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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: rjay (@ 156.77.105.123) on: Thu Dec 4 11:26:04 EST 2003
  
  Please use this link for the score
  
  http://www.geocities.com/rjaymidi/lullaby_score.html
  
  
• From: rjay (@ 156.77.105.123) on: Thu Dec 4 11:30:09 EST 2003
  
  Aditya
  
  Good. The melody at 56 seconds onward is soothing. But the melody before that is too active (too many eighth and sixteenth notes) for a lullaby.
  
  
  
• From: Aditya (@ 160.231.5.194) on: Thu Dec 4 14:09:10 EST 2003
  
  rjay, as i said earlier, i draw inspiration from what i observed and perceive with my taste for experimentation....
  
  In this music here i have 2 parts where the first part ( before 50s ) is active due to some activities like baby being cranky, and mom running to reach out the things in hurry to pacify the baby, perhaps dad is searching for a pacifier in the meantime in dark night half asleep:-) ), dialogue between parents...
  
  Then things settle down that we prepare the baby to put to sleep...hence music becomes soothing and smooth in the second part...
  
  By the way incidentally the notes in the composition traverses in D Dorian after first 12s...how about your lullaby follow my contextual prelude with a short silence after this one:-))
  
  Regards,
  Aditya
  
  
  
  
  
• From: rjay (@ 156.77.105.123) on: Thu Dec 4 15:09:54 EST 2003
  
  ;)
  
  
• From: Aditya (@ 160.231.5.194) on: Thu Dec 4 15:14:10 EST 2003
  
  rjay's shortest posting in newtfmpage:-))
  
  
• From: rjay (@ 156.77.105.123) on: Thu Dec 4 15:32:18 EST 2003
  
  !
  
  
• From: Divakar (@ 68.106.96.22) on: Thu Dec 4 15:57:19 EST 2003
  
  Aditya, the starting rythm and percussions and the string solo all within the first minute or so are highlights of the song...
  
  
  Ok here's a new score from me...
  
  http://members.cox.net/dbhowman/shivaRathiri.mp3
  
  
• From: Aditya (@ 160.231.5.185) on: Fri Dec 5 10:00:30 EST 2003
  
  Divakar...how did u conceive shivaranjani raagam for Shivarathiri...I liked it and very good performances...
  
  
• From: Da Vinci (@ 128.113.109.84) on: Fri Dec 5 10:16:58 EST 2003
  
  Divakar,
  
  It was nice listening to your santoor (harp) piece. I will make one observation. The strings background in a few of our pieces sound out of place to me. It is probable that it appears so to me since they are like two different streams of music (the lead piece mostly Indian classical based) which you are trying to blend, but if I were you, I would work on them more to see if they are necessary or if I needed use them differently.
  
  
• From: Divakar (@ 68.106.96.22) on: Fri Dec 5 11:30:12 EST 2003
  
  Aditya and DaVinci,
  Thanks for listening and thanks for your comments.....
  Davinci which piece are you referring to? I can only guess you are referring to Shiv Rathiri in the santoor...BTW santoor and harp are different ("Nirvana" is in Harp)
  
  If it is ShivRathiri The strings are playing the
  7th CHords and 9th CHords....you will feel it strange, but they only add the necessary moods....
  ofcourse could have been blended with any one of the instruments available but nevertheless I would have touched the 7th and 9th anyways....
  
  Thanks
  
  
• From: Da Vinci (@ 128.113.109.84) on: Fri Dec 5 14:07:48 EST 2003
  
  Divakar,
  
  Sorry, I must have made a note of what I was listening to. I was talking of 'Shivarathiri'. It sounded to me in a few places like Santoor and like a Harp as well (may be I haven't listened to a Harp seriously to identify it clearly).
  
  So, for the strings you play the seventh or nineth chords. Is that a conventional mode of playing for an intended effect ? And also since you have used it for Shivaranjani, I wonder how you could use the seventh note at all. Possibly that creates a discordant note in my ears.
  
  
• From: Divakar (@ 68.106.96.22) on: Fri Dec 5 14:36:03 EST 2003
  
  Davinci,
  Now we are going somewhere....I was afraid you were not going to ask that question....Very good question indeed!
  There is a Minor 7 and lots of 9's involved....but you will have a problem spotting that if you look in the conventional way of chords.....Try this...
  The score was written in Eb (Eb, F, F#, Bb, C, Eb') Now let's open it...what is C min 7? C min7 has C, Eb, G, Bb.....Knowing this if you go in to the score you will have a problem, how can you accomodate G in to the score...will it not be discordant...well yes and no but in this case Yes it will be...so the answer is Omit "G"....So how do you harmonically construct a chord to have an effect but at the same time not sounding discordant.....Careful, these are not general rules, every composition has its own interesting harmonic ideas....When the santoor plays a note like Eb try harmonizing with C min 7 but OMIT "G"...when santoor plays note "C", play the string in "Bb", play the guitar in Eb, countless possibilities..it will sound delicious.....these are something that ought to be best experienced when you construct harmonies yourselves....usual way would have been play Eb harmonize with Eb minor...well this works fine too....I like to bring in new possibilities in harmonies.....so to answer your question on conventional or not I am not too sure, probably not! I hope this clears some question...now you could try this "Omiting G in Cmin7 is it still Cmin7?"...
  
  THanks
  
  
  
• From: Divakar (@ 68.106.96.22) on: Fri Dec 5 14:50:09 EST 2003
  
  BTW (I think you know this)if you use "G"(in the above scale, not just as a note but with proper embellishments) it becomes another beautiful Raga Misra SivaRanjani....IR has given quite a few beautiful songs in this....
  
  
• From: Swamiji (@ 24.5.22.47) on: Fri Dec 5 14:56:09 EST 2003
  
  Divakar, I think when you say Cm7 in that context it becomes C-half-dim-7th (a min 6th inversion) with an F# (only that u don't play F#) - because the ragam generally implies that harmony. I am not very sure if you would call it Cm7 there. In any case, it is an incomplete chord - meaning, without the G or F# there you could not exactly tell what its function is.
  In Sivaranjani it is quite common to hear a major to bring a happy mood - maybe there you could call it Cm7 which is an Eb6 inversion.
  No hard rules - but just a naming convention
  
  
• From: Swamiji (@ 24.5.22.47) on: Fri Dec 5 14:57:10 EST 2003
  
  Ok u answered that major is misra sivaranjani - thats what I meant
  
  
• From: Divakar (@ 68.106.96.22) on: Fri Dec 5 15:38:39 EST 2003
  
  Swamiji,
  Thanks for answering my last question! conventions it is....not called as Cmin7 but C half-diminshed 7th it is derived from Major 7th....Wow!
  
  
• From: Divakar (@ 68.106.96.22) on: Sat Dec 6 15:15:44 EST 2003
  
  ok, just as a small pointer as couple of people have asked me to explain the minor 7th omitting G, Technically its still Minor 7th(lame arg), its not incomplete because you only need Root, Minor 3rd and minor 7th interval for minor 7th Chords not necessarily a perfect 5th (which is "G") but I have no problems calling it otherwise...Cmin7 is is way easier rather than C half dim 7th -F#.....Hope this brings some clarity....
  
  
  
  
• From: Eswar (@ 202.54.154.163) on: Tue Dec 9 00:40:28 EST 2003
  
  For the passionate lovers of Mozart's music, please hear the 16-2-01.mp3 file listed there. If you have not heard "Great Mass in C Minor", you should hear these pieces. Especially, Kyrie part (The first MP3 in that list. Give a listen at 4:19! My God!)
  
  If you have seen the fantastic movie Amadeus, this piece comes as a background to Mozart's marriage ceremony. BTW, those of you who have not seen this movie, they MUST see it for the love of music :)
  
  Just wondering, it is unfair that one person should be blessed with so much talent in making music, when many including are left in the dark to be the mediocrites of the world :(
  
  http://quoniam.social.tsukuba.ac.jp/choir/concert16.html
  
  
• From: Eswar (@ 202.54.154.163) on: Tue Dec 9 00:41:32 EST 2003
  
  correction:
  
  "while many including ME are left in the..."
  
  
• From: Da Vinci (@ 128.113.109.84) on: Tue Dec 9 09:46:06 EST 2003
  
  Divakar,
  
  Thanks for explaining.
  
  
• From: Da Vinci (@ 128.113.109.84) on: Tue Dec 9 09:46:14 EST 2003
  
  Divakar,
  
  Thanks for explaining.
  
  
• From: Swamiji (@ 24.5.22.47) on: Tue Dec 9 10:59:47 EST 2003
  
  Divakar
  
  Either C half dim 7th or Cm7-5 (min 7th flat fifth) mean the same. so if you are planning to use the "minor" name, then it would be clearer if you append a "flat fifth" to it - because Cm7 comes with a G by default. You can also say "no G".
  
  Just the G becoming F# changes the whole nature of that chord - eventhough like you say you just need a 3rd and 7th to define that chord. Omitting a G in sivaranjani ragam means F# is implied because that note is in that ragam. The context defines whether it is perfect, flat or augmented fifth.
  
  
• From: Divakar (@ 68.106.96.22) on: Tue Dec 9 15:47:06 EST 2003
  
  Swamiji
  I think Your description is quite accurate and to the context. Well, Cm7 has clear alternate voicings as C, Eb, Bb,...(ok my vantage point guitar)its evident there! but it never occurred to me that C half dim 7th would fit in more accurately in this context with out F#....Thanks!
  
  Alright,
  While we might further debate what we should call those chords as, which I think is resolved now, follow this link to listen to my new score Jeeva Swaras...
  
  http://members.cox.net/dbhowman/JeevaSwaras.mp3
  
  please feel free to post you comments and suggestions........
  
  
  
  

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