Learn to play music. Learn music easy
Today`s best music
A brief look back at musical trends and what it may be leading up to.
To take a look at the modern music scene, is to peer into the vast and ever changing opinion of the public and the whims of what is and is not entertaining. Coming into the new millennium, it`s easy to pass off a diverse world of new sound and a generation of young listeners as a single scene of music with all the stereotypes, stereo-hype, political affiliations, and future "VH1 behind the music" shows waiting to happen. But also to look at the modern music scene and the trends it leaves behind may tell us what we can expect more and less of in this new era of music.
The preceding decade of music left us with a spectrum of sound and new approach toward what is real in music. In the early nineties, the youth of America parted ways with the cheese hair metal, and new wave acts of the eighties. We found new voices in that of Kurt Cobain (Nirvana),
Chris Cornell, (Sound Garden), Eddie Vetter (Pearl Jam), and many other patriots of the Seattle super sub culture, that became house hold names everywhere in America. The birth and death of mainstream alternative left like it had arrived, unexpected.
Somewhere before hip hop, there was rap, but the nineties was the decade for transition of rap into hip hop. Again people seemed to see through the manufactured acts like Vanilla Ice, and M.C. Hammer, and it gave way to the rise of Ice T, Dr. Dre, Snoop Dog, Warren G, etc, etc, etc.
The image of the rap act had evolved into something harder, more realistic to the urban culture, and furious to the world.
And toward the end of this very split musical decade, there was a hybrid that had formed. The rap rock hybrid was coined when Limp Bizcuit came busting onto the scene under the wings of Power Rock band Korn. Soon they`d be standing high on their own two feet, with others behind them. In the meantime, bands like Rage Against The Machine, The Red Hot Chili Peppers, and Sublime had found their own way of working very rap like styling into a world of rock, punk, funk, Dub, Hip Hop, and hardcore. With so many genres of music becoming apparent toward the current music scene, you knew was only a matter of time, before businessman decided to start building bands instead of signing them. In come a new fleet of attractive teenage boys and girls with enough sex appeal to kill a small mammal, and keep people infatuated with their catchy songs about love and dancing long enough to discover an entire demography of fans, who can`t live without the floaty tunes in their life.
At the end of this entire decade, one more era of music became apparent in the controversial hip-hop artist Eminem, who found his way onto the music scene after his second album which took everyone by surprise with tracks that seemed violent and angry. Some people attribute his success to the boy band era that preceded him, because he has become the anti hero and people like that. Others claim he represents a part of our nation that consists of angry kids that identify with such an extreme style of music.
In the end what can we expect in the future? More of the same might be a good answer right now. The way things look, each music has always represented a specific market of buyers, and although the scene as of late seems to have been mainly the same artists over and over, don`t be surprised when the cycle of rebellion repeats. When boy bands die out, and more white rappers join the mainstream scene, rock just never sounds the same and new sounds come up from the underground to stunt it all, that`s when things seem to be the most interesting.
Raga Gaud Sarang - An Exegesis
A discussion on Raga Gaud Sarang is presented in this essay and the development
fortified by a smorgasbord of representative sound clips. Let M = shuddha and
Gaud Sarang employs all the seven shuddha swaras plus the teevra madhyam. "Gaud
Sarang" is a misnomer because there is no trace whatsoever of the Sarang Raganga
anywhere within driving distance of its zipcode (this is obvious to all except the
boneheaded few who insist on seeing 'Sarang' in its fold). To dispel the Sarang
affiliation suggested by the poor choice of nomenclature, some musicians refer to
it as "Din ki Bihag" (the daytime counterpart of Bihag), and a careful examination
of its innards reveals that there is good justification for this viewpoint.
Raga Gaud Sarang has a vakra build and falls to the class of 'abstract' rAgas.
By "abstract" we mean that it is not a scalar rAga, amenable to reconstruction with
elemental Aroha-avarohi phrases. (Note: I use the term "scalar rAga" with considerable
hesitation, for it is, at first glance, an oxymoron. After all, a scale does not
a rAga make. A better term would be "linear rAga.") There is much more to an "abstract"
rAga than merely piecing together and sequencing a string of tonal clusters, no
recourse to a quick-and-dirty cookbook recipe for the interlocking gestures that
give the rAga its body and character. These considerations render apprehension of
its nature challenging. Nevertheless, like other proximate melodies such as Kedar,
Hameer and Nand, identification of Gaud Sarang presents no difficulty to the layman
since it advertizes a distinct signature to latch on to. In his well-known work,
Raganidhi , Subbarao observes that there is no Carnatic equivalent of Gaud Sarang
but that certain sanchAras of Shankarabhanaram resemble the rAga. As an example
he cites the Tamil kriti Muddu kumarayyane.
The definitive swara cluster of Gaud Sarang is:
S , G R M G
The rest of the rAga is built around this kernel. In so doing, elements of other
rAgas such as Bihag and Bilawal are invoked. Let us briefly examine the rAga lakshaNAs.
S, G R M G, G M G P, [P] M G, S [P] M G
This Gaud-inspired tonal byte in the poorvAnga carries the soul, or if you will,
the G-spot of Gaud Sarang. The intonation of the signature - S, G R M G -
from the rishab to madhyam to gandhar, mediated by a graceful arc, is followed by
a characteristic intonation of the pancham (shaken, but not stirred), encapsulated
in square brackets above to indicate its special handling. The avarohi slide P M
G concludes with a nyAsa on the gandhAr. The ucchAraNa of the madhyam is crucial:
the swara is rendered deergha (elongated) but falls well short of nyAsa. These nuanced
melodic behaviours are very difficult to convey through the written word but the
audio segment will serve to illuminate them. The pancham is strong, a nyAsa swara.
P, P S", S" D P M G, R G R M G, P, R S
This tonal sentence outlines in broad strokes the uttarAnga conduct and the avarohi
A sample chalan is now formulated:
S, G R M G, M G P, [P] M G
G M G P, PNDN m [P] M G, S [P] M G
G M P N S" R" N S" D P M G, PDPP S" R" S", D N m [P] M G
Obiter dicta: As in the case of other abstract rAgas, a wide variety of
supporting phraseology is observed. Some musicians approach the tAr shaDaj via a
Bihag-like G M P N, S" whereas others adopt a P S" type of launch. The downward
contour S D P M G follows a grazing locus reminiscent of Bilawal. A P, R S often
brings to conclusion many a melodic gesture. Note that the ucchAraNa of P,
R S , while it looks similar to the P (G)R S of the Kalyan Raganga, discloses its
own subtle and distinct punctuation (hinted at by a comma following the pancham).
This last construction is actively relegated or shunned by some musicians (the Maihar
turkeys, for instance).
The values assigned to N and m are variable. This ambiguity often appears unsettling
to the outside observer but existence of this "benign anarchy" without injury to
the core idea is characteristic - and a strong suit - of Indian tradition, musical
and otherwise. The teevra madhyam is not central to Gaud Sarang but its presence
is necessary to complete the picture. The kernel of Gaud Sarang is universally recognized:
how one goes about developing it is a matter of Gharanic affiliation, individual
taste and capacity. In heavily vakra rAgas, the rAga structure is sometimes relaxed
in faster movements, more so in Khayal renditions. This allowed slackening (the
term employed is "shithil") is almost always in the avarohi direction - a quick
S"NDPMGRS or S"DPMGMRS is not unheard of in Gaud Sarang or Kedar. Finally,
the komal nishAd may occasionally make a cameo appearance as a vivAdi swara in phrases
such as S", D n D P .
In the foregoing ruminations, I have touched upon the high points, leaving out
the idiosyncrasies and ancillary details. The audio segment to follow will provide
a good opportunity to fill in the gaps.
- Facing Extinction, Orissa's Tribal Dulduli Music Seeks Revival
- I really can teach you to play the piano using piano chords.
- There are thousands of reasons why you should learn enough chords to be
- Here is what you'll learn in the 10 day "Chord Piano" course:
- How to play piano
- What people are saying about "Chord Piano"
- Virtual Sheet MusicR - Classical Sheet Music
- Listen and play music online
- Music history articles
- General music articles
- Musician biographies
- Types of jazz music
- History of hip hop music
- Classical era chamber music and the romantic composers
- History of punk music in England: 1976-1981
- How to write great music
- A rock music quiz
- Today`s best music
- Music and theory: harmony, dissonance, and tonality
- What is the history of American music?
- Musical Instruments: history, how to play, clean and use
- The history of gospel music
- History of electronic music: - the early years
- Country music history
- Post-punk: an examination of the underground music movement
- History: American music
- How music affects your mood
- Music to affect mood
- Learn to read music and how to stay in time.
- Folk music of Pakistan
- What you should know about classical opera music
- Music censorship
- The music industry business: regulations and control
- What is Bossa Nova?
- Teaching music to handicapped kids
- Basic music theory
- Going out for a night to see your favorite band, performer or singer ca
- Music education curriculum in public schools
- Quality private music instruction
- How do you write music?
- Music theory lesson: time signatures
- Repair common music box problems
- The history of country music
- Determining artist royalties in the music industry
- Biographies: Movies, Music, TV
- Biography of Handel, his life and his music
- Schools & music education for elementary kids
- Layman`s guide to classical music terms
- How to create your own music performance contract
- Vocal chord anatomy and music
- CD data base: inventory your music
- Hindu music: a look at the three genres - part 1 thumri
- The Carter family: pioneer country music singers
- Classical to Romantic period music: composers biography
- Chris ledoux: lyric & country music star
- An introduction to the music of the modern orchestra
- Pop Music Biography: Introducing Hoku
- Music education and child development
- Les Paul, the musician and his music
- Metallica`s music still rocks
- How to get started (and make money) as an independent music publisher
- Road trips: designing the perfect music mix for a road trip with your boyf
- How to make a music box
- Music Guide: How to care for a guitar
- The four elements of music - melody, harmony, rhythm, and dynamics
- Music festivals in tennessee
- Teaching music to a child: developing music appreciation in young chi
- Natalie macmaster
- Aaron Copland - America s composer
- How to make your own music box from a kit
- African singers
- What effects does music have on the brain?
- Composer Biography: Igor stravinsky
- Franz Joseph Haydn biography
- Johann Sebastian Bach biography
- Consumer Guide: Used CD`s Online
- What is music therapy?
- American Music Biography: Marian Anderson
- Italian and English Madrigals of the 16th century
- MICHELLE SHOCKED
- A brief history of South African Rock
- How to monitor your child`s music listening
- How to learn guitar