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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: isaiosai (@ 68.13.243.166) on: Sun Sep 15 22:15:18 EDT 2002
  
  Thought this may interest some here...listen to these songs from the Hindi movie Paanch. MD is Vishal Bharadhwaj...this generation music;-)
  
  Tamas - Dev Seb Gupta
  Main Khuda - Kay Kay/Sunidhi Chauhan (male/female ver.) sung in high pitch (shouting;-))
  Also a different Hariharan in Pakaa Mat:)
  
  http://www.raaga.com/channels/hindi/moviedetail.asp?mid=H000413
  
  
• From: satsona (@ 203.199.192.162) on: Mon Sep 16 07:01:46 EDT 2002
  
  krishnan, aditya
  
  great work by both of u...in ur respective compositions.
  
  however, i have a small doubt regarding the foll. statement made by both of u.
  "I have faced the same trauma..whenever we tried to compose in "Kharaharapriya/Sri Ranjani/Bhagesri" it ended up in major application of hamsdhwani..Maybe it is because the nishadham (NI) of hamsadhwani is so enchanting that i tend to rope it in many of our compositions."
  In the 12-swaras scale, "Kharaharapriya/Sri Ranjani/Bhagesri" have a different nishadam(Ni1) from that of Hamsadhwani(which has Ni2), then how can these be related?
  Please don't misunderstand my query, i am just curious. pls correct me if i am wrong.
  
  wishing u the very best in continuing ur compositions of new stuffs.
  
  cheers
  satsona
  
  
• From: Aditya (@ 160.231.5.124) on: Mon Sep 16 09:46:42 EDT 2002
  
  You're right Satsona..
  
  I intentionally changed the scales and built the same hamsadhwani melody in each. Now afterlistening on the whole I found that sometimes it appeared sometimes that I composed in "Sriranjani" because of the reference changes. But everything was same. It was not a trauma at all but an interesting observation.
  
  If we carefully chose the chords and harmony not to change the Scale reference in which your melody is written, then such a thing will not happen. Means it will sound like Hamsadhwani all the time or Sriranjani all the time.
  
  Usually if you build the harmony first, with logical chord progressions that will please your ears and then write the melody, then it's likely that you will end up in different indian ragas.
  
  BTW, trauma is a big word here:-))
  
  
• From: Aditya (@ 160.231.5.124) on: Mon Sep 16 09:55:46 EDT 2002
  
  Kicha:
  
  Though we don't want to bring names here...
  Please listen to the following in Ahirbhairavi
  - "Nadhir Dhinna" in Parthale Paravasam
  - "Sunta Hai" in Pukar
  
  Looking forward to listen a happy number in Ahirbhairavi.
  
  Where can I listen that Unnikrishnan Song on Internet?
  
  Regards,
  Aditya
  
  
  
• From: Aditya (@ 160.231.10.124) on: Mon Sep 16 11:55:45 EDT 2002
  
  Satsona:
  
  Looks like the discussion could be misunderstood. I didn't mean that those 2 ragas are similar or they are related. Besides this, I also want to clarify that the no of notes and the structure mathematically is very different... Hamsadhwani is Oudava Ragam and others are sampoorna - Sampoorna, shadava - sampoorna and oudava - shadava respectively. Note frequencies of Nishadam in these two are different and when we do the scale change, you possibly touch each and hence will appear so.
  
  
• From: Aditya (@ 160.231.10.124) on: Mon Sep 16 11:58:41 EDT 2002
  
  Please read as
  
  Sampoorna ( Kharaharapriya )
  Shadava - Shadava ( Sri Ranjani )
  Oudava - Shadava ( Bhagesri )
  
  
• From: Aditya (@ 160.231.10.124) on: Mon Sep 16 11:58:45 EDT 2002
  
  Please read as
  
  Sampoorna ( Kharaharapriya )
  Shadava - Shadava ( Sri Ranjani )
  Oudava - Shadava ( Bhagesri )
  
  
• From: Krishnan (@ 202.56.201.42) on: Mon Sep 16 12:46:13 EDT 2002
  
  DEAR SATSONA/ADITYA..I ACTUALLY MEANT MY OBSESSION WITH HAMSADHWANI..AND MY STRANGE LIKING TO SUCH OUDAVA RAAGAMS..SO NO IDEA OF SIMILARITY IN THIS RAAGAMS WERE INTENDED..SATSONA THANKS FOR YOUR COMPLIMENTS
  
  ADITYA:
  "Usually if you build the harmony first, with logical chord progressions that will please your ears and then write the melody, then it's likely that you will end up in different indian ragas"
  
  A VERY GOOD SUGGESTION ADITYA..WE DO THE SAME THING IN MOST OF OUR COMPOSITIONS..BUT THE PROBLEM WE FACE IS IF WE GET STUCK THEN IT'S A BIT FRUSTRATING AND END'S UP IN SOME SORT OF COMPROMISE BETWEEN US AND OUR BRAINS....IF I DON'T GET THE LINK FOR THE UNNIKRISHNAN SONG..I WILL UPLOAD YOU FOR IT...ADITYA,PLZ MAIL ME AT MY ID onlykrishnan@hotmail.com
  
  
• From: K.S.KRISHNAN (@ 210.210.56.198) on: Tue Sep 17 12:31:44 EDT 2002
  
  Dear Aditya/sridhar/jay/others..Here's a sample of one of our upcoming tracks..please do listen to it and give your views..here's the link
  http://www.nowhereradio.com/artists/album.php?aid=1855&alid=-1
  
  
• From: UV (@ 134.113.4.168) on: Tue Sep 17 14:30:28 EDT 2002
  
  Krishnan
  Listening to it now..
  initial comments..
  your voice reminds of singer Srinivas.
  Other then that I feel that you could have added some more 'reverb' to the voice part(there is almost no reverb to the voice).
  cool use of "phlanger"
  
  Aditya interesting observations on chord progression,when you say you are tryng to create a melody based on some raga the underlying chords/chord progression need not necessarily stick with the original ragam's swarams -I am correct?
  
  
• From: Aditya (@ 160.231.10.150) on: Tue Sep 17 14:57:21 EDT 2002
  
  UV:
  Yes the Chord Progressions need not necessary to stick with the raga swarams. But we can't guarantee that if the logical chord progressions won't change your melody ( indian raga structure ) unless you carefully choose them which might put your melody in a different scale altogether.
  
  Read Sam's earlier postings somewhere in this thread explaining about bass/chord notes can be playing something else other than the raga swarams.
  
  I believe Composer has to be extremely knowledgeable on what he's doing in these areas of topics...Film Music must be proud of Ilayaraja and ARR being very good in this area.
  
  Sometimes if the composer is not sure about what he's doing and fall in "MAYA", he may be considered by the people that he's JNANI/WEIRD etc.,reality could be something else:-))
  
  Regards,
  Aditya
  
  
  
• From: Sam (@ 132.235.19.162) on: Tue Sep 17 21:20:27 EDT 2002
  
  UV, consider this simple example. I compose a melody in Mohanam in C scale, (and lets say my melody has only whole notes). And this is the melody I have, C1 D1 E1 G1 A1 G1 D1 C1. Now for this melody line, let's say I have written two counterpoints: E1 G1 G1 C2 D2 C2 A1 G1, and E1 G1 G1 C2 D2 C2 F1 G1. (my C1 means C in the starting octave, C2 means C in the next higher octave, and so on).
  
  Now if u see the first counterpoint, the notes very much follow Mohanam. But if u play those melodies to a western musician, he might say thats a wrong practice, cos ur not allowed to have parallel fifths in counterpoint (look at the last two notes, for D, A is played and for C, G is played, D-A is a 5th interval, and so is C-G) SO he might modify the second from last note from A to F, to concur with the counterpoint principles. And when u have F there, u no longer are playing the counterpoint melody in mohanam. Hope I am clear.
  
  
• From: satsona (@ 203.199.192.162) on: Wed Sep 18 00:27:44 EDT 2002
  
  Sam
  
  great explanation. do u know any website where i can get lot of info about such general rules(i hope its right to call them rules:) in Western Music(like the Parallel fifth rule)?
  
  Aditya/Krishnan
  tnx for the explanations:-) u can expect many more queries from me, regarding composing.
  
  cheers
  
  
• From: Aditya (@ 172.129.52.112) on: Wed Sep 18 06:29:33 EDT 2002
  
  Sam:
  
  Very Good Explanation - I feel you are very special in this crowd.
  
  Just curious, have u listened to Baba "Sakthi Kodu"...in the starting 6 times sakthi kodu is chanted...after that the main melody continues...
  in this part of the song at the bridge between chants and main melody...whom do you think would have been pleased - western musician or an indian musician ( assuming more flexible )...I am sure the composer has tried to stick with the principles of counter points...but i felt it was a risky attempt as it may not please either...
  I would let you go over the notes in precise there and enlighten the crowd here. Specially the 2nd and 3rd Sakthi Kodu...6 sakthi kodu + thai starting...
  
  Regards,
  Aditya
  
  
• From: Aditya (@ 172.142.72.32) on: Wed Sep 18 07:23:36 EDT 2002
  
  Sam:
  Please read as "I would encourage you to go over the notes in precise there and enlighten the crowd here". Swamiji was very good in this kind of stuff. Looks like he's busy.
  
  Regards,
  Aditya
  
  
• From: Kaumudi (@ 136.142.153.250) on: Wed Sep 18 10:28:56 EDT 2002
  
  Sam and others
  I had the same question like satsona. After reading your explanation, I feel like knowing more about the so called "rules" in WCM. Please let us know if there are any websites where one can learn about such stuff.
  Thanks
  
  
• From: UV (@ 134.113.211.96) on: Wed Sep 18 12:07:47 EDT 2002
  
  Sam
  thanks ,thats one more reason
  a that in commerical music the melody need not be based on one single ragams
  for example some song might sound shankarabaranamam then harikamboji and so on
  ofcourse the MD can work on the chords pattern so that there is not much difference
  but if you are working on paritcualr type of ragam or melody only,
  then it may be weak in chords?!
  (not necessarily)or you work on a fixed chord patterns without much variation.
  I may be wrong,for eg. MD SA Rajkumar songs the melody is good but they dont have strong chords structure or variation that you find in IR or AR song
  
  I am not comparing MDS but only the tech difference in style
  
  
• From: K.S.KRISHNAN (@ 203.199.158.101) on: Wed Sep 18 13:53:20 EDT 2002
  
  Dear Aditya/sridhar/jay/others..Here's a sample of one of our upcoming tracks..please do listen to it and give your views..here's the link http://www.nowhereradio.com/artists/album.php?aid=1855&alid=-1
  
  

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