the arts, the playing field will be much larger. Your attempt is Uthopian, man. I applaud you. Knowledge should be shareware.
- From: bb (@ 206.154.118.2)
on: Fri May 16 18:52:06 EDT 2003
RJay, here is the melody making exercise file:
http://www.newtfmpage.com/cgi-bin/stream.pl?url=http://www.dhool.com/melody.rm
- From: satsona (@ 203.199.192.162)
on: Mon May 19 07:21:32 EDT 2003
>>Mass publication of music and movies raised the standards to such a high level that a whole state of 4 crore people has only 10 composers and out of them only 2 prominent ones? and remaining 3 crores and so many lakhs and 98 people blind consumers? >>
of course we can make contributions, but if we want to create a masterpiece and make a mark in the industry,it needs a hell a lot of effort, and there is nothing wrong in praising Raja or Rahman for their efforts, they deserve it.
btw, your method and dedication w.r.t the explanation is superb.
- From: satsona (@ 203.199.192.162)
on: Mon May 19 07:22:43 EDT 2003
>>Mass publication of music and movies raised the standards to such a high level that a whole state of 4 crore people has only 10 composers and out of them only 2 prominent ones? and remaining 3 crores and so many lakhs and 98 people blind consumers? >>
of course we can make contributions, but if we want to create a masterpiece and make a mark in the industry,it needs a hell a lot of effort, and there is nothing wrong in praising Raja or Rahman for their efforts, they deserve it.
btw, your method and dedication w.r.t the explanation is superb.
- From: satsona (@ 203.199.192.162)
on: Mon May 19 07:23:47 EDT 2003
>>Mass publication of music and movies raised the standards to such a high level that a whole state of 4 crore people has only 10 composers and out of them only 2 prominent ones? and remaining 3 crores and so many lakhs and 98 people blind consumers? >>
of course we can make contributions, but if we want to create a masterpiece and make a mark in the industry,it needs a hell a lot of effort, and there is nothing wrong in praising Raja or Rahman for their efforts, they deserve it.
btw, your method and dedication w.r.t the explanation is superb.
- From: satsona (@ 203.199.192.162)
on: Mon May 19 07:25:05 EDT 2003
TO FORUM ADMIN
SORRY FOR THE MULTIPLE POSTS ABOVE, BUT THERE SEEMS TO BE SOME PROBLEM. I AM NOT ABLE TO POST MY COMPLETE MESSAGE.
- From: Eswar (@ 12.236.23.149)
on: Mon May 19 17:14:49 EDT 2003
rjay,
Good job. I usually browse TFM, but never caught this thread. I myself being a composer, appreciate your work here.
Re: Genius and just hard work.
I remember someone saying (einstein?) that genius is 99% perspiration, 1% inspiration. That is an overwhelming majority in favour of perspiration, but cannot be 100% without the inspiration, can it? So, inspiration, or the "X" factor as UV says is as neccessary as dedication and hard work. Both are required. There are "born" geniuses, and "made" geniuses. 100% perspiration may make a "made" genius, but it cannot replace "born" genius. Just my 2 cents
Eswar
- From: rjay (@ 156.77.105.121)
on: Mon May 19 17:20:54 EDT 2003
Eswar, Satsona,
Inspiration strikes even lay person once in a while. We all get that surprising creative leap once or another time.
Genius tames inspiration through perspiration.
By practising the skills even when the flow is not there, genius opens the gates of inspiration... Often, if you force yourself to create when you dont feel like it, in a moment or two, you will see inspiration come.
Again, instead of talking about how it is, we should get into the habit and see for yourself. If we can avoid the word genius for a while, that might do us good!
BTW, the percentage quote I think is from Edison.
bb, thanks for the upload.
- From: rjay (@ 156.77.105.121)
on: Mon May 19 17:40:09 EDT 2003
Concept of melodic tension
--------------------------
Try singing Saasasa Saasasa Saasasa Saasasa
OK, now Sing Reeeeee.
See a tension.
Congratulation, you have composed a question phrase.
Now sing
Reeriri Reeriri Reeriri Reeriri
and sing
Saaa.
You feel the resolution. You have now answered the first phrase and completed a melody.
Here is the melody:
A: Saasasa | Saasasa | Saasasa | Saasasa
B: Ree | | |
C: Reeriri | Reeriri | Reeriri | Reeriri
D: Saa | | |
A to B goes from stable note to unstable note and this is increasing melodic tension.
C to D goes from unstable note to stable and this is resolution.
Here is what you can experiment:
What if:
(i) If instead of resolving from Ree to Saa, you go to Gaaa. You still increase the tension,
and postpone the resolution. This is how composers
extend their compositions and create more interest.
Try singing this:
A: Saasasa | Saasasa | Saasasa | Saasasa
B: Ree | | |
C: Reeriri | Reeriri | Reeriri | Reeriri
D: Gaa | | |
E: Gaagaga | gaagaga | Reeriri | Neenini
F: Saa
(ii) Option 2: In line 3 (C), you dont have to start from Ree, You can start from Ga!
So try this:
A: Saasasa | Saasasa | Saasasa | Saasasa
B: Ree | | |
C: Gaagaga | Gaagaga | Gaagaga | Gaagaga
D: Maa |
E: Paapapa | Gaagaga | Maamama | ReeriNi
F: Saa
This melody is more interesting than the first two, the tension is more and the range is more.
Try various simple melodies using this simple chandam.
If you want to create tune for prewritten lyrics, here is the trick:
Let us take Bharathiyar's Kaakkai chiraginilae.
Sing entire lines in a single swaram:
Use another swaram for the next line:
Let us take:
Sa
Kaakkai chiraginilae
Ree
Nandalaala
Ni
Kariya niram, thondrunthaiyae
Sa
Nandalaala
Here you got a beautiful simple tune, that has a
structure, it may not be sophisticated, but it is singable, and catchy!
If you want to add sophistication, here is what you do,
Dont touch the first line and the last. Add more swarastanams in between. Listen to this:
Sa
Kaakkai chiraginilae
Ree Gaa
Nanda laala
Ni Da Nee
Kariya niram, thondrunthaiyae
Sa
Nandalaala
Using this as skeletal melody, you can improvise
and get a beautiful melody.
- From: rjay (@ 156.77.105.121)
on: Mon May 19 17:46:48 EDT 2003
The last version should read like this:
Sa
Kaakkai chiraginilae
Ree
Nanda
Gaa
laala
Ni
Kariya niram,
Da
thondru
Nee
thaiyae
Sa
Nandalaala
Using this as skeletal melody, you can improvise
and get a beautiful melody.
Try playing the same tune in different scales, use Sankarabharanam, then try Kaanada.
Try different beat patterns and phrase rythms to sing this with.
Newbie tunes have too much micromovement and less macro-order. This exercise forces you to linger on every note enough and then move on. You then have the grasp of the structure and you can make micro variations AROUND this skeleton.
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