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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: gamanasramam (@ 68.105.3.53) on: Wed May 12 18:45:33 EDT 2004
  
  Aditya,
  
  Thanks. That was nice musical bit. I have a question regarding raagams. You or any one else are most welcome to answer it.
  When u plan to compose a song in a particular raagam, is it mandatory that either aarohana or avarohana of that raagam should appear in a single musical (or lyrical) phrase? For example, if the fisrt line in 4 line stanza is composed in a adi taalam, in order to say this song is in a particular raagam, is it compulsory that all the notes of either aarohana or avarohana must appear in that first line? Or does it not matter at all?
  
  This might be a very basic question for all of you. But as i said, be prepared for my stupid questions :-)
  
  thanks.
  
  
• From: Aditya (@ 160.231.10.110) on: Thu May 13 13:46:33 EDT 2004
  
  GamanaSramam:
  
  I don't think there's any such mandatory rules while making any music unless it's an objective or choice of composer.
  
  The objective or choice term that I used in this context is to say make music to build familiarity on listeners with some known melodic or rhythmic patterns...
  
  None of us can deny that the easiest way of building such a melodic familiarity is with either the whole or subset of notes in the order of arohanam and avarohanam of any chosen raaga...We can also extend the same to any well known melodic pattern not necessarily sticking to any known raga...
  
  When someone says their music is "original" because they don't use any melodic patterns matching with any raga or with any of already used melodic patterns -> this could be real truth sometimes from the naive composer point of view...But Listener devil might be listening 20000 kinds of music that might find it always matching with something that the composer has never been listening to...Finally, in the unit sense -> you will be using some Dwadasa Swarasthanas to be called a Music. Hence even if you say you don't have rules and you go by what you feel is right to ears -> you're still within rules...
  
  Fundamental rule is that Music should be audible, pleasing and set your moods in a paricular way.
  
  Regards,
  Aditya
  
  
• From: Srik (@ 64.80.98.165) on: Thu May 13 15:18:02 EDT 2004
  
  gamanasramam
  
  It is very very hard to guess what audience wants.
  hence an artist should does not worry about this at all.
  Experimenting is the first important quality of an artist. My suggestion is to try hands what ever you think, you will find it yourself.
  A Painter does not go seeking which colors to use where, he just draws and sees it for himself.
  
  
• From: haris (@ 148.87.1.170) on: Thu May 13 17:35:32 EDT 2004
  
  Aditya- why do i hear rasikaranjani in some places in your gamanasramana bit?
  
  
• From: haris (@ 148.87.1.170) on: Thu May 13 17:41:58 EDT 2004
  
  ok. now i see. gamanasramana is mela 53. it's sudha madhyama counterpart is suryakantham mela 17 (53-36). chakravakam is 16.
  
  rasikaranjani is a janya of chakravakam (srgpds,sdpgrs).
  
  Probably your poorvaanga prayogams have similarities with rasikaranjani. May be you should touch the prathimadhyama often - so the listener doesnt get the rasikaranjani (or for that matter chakravakam or sooryakantham) feeling.
  
  
• From: gamanasramam (@ 68.105.3.53) on: Sun May 16 20:53:22 EDT 2004
  
  Aditya and srikanth,
  
  Thanks a lot for your replies. I especially liked the comparison of a composer with a painter. It seems, in all art forms, working with a feeling is the most important thing.
  
  I have another doubt regarding raagas. In film based songs, how could we differentiate the janaka raagam with a janya raagam having almost similar notes as that of its janaka raagam? for example, abheri is a janya raagam of Kharahara priya. Avarohana of former is exactly same as that of later and in arohana, two notes are omitted in abheri. How can we really differentiate these two raagams? for example, there is a telugu song "enno ratrulostayi kaani raadeee vennelamma" from the movie Dharmakshetram. http://www.musicindiaonline.com/music/l/XY00000306
  This song was composed by ilayaraja. If we play the song on keyboard, i guess we can see all the notes of K'priya. But we dont observe a particular pattern of notes. In this case, how could we assign a raagam to these type of songs? Or should we not try to assign a raagam at all?
  I have this question in my mind for a long time.
  
  
• From: Srik (@ 64.80.98.165) on: Mon May 17 10:03:46 EDT 2004
  
  gamanasramam thanks,
  You have raised some basic questions of a person who starts to pick up music, good,
  I have some time now, let me explain
  
  1. How could we assign a raagam to songs where there is confusion of the raga structure?
  Basically show me a place where Ilayaraja or any other composer have committed to a raga A or Raga B or mixture or raga a and b, the idea of popular music is to keep the rules simple, often a light music composer do not assign or commit to a raga, it is the listener who assumes this most of the times.
  
  2. How can we really differentiate these two Raagams?
  Answer: we don’t, most of time we should not be able to this is light music right, if are able differentiate this, what is the difference between light music and Classical music.
  
  3. Should we not try to assign a raga at all?
  Depends, on the angle you view this from, as a composer, when you compose trust your instincts, and be ready to move away from raga if you get a better score by not sticking to AR and AVR of the raga, just do it.
  
  The primary motive of a person trained in Carnatic will be to match a raga to the score; they do it automatically even if you don’t follow it. A composer would have composed it in blues scale, the Carnatic ear will assign raga “vahideshwari” or “chala natai” for few parts of it and call rest something else, which a composer while composing would not have had a clue about it. Often experts conclude this based on the notes formation. Which, you should never be bothered about, you save some money by not committing to a raga. My advice will be not to get into too much of theory of RMM, Raga Matching Making:)
  
  Use elements of classical music and light music like the milk and coffee combo,
  Coffee gets stronger and pure when you reduce milk and vise versa. Light or popular music is mixture of different forms of music, you must know to mix them properly, which should be a combination based on the audience you compose for. It the audience who should worry more about this, based on their decision your instinct should work.
  
  Composition cannot be taught in any school. A school teaches mere musical building blocks, your basic elements of music are explained, and using these elements and imagination you need build the composition. A best imagination will not give the best composition. A composer should also know how to get it out and present it to the common man. The balancing act between being technically perfect & superior and at the same time being popular, [popular: meaning more ears tend to appreciate the composition regardless of their technical knowledge], this is the success of a composer. This is what stalwart composers have achieved. You can also do it. If you any more questions email me at srikanth@srikanthd.com, All the best.
  
  
• From: Aditya (@ ) on: Mon May 31 12:17:55 EDT 2004
  
  Hello Guys:
  
  Listen to my new composition...
  
  http://mywebpages.comcast.net/Vijayaditya/Romantic-Clock.mp3
  
  I don't mind you making a raga match in this music and also frame it in a system of music whether light or classical or any...Let me know if you Enjoyed this music and I had a ball of time performing this music.
  
  Regards,
  Aditya
  
  
• From: pKitcha (@ 65.34.240.2) on: Wed Jun 2 08:45:29 EDT 2004
  
  Very true, Srikanth! Nice reply.
  
  
• From: UV (@ 134.113.4.207) on: Tue Jun 8 12:27:46 EDT 2004
  
  Aditya
  nice work man,
  different composition from you
  your signatures are prominent in some of sax peiece :)
  I wont/cant fix a raga shades as its too light to identify with a raga,but if you have indeed based on something,I would be interested to know
  Pretty much a simple straigtforward peice
  emotionwise - leaves simple happy face :)
  
  
• From: UV (@ 134.113.4.207) on: Tue Jun 8 12:31:28 EDT 2004
  
  Aditya
  I recently listened to your 'hello'
  liked it very much.
  what raga was it had shades of little valachi/malayamarutham,little bowli but more poorvikalyani ?
  
  thanks
  uv
  
  
• From: Aditya (@ 160.231.10.110) on: Wed Jun 9 12:39:05 EDT 2004
  
  UV:
  
  Thanks for listening and making comments.
  Romantic Clock can be matched with mainly kalyani raaga few times morphing into sankarabharanam...but as you said it is too light for your ears that it need not be matched with anything but enjoy. For some it may be important to categorize this as classical and then question why it was not in that raga etc., It is a subjective listening...but my objective was to support the subjective listening...
  
  "Hello" is in Gamanasramam scale and shades are more of poorvikalyani. One can try to match it loosely ( not completely ) with Rasika Ranjani etc.,
  
  Regards,
  Aditya
  
  
• From: gamanasramam (@ ) on: Mon Jul 12 23:04:38 EDT 2004
  
  Dear Srikanth,
  First of all please accept my apologies for this extremely delayed reply. I was on vacation to india and has been really busy since then. Thank you very much for such a kind and concerned reply to my questions. That was indeed one of the best advices i got from any one. I feel to be fortunate to be in this forum. thanks again.
  
  

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