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 !!)

Sachin Dev Burman - The master of us all

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.

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
www.chandrakantha.com and other sites.

Some Ignored Music Directors

Many music directors have been made by bollywood. Fortunes of unprecedented proportions. Pyarelal for instance got 100 times money than he had ever imagined. Shankar Jaikishan are still looked at with jealousy.  R D Burman got popularity more than even heroines and beautiful women.
There are however music talents that have been ignored by producers and big banners.
Jaidev, Sapan Jagmohan, Rajkamal, Ajit Verman, Vanraj Bhatia are some of them.
People gossip that Lata Mangeshkar suppressed talent. Though voice modulation, suitability to heroines are there still suppression happens, people say.
S D Burman possibly gave chance to hemant kumar, bappi lahiri, salil chowdhury and others. I feel so.
Your opinions. . . . .

My Journey as a Composer

I wanted to be a music director since very young. I wanted to compose Ad jingles. My favorite ad jingles are "Nerolac","Nescafe","Breeze".
Currently, I want to grade music directors on the basis of melody making capacity. My grades are:-
1. Pyarelal
2. SDBurman
3. Shankar, Laxmikant
I have excluded south Indian music directors.
Do I fall in this gold, silver and bronze categories? No.
I feel it took 8 years for Laxmikant to become a prolific composer. It is just a hint. I am not sure about it.
I took about 12 years to become a decent composer.
When does an aspiring music director become a real composer? The answer is Calendar song by Boney-M. Yes, when words are made to music.

My two taals in Dafli

I have already demonstrated singing with dafli abilities. I began with a Kalyanji Anandji song for reasons best known to most of us. The second video was Rajesh Roshan songs. Because he is a genius.
Pt. Shiv Kumar Sharma who creates confusions, created one more confusion by saying taal matras in Hindustani is different than taal matras elsewhere. Numberings to be precise.
My view is represented in the picture below.

I beg to differ. But I do not refuse to take order.