Wednesday, January 29, 2020

Identifying Musicians in Bollywood

If identifying music directors was easy. Then consider this. Identifying musicians !!
It is a highly "technical" subject. Only people close to Bollywood music industry can say with surety that a particular piece of music was played by such and such musician.
But I guess, there is no harm in trying. I claim that I can identify three musicians of Bollywood. Tony Vaz, Shivkumar Sharma and Hari Prasad Chaurasia.
This so called "technical" subject was learnt by me by reading and listening to interviews. Also from popular Radio Shows. Google and internet has also widened my knowledge.
However, there are some questions. Did Ramesh Iyer play guitar for other music directors apart from RDBurman? Did Gorakhbhai(brother of Pyarelal) play guitar for other music directors? What about Raj Sodha? Or Kishore Sodha? Or Nitin Shankar? And Sivamani of south?
Here is looking forward to evergreen music again and again from Bollywood. Goodbye !!

Sunday, January 5, 2020

Music Directors of last century

I promised to write on adaptation of Hindustani taals on dafli theory, in one of the other blogs. Well, it is difficult to write down. As it is more of a practice.
Instead, I am writing down the steps to follow in identifying music directors. These steps are mainly suitable for songs of 60s, 70s, 80s and to some extent 90s.
First step is to make a reasonable guess. RDBurman, SDBurman, Kalyanji-Anandji etc. Recollect the movie name or the hero or heroines. This may help you in guessing the music director. If you cannot, then move to next step.
Second step is listen to the background score. Is it loud?(Shankar-Jaikishan) Is it very beautiful and has good dhol usage?(Laxmikant-Pyarelal) Is it very beautiful and melodious?(Ravindra Jain) Does it have extensive congo and bongo usage?(Rajesh Roshan)
Third step is to understand the rhythms. Beats. Does the song have fast tempo of rhythms though song is slow?(Khayyam) Does the song feel good with the word "tururak"?(SDBurman) Does the song have consistent glass-spoon, tabla rhythms? (RDBurman)
Fourth step is to understand the melody(tune/dhun) style. Does the melody have a Bengali touch?(SDBurman, RDBurman) Does the melody have the beauty of a muslim? (Khayyam) Does the melody have a Tata-Mumbai feel?(Rajesh Roshan) Does the melody have usage of music between two lyrical statements? (Kalyanji-Anandji)
Fifth step is to understand the connection between music directors, singers.SDBurman and Kishore Kumar. Madan Mohan and Lataji. Ravindra Jain and Hemlata. OPNayyar and Geeta Dutt etc.
Sixth step is to find the lyricist. Shailendra, Sameer, Majrooh Sultanpuri etc. Guessing the lyricist will be easy only for some. Anyways, if you have the aptitude for identifying lyricist, then you can identify the music directors too in some of the cases. Shailendra for Shankar-Jaikishan. Sameer for Nadeem-Shravan. Majrooh Sultanpuri for RDBurman etc.
60s, 70s, 80s and 90s are gone eras. So it is less sinful to post this blog post, I guess.
Mumbaikars, eat bhelpuri and have a happy new year. From a Delhi wallah (dil se !!)

Monday, January 7, 2019

Mathematics in music

I wrote on June 2013 the importance of
1 + t
1 + t^2
1 + t^3
in sa re ga ma pa dha ni
So Samudragupta dynasty and South Indians did have an intuition of x, x^2,x^3 . . .
But sin x, cos x, tan x and complex i?
Colin Maclaurin, Euler did a lot in trigonometry series and complex numbers. So did Gauss.
Madhava of Sangamagrama did pi by 4. And tan series. Wikipedia states he did sine and cosine too.
I have done pi, rational series. I have done Euler Mascheroni constant to 3 places. ( I believe Euler Mascheroni constant is a measure of genius power). I have also equated rational numbers series and real numbers series.
My point is x, x^2,x^3 . . . were intuitively known to Indians. My respect for Colin Maclaurin and Euler is high and I learnt e series and trigonometry series.

Friday, June 8, 2018

At Your Own Risk !!

At your own risk, please !!
I have mapped what I believe to be raag based filmy songs. On the y-axis is t into f. time into frequency. An extremely small quantity. The time for which a frequency is played. Remember the time is important and also the frequency. Both.
The above is how I imagine the songs and try to identify the raags. As I had written earlier, I know Tamil film music, Hindi film music, carnatic music (a little) and hindustani music (a little). Now, here I have used western concepts. That is how I think. I do not wish to anger people reading my blogs. But I wish to say one thing.
And that is, analyzing a song is less sinful than indulging in the beauty of the song.
Description texts
Raag Bhairavi - Jumping from one side of a puddle of water to the other side by stepping on a stone in the puddle and coming back.
Raag Pahadi - Mountains of tempo formed.
Raag Yaman - Deliberately seem to miss the middle.
Raag Kirwani - The desire to reach double as quickly as possible.
References and other sites.