Sunday, October 16, 2011

Tatun Ekti Meyer Naam - a contemporary musical short story

link to the audio file

We performed this on 15th Oct. in Gainesville Durga Puja.
         - Shibasish (in recitation),
         - Sugata, Sayak and I (in vocal) ,
         - Sayak (in guitar)
         - Amol (in tabla)
It is also accompanied by the following slide show-

associated slide show (in pdf)

Monday, August 8, 2011

guitar harmony chart

guitar harmony - link
guitar harmony - link

pdf file: Harmony_Chart

Example: C scale: C-D-E-F-G-A-B-C
                so harmony would be in the chords : C(M)-D(m)-E(m)-F(M)-G(M)-A(m)-B(o)-C(M)
                1,4,5 = Major / 2,3,6 = minor / 7 = diminished
Instead of "diminished" one, go semitone down and play the major chord. (like B-b(M) instead of B(o))


Chords
Major (M)    
root + Major Third(4th semitone after root) + perfect Fifth (7th semitone after root)

minor (m)    
root + minor Third(3rd semitone after root) + perfect Fifth (7th semitone after root)

diminished (o)    
root + minor Third(3rd semitone after root) + flattened Fifth (7th semitone after root)
(so it is basically minor with perfect fifth is replaced by flattened fifth)

note:
While technically out of key, in practice this is a common substitution for the diminished chord in a major key: go down a half-step from the diminished chord and play a major chord in its place. This is a ‘borrowed’ chord from the minor scale or Mixolydian mode starting on the same key note and is a very common substitution in rock and pop styles.


 Major scale W-W-H-W-W-W-H
 minor scale  W-H-W-W-H-W-W

Friday, May 27, 2011

Few Tagore songs and their Raaga



This is what I have gathered so far ... Rabindrasangeets_Raaga
I want to make it a bigger one ... So if you have something to add to this list ... please comment :-)

Monday, March 28, 2011

Sunday, February 27, 2011

2 track recording in Audacity

Audacity is pretty powerful, I tried two track recording with voice and one instrument(vibes).

Thursday, February 17, 2011

Lalit(with Suddha 'Dha') and Puriya Dhanashri - Jasrangi

Lets do it:
C-C#-D-D#-E-F-F#-G-G#- A-A#-B - C- C# -D- D#- E- F  (Lalit with Suddha 'Dha')
                         |   |    x   x     |   x     |     |    |       x   x     |   |
                        C-C#-D-D#-E- F-  F#- G- G#- A- A#-B-C-C#-D-D#- (Puriya Dhanashri)

Lalit (with Suddha 'Dha') - 'Re' komol(C#); 'Ma' - Tivra+Suddha(F+F#); no 'Pa'(G)
PuriyaDhanashri: 'Pa' used - 'Re' komol; 'Dha' komol; 'Ma' Tivra

Similarly we can do for Abhogi and Kalavati.

nice :-)

Fusion - Deepak Ram

Jasrangi

Jasrangi example

 - same note - start from different tonics
 - leads to two ragas
 - diatonic scale
- typically 'sa' in female voice  and 'ma' in male voice voice.(harmonic part)
-"JASRANGI" unique duet (male/female), conceived by Pandit Jasraj.
- raag abhogi (sa) and raag kalavati (ma)
- raag lalit (sa) and raag puriya dhaneshree (ma)


" Pandit Jasraj ...... His greatest contribution to Indian classical music is his conception of a unique and novel jugalbandi, styled on the ancient system of Moorchanas, between a male and a female vocalist, each singing in their respective scales and different ragas at the same time[citation needed].In his honor, this legendary jugalbandi is known as The Jasrangi. "


related links:
Graha_bedham
Shruti bedham

Friday, January 28, 2011