Music is Innate

A small piano piece

2012-01-29T18:02:00.001+05:30

Dear Listener,

Featured is a small video of a tune in F major, composed sometime earlier.
It has a small prelude, melody is played mostly in octaves supported by an octave bass. It is a simple tune with a dreamy feel, to be listened at leisure.

Let me know if you like it!

Cheers...

Waldstein Sonata

2012-01-02T18:16:00.007+05:30

Dear Listener,

After I took to Western Classical Music in 2006, came across Beethoven's Waldstein Sonata accidentally, sometime in 2007. It impressed me so much that my life-time aim once was to play Waldstein completely, at the level of Rudolf Serkin :-). The Pianistic effects of the first movement, the emotions covered in the second movement and the virtuosic grand Rondo finale make it a grand Sonata. I do not think I can ever get to hear music surpassing this true MASTERpiece. This sonata made me realize what Pianoforte, Beethoven and Music can do to us!!!

Over years, listened, understood and assimilated the second movement of this sonata. Attached is a short video - me playing this movement (to the best of my current abilities:-))! As it is completely self-taught, there could be discrepancies in technique and interpretation. I have taken it a little faster and maintained Pedal to achieve the sustain of Grand Piano on my digital Piano :-) for this Adagio molto.

Please watch and comment!
Cheers!

Song for Flute and Piano

2011-12-10T15:36:00.004+05:30

Dear Listener,

This is a composition for High Voice accompanied by Piano in F Major. However, in the audio attached, Flute has been used instead of Voice.

It is set for a poem consisting of 5 stanzas.
It is a through-composed song. Different Keys and accompaniment patterns are used in stanzas flowing with the lyrics.

Please listen and let me know your comments!

Click here to Play

Cheers!

2-Part Composition for Keyboard in B Minor

2011-11-07T19:41:00.002+05:30

Dear Listener,

Here is a small 2-part composition for Keyboard in B Minor.
Employed Counterpoint and Imitation in the Baroque style.

Please listen and comment!

Click here to Play

Thanks...

Violin Concerto in A Major - First Movement

2011-10-31T22:08:00.004+05:30

Dear listener,

I've taken an earlier composition for solo Violin and Orchestra, fortified it with a bigger ensemble, added some interesting elements including a Cadenza.

Click here to Play

Please listen to it and give your valuable comments.

Cheers!

First Movement of a Sonata for Piano

2011-05-31T14:57:00.020+05:30

Dear Reader,

Here is the 1st Movement of a Sonata for Piano in C Minor.
It is in Sonata form and runs for about 71/2 minutes.
Tried closing the movement with an exciting Coda.

Please listen and comment!

Click here to Play

Thanks...

PS: Regrets for the digital glitches (high-pitched squeaking noises at some places)

PS2: The issue above is resolved after a soul-stirring Internet-Search! Hurray:-)

Song for Violin and Piano

2011-05-31T14:56:00.001+05:30

Dear Reader,

Here is a piece for Violin accompanied by Piano.
Actually, this is written for Voice and Piano for a small Poem.
However, Violin is used in this piece instead of Voice.

Please listen and comment!

Click here to Play

Regds...

Two-Part Invention

2011-01-16T12:05:00.065+05:30

Dear Reader,

This is a 2-voice composition for Keyboard / Piano in the style of Baroque 2-Part Invention in F Major. Compositional Devices such as Imitation, Melodic Inversion, Retrograde, Invertible Counterpoint etc. are used.

Click here to Play

Please listen and let me know your thoughts!!!

Music Theory

2010-12-10T15:19:00.008+05:30

Background:
Many of the people whom I approached to discuss about my Compositions in the Music circles asked me what my Qualification in Music is. I knew that any answer/explanation given at that moment is not sufficient enough to convince them. Some even felt that a Qualification in Music is a pre-requisite to Compose:-) Looked at a sample Grade-8 Paper of Trinity College of Music in July this year and decided to go for it. While some of my friends encouraged this decision, others felt that it is an Overconfident step [which I'm :-), Grade-8 directly without any formal Instruction???].

Prep:
1. Read through the prescribed theory book (and other related concepts) and did some examples whenever I got some free time for about a month in Aug-Sep.2. Started the Prep again 10 days before the exam, a revision, with a more exam-oriented approach and focus on the prescribed Workbook.

Challenges:
1. The last time I wrote any exam is in 1996 (final Sem Exams or some Competitive exams there after), that too for 3 long hours at a stretch?
2. There were many Musical terms, in different languages and it was diffcult/annoying to memorise them [not used to Mugging stuff since childhood:-)]
3. Writing Legibly with Pencil is another challenge in itself. My handwriting is basically illegible. A Dcotor's prescription might be deciphered by a Pharmacist but my cryptographic code, only I can:-) With the advent of Emails and Mobile Phones, hand-written communication is almost dead. I think the last hand-written letter I wrote must be in 1998. With Digital Signatures being an accepted practice now, we are not even throwing our Pen to Sign, may be except on the Bank Cheques and other bureaucratic documents. Humankind may someday forget the art of hand writing???
4. Taking out time to prepare while shuttling between Mumbai, Delhi and Hyderabad on a weekly basis officially was a physical challenge again...

The Examination:
1. It was on Nov-13 this year, and 13 always proved lucky to me against the popular belief:-)
2. There were 5 Qs: a) 10 short Qs covering various aspects of Music b) Extempore Melody line Composition c) Transposition of an Orchestral Extract to Concert Pitch d) Harmonisation in SATB e) Analysis of an unknown Piece of Music

The Result:
Finally, cleared the exam with 73%. Missed the Merit by 2 Marks :-(

Learnings:
1. While many of the Concepts were already known and been applied in my Compositions, it gave me a fresh Interest / Insight into Music of the Romantic period.
2. Practising sample papers with reference to time would have helped to manage time effectively in the Exam thereby avoiding silly mistakes and improve the Score - at least to Merit :-)

Conclusion:
Though this Certification paves way for advanced studies in Music, it is not a very great achievement and this post especially is not written to boast that off. I thought this Post will serve two purposes, a) This can enthuse/guide music lovers to take Music as a Vocation, seriously! b) My musical journey thus far strengthens the title of this Blog!

Best Regards,
Nalinikanth Josyabhatla...

My Romantic Tribute to JSB

2010-09-10T14:44:00.014+05:30

Dear Listener,

I took the melodic line of my earlier piece, 'Tribute to JSB', in the right hand, tweaked it a little and added interesting Romantic elements in the left hand and hence the title.

Hope you will like it.

Click here to Play

And as always, comments are welcome!!!
BFN...

Fantasy for Violin and Orchestra - Second Movement

2010-05-30T19:50:00.034+05:30

Dear Listener,

Here is the Second Movement of Fantasy for Solo Violin and Orchestra.
It is a relativley slower Movement in F# Minor running for about 6:45 Minutes.

This is a piece after a relatively long lull in my musical activity, mainly due to work-related reasons. I developed the Theme envisaged in Sep-2009.

It is Scored for Flute, Oboe, Clarinet, Bassoon, Trumpet, French Horn, Timpani, Solo Violin and Strings.

A Rhythmic Chordal Theme forms the basis of the piece. Then, we have Major and Minor Themes running along. The Piece becomes more lively and interesting as it goes along.

Please listen and your valuable feedback is welcome!!!

Thanks,
Nalinikanth...

My Tribute to JSB

2009-12-26T18:46:00.019+05:30

Amidst Happy Holidays,
I'm back into my Passion after a considerably long break:-)
I was completely away from active Music for about 2 months due to work-related reasons.

Coming to the subject of this Post,
Prelude # 1 in C Major of the Well Tempered Clavier Book-1 (BWV 846) by Johann Sebastian Bach (1685-1750) is one of the first few Pieces I learnt when I was taking Piano lessons in 2007. This is a very famous piece as every beginner on a keyboard learns this.

I always get allured by this piece and play/revisit this on and off. I think I understood this piece:-) It is simple, yet profound & beautiful. Chain of flowing Arpeggios against corresponding Bass makes this piece melodically as well as harmonically interesting.

Here are some related Web links on this piece:

http://www.youtube.com/watch?v=DAZ8KNsZSCg

http://en.wikipedia.org/wiki/The_Well-Tempered_Clavier

Inspired by this Prelude, I made a humble attempt on similar lines as a Tribute to the GR8 JSB. Hope you will like it...

P.S: Here is the complete Score if you would like to play it yourself :-)

http://www.fileden.com/files/2008/9/25/2114770/T2JSB.pdf

Fantasy for Violin and Orchestra - First Movement

2009-09-21T23:56:00.009+05:30

Dear Listener,

Here is the 1st Movement of a Fantasy composed for Solo Violin and Orchestra. It is in A Major and runs for about 10 minutes. It is scored for Flute, Oboe, Clarinet, Bassoon, Trumpet, French Horn, Timpani and Strings.

Please listen and offer your comments.

Thanks...

Fugue for 4 Voices on a Folk Theme

2009-06-22T23:08:00.013+05:30

Dear Reader,

Here is a Fugue for 4 Voices on a Folk Theme in G Major. I've used Flute-Viola-Bassoon-Double Bass for the S-A-T-B voices respectively. It is in 4/4 time and at a Tempo of 132 b.p.m. It is 74 bar-long that runs for 2:15 mins. The Theme, it's answer and all the Counter subjects are each 4 bar-long.

Please listen and offer your comments!

Theme and Development

2009-04-21T00:12:00.026+05:30

Dear Reader,

Here is a Theme from one of my friends, Mr. Simon Godden (a fine Western Classical Composer & Theorist from U.K). It is a four-bar melodic Phrase in G Minor in 4/4 time.

TEMA

As part of a Composition exercise, I wrote a Development for this Theme for a String Quartet. I've used various Compositional Devices in Developing it. I chose a Tempo of 84 Crotchets per minute and it runs for about 2:15 Minutes (46 4/4 bars).

DEVELOPMENT

Please listen and feel free to give your comments.
Thanks...

Revamp

2009-04-08T21:38:00.004+05:30

Dear Reader,

My efforts to improve the Quality of Sounds is at last succesful to some extent. I uploaded these files now in the respective Blog Posts. I used Orchestral sound samples for the Orchestral as well as Piano pieces. The sound quality is still not the very best owing to many limitations (Unavailability of a good Sound card & DAW, Computer's processing Capabilities, Audio Mixing / Mastering Skills etc.). However, in the Process, I'm happy to have picked up some basics of Digital Audio processing - DAW, VST/i, Plug-INs etc. :-)

Happy Listening!!!

String Quartet - Fourth Movement

2009-03-07T13:02:00.014+05:30

Dear Reader,

Here is the 4th and final movement of the String Quartet. The basic form is Sonata-Rondo. In C Major, at a tempo of 120 Crotchets per minute and in 2/4 time, it runs for about 5+ minutes.

The Rondo theme is a rhytmically accented chordal melody. The Second Theme in the Dominant and it's variations are built on the following idea:

3 Consecutive Major Thirds / 4 Consecutive Minor Thirds lead us to the same Note an Octave above/below.
C -> E -> G#/Ab -> B#/C (&)
C -> Eb -> Gb/F# -> Bbb/A -> Dbb / C

These swift changes in the 2nd Theme may give an unstable feel and some ears may not appreciate:-). Development is based on taking these thematic figures across various keys and the Coda mainly emphasizes on embellishment of the Rondo Theme.

I'm planning to work on Orchestral scores now and also to improve the sound quality by employing better Digitised sounds. So, it may take a while before I post the next one:-)

String Quartet - Third Movement

2009-02-05T22:00:00.009+05:30

Dear Reader,

Here is the 3rd movement of the String Quartet. It is a Scherzo & Trio, Scherzo in C Major and the Trio in E Major. In 3/4 time, at a tempo of 120 Crotchets per minute, it runs for about 3:50 minutes.

A short rhythmic introduction opens and closes the Movement. The repeat of the Scherzo has variations. The Trio has an ostinato rhythmic figure driving through-out. After the statement of the theme in the Trio, the music goes thru' a cycle of modulations to bring the music back to C Major for the Scherzo.

String Quartet - Second Movement

2009-01-24T23:51:00.017+05:30

Dear Reader,

As promised, here is the 2nd movement of the String Quartet I'm working on. It is in condensed Sonata Form. It is in F Major (the sub-dominant key of the Quartet in C Major). At a tempo of 96 Crotchets per minute, it runs for about 6 minutes.

There is an extensive usage of Chromatic notes giving it a feel of a dark movement. Many scales are touched in the process:-)

The recapitulation is in the sub-dominant key of B-flat Major (Mozart's technique).

String Quartet - First Movement

2009-01-16T21:56:00.020+05:30

Dear Reader,

After the Piano Fantasies, I started composing a String Quartet (that belongs to the genre of Chamber Music, scored generally for 2 Violins, a Viola and a Cello). The idea behind the design of a Quartet might have been to cover a wider spectrum of pitch ranges and texture. It generally has 4 movements like that of a Symphony. The general form will be: 1. Opening Movement in Sonata form in Tonic key 2. Slow Movement in Sub-Dominant key 3. Scherzo/Minuet & Trio in Tonic and 4. Sonata-Rondo in Tonic.

Here, I've posted the First movement of the String Quartet I'm working on currently. It is in C Major and in Sonata form. Without the repeat of the exposition, at a Tempo of 120 Crotchets per minute, it runs for about 5+ minutes. I've expanded the Development section compared to my earlier Piano pieces (based on some Composers' comments).

This mp3 is a MIDI simulation from a notation S/W. The sound quality of these Strings will be far from the original Instruments and excuse me for that.

On this Note, I would also like to thanks Ms. Anne Goodwin, a Pianist and a Composer based out of Canada for helping me out in making the 1st Version of professionally engraved complete Score.

-----------------------------------------------------------------------------------------------------------
Reference:
Ms. Anne Goodwin
Notes 'N The Rest,
Your music, professionally engraved!
website: http://www.notesntherest.com/
email: ea_goodwin@hotmail.com
tel: (613) 821-0205
------------------------------------------------------------------------------------------------------------

P.S: The 2nd Movement is about 50% complete and I'll add that in my next post once it is complete in all respects.

3 Little Fantasies for Piano

2008-11-03T16:45:00.053+05:30

The Making:

Western Classical Music (WCM) impressed me immensely when I first heard few popular classical pieces in the 2nd half of year 2006. They made me curious and I started building some basic stuff (like Scales, Harmony, Chords etc.) only to realise that I'm too deep into it in a very short time.

Took Piano lessons in 2007 for a while and felt the beauty of Harmony in it's entirety at heart. Started listening intently (still do :-)) to works of Bach, Mozart and Beethoven (courtesy: amazon.com). Beethoven moved me with his emotion in Music, Bach with his Intellect and Mozart with his Melody. Meanwhile, I continued studying various Musical forms and the theory behind.

With the bad habit of composing Indian Music:-), I wanted to try my hand at Composition of WCM. The first complete Piece (rather a small movement in Sonata form in D Major) was composed in July-2008 for Piano. It was completed in just 3 to 4 sittings of 2 to 3 Hrs each and the output was a nice piece of about 4 minutes in length. This enthused me to compose more and eventually to the idea to publish 3 little Fantasies for Piano. I wanted them to be crisp to keep the interest of the listener. From then on, I continued building movements with variety in structure & colour and by the middle of Oct-2008, all the 3 Sonatinas were completed. The Music runs for about 30 minutes if the indicated Tempi are adhered to.

A few copies of the work titled '3 Little Fantasies for Piano' are made initially. You may feel that the Music has Indian flavour at places and this may be a manifestation of deep-rooted influence of Indian musical style in me:-)

Though I received no formal training on Composition, I could complete this first humble attempt to understand WCM succesfully, in a self-taught manner ;-)

Cover Page:

Download the Cover Page Here: http://www.fileden.com/files/2008/9/25/2114770/Title.pdf

The Music:

You can hear MIDI simulations of each of the Movements of the work below. Original Recordings on a Piano would enhance the quality & intensity of the Music manifold. Please note that the Dynamics & performance styles like Ritardando, Tremolo etc. indicated in the score within movements are not captured in these mp3 files accurately.

First Fantasy in D Major

First Movement in D Major (Sonata Form)

Second Movement in D Minor (Abridged Sonata Form)

Third Movement in F Major (Rondo)

Second Fantasy in G Major

First Movement in G Major (Sonata Form)

Second Movement in G Minor (Double Variation Form)

Third Movement in G Major (Sonata-Rondo)

Third Fantasy in C Minor

First Movement in C Minor (Sonata Form)

Second Movement in A flat Major (Scherzo & Trio)

Third Movement in D sharp Minor (Binary Form)

Fourth Movement in C Minor (Fughetta for 3 Voices)

The Beginning

2008-09-23T15:26:00.116+05:30

Exposition
To give a brief intro of myself, a Mechanical Engineer by Education, an SAP Consultant by Profession and a Musician by Passion. Composers and Performers of this supreme art, Music, always inspired me (Be it Thyaagaraja, Dr. Ilaiyaraaja, Dr. M. Balamuralikrishna, Pt. Jasraj etc. in the Indian realm or Bach, Beethoven, Mozart etc. in the western realm). Music looks to me as a powerful Universal media of self-expression beyond Notes, Forms, Systems, Cultures, Traditions and Composition of Music as the highest form of Musical achievement.

Exposed to music since early childhood, I always had a flair for composition and a feel that a Musical Instinct is within. But, fate had it the other way: I could not get formally taught in any of the Musical Instruments or systems for a notable period. I continued playing Instruments in my own way (film songs on Guitar in Veena style, Keyboard, singing etc.), understanding Music in my own path [mainly listening and Internet :-)]. There was a decade long lull/break in my musical quest (1996-2006), mainly due to official reasons. Suddenly, there was a sharp resurge starting 2007. (may be Recoil :-))

A Short Experience on Internet: One of my friends was saying that a friend of his is a Google Consultant. I thought he must be working with Google. But to my surprise, what he meant was that he finds solutions to all his Consulting problems through Google Search:-) Such is the Power of Google! As a short exercise, just take any famous western classical piece or a composer and google him. In the articles that surface (may be Wiki), google again on all the unkown / new terms and so on. Soon this re-search grows geometrically (if not exponentially) crossing leaps and bounds. Soon, you will be invested with Knowledge you can not handle:-) However, we should exercise care while taking facts and opinions posted on Internet. Cross-verification is reqired:-) But, one should have the Curiosity and Endurance to go through this!

A Short Experience on Listening: Since March-2007 or so, I started listening to Western Classics in my car on my way to and from Work. Most of them will be by Beethoven and some by Bach, Mozart, Schubert, Wagner, Brahms, Chopin, J.Strauss, Mahler, Tchaikovsky, Rachmaninoff, Dvorak, Shostakovich, Prokofiev etc. Intent listening leads to new ideas in Musical Ideas.

April this year, I came across a Software (Noteworthy Composer) that can be used to Notate (western) and Simulate the music composed. Slowly, by the end of May, the repository built to about 20+ tunes, some Background Music bits and some western pieces for Piano, prompting me to make a self-driven private Music Album :-)
Development

The recording process of this Telugu Audio Album started in mid-June (precisely June-21, incidentally, World Music Day:-) and was ready by mid-July (precisley July-19) and it was named “Music Innate”. As the Interludes & Chords were already scored, recording of Instrumentation and voices together took 5 days at the recording theatre. It is a collection of 6 songs in different genres of Indian Film Music. Lyrics were penned by my friend Mr. P.V.Raju. A bit of technical / musical explanation on the compositions would help the listener to understand the music behind better. Those who do not bother about the semantics can ignore the musical stuff, listen & enjoy the songs :-)

Inlay Card:

Download the Inlay Card Here: http://www.fileden.com/files/2008/9/25/2114770/Music%20Innate.jpg

1st Track (Enthaanandamo):

The theme of this Song is “Sweet Recollections”. It is a male Solo: expression of a guy’s happiness reminiscing his childhood experiences amidst a Village backdrop on his way back home.

The song has catchy lyrical phrases like 'Mota Baavilo Chepa Pillalalle Memu Eeduladatam', 'Padavaleyatam', 'Taatha cheppina Chandamama Kadhalu', 'Dishyum-Dishyum-Dishyum' etc. that time-lift the listener into his childhood instantly.

This is a light-hearted melody in Gambheera Naata, a pentatonic scale (C-E-F-G-B, taking C as the Shadjamam/Tonic) in 2/4 time. The prelude with Strings introduces the listener to the Raaga with the Flute & Strings rushing to the Pallavi. The Flute follows each phrase of the Pallavi. Pallavi uses subtle triplets.

The 1st Interlude is a Flute development in the scale with Harmony on Strings (with Pizzicato effects). This interlude gives a western feel calming down and culminating into the Charanam towards the end.

The Charanam goes to a top Pa / G and halts for a bar (symbolizing Awe & excitement). The Charanam ends with 3 Staccato Notes reflecting playfulness.

The 2nd Interlude starts with Strings & Brass Ensemble, followed by a Dialogue between Flute and Trumpet, then a Counterpoint between Violin in the upper and Cello in the lower registers. The Interlude ends again with a Flute piece culminating into the Charanam. The Song ends with a Flute (rather Bass Recorder) postlude, descending down the scale to lower octaves.

Track 2 (Ee Dooraminkela):

The theme of this Song is “Blossoming Love”. It is a duet between Piano and a female voice. A male Piano teacher and his female student [not Beethoven & Therese Malfatti :-)] falling in love.

The song has good lyrical usages like 'Mana Raagamanuraagamani theliyaga', 'Pranayaana Pranavaanni Kanipedadhaama' etc.

The song is in a classical western format in ¾ time. The Prelude starts with a descending phrase on Piano in C major scale, ascending back in steps. In the repeat, there is a variation at the end, the prelude ends on E instead of C and the Pallavi takes off.

The Pallavi is basically in C Major while D# (or Enharmonic Eb) and F# are also touched. The 1st Interlude starts with a metrically accented theme in C Major on Piano. In the variation, G# and F# are touched (with String backing) and the Music moves to G and then C. Then a 3-bar cadential figure (also the figure on the Inlay Card) modulates the Scale to Eb Major.

The Charanam proceeds in Eb Major in a dialogue form between Voice and Piano. Then the Music proceeds to C Minor, the relative Minor of Eb Major. Then a phrase [basically, the notes of G7 Chord, the Dominant 7th for C (B-D-F-G, D-F-G-B)] modulates the Music back to C Major for the repeat of the Pallavi.

The 2nd Interlude employs a trilled figure that plays at different pitches against a corresponding Alberti Bass on the Piano. Then the Cadential figure modulates to Eb major for the Charanam.

In the process, 11 of the 12 notes in the octave are touched in this song. [There are 2 more compositions; one of them uses all the 12 Notes and the other only 4 notes (of the famous Lavangi scale), not part of this Album though :-)].

Track 3 (Munduku Saagithene Vijayam):

The theme of this Song is “Positive Outlook”. This Song portrays the youthful confidence and emotion of the Protagonist. It is a male solo [a kind of Indian Hero’s Introduction :-)]. Staccato Notes are used throughout the song to reflect Energy of the young character.

The song has good lyrical phrases directed towards the youth with English words interwoven to mark Staccato Notes.

The Song is based on C Natural Minor (Natabhairavi, C-D-Eb-F-G-Ab-Bb) in 2/4 time. The Prelude starts with a theme related to the Pallavi on Bells. In the repeat, Timpani support (both Rhythmically & Harmonically). (Timpani are a western drum set that can be set to play at different pitches related to the tonic of the composition.)

Pallavi is a simple rhythmically accented theme in C Minor followed by Flute and Strings after each phrase giving necessary emotion to the music.

The 1st Interlude starts with Guitar and Flute followed by a long Phrase on Accordion. Then Flute follows Guitar and Strings (that play a quick progression in C Minor) leading to the Charanam.

Charanam progresses in C Minor and we can observe a vocal counterpoint in the beginning phrases. At the Phrase “Evvaru Naku Saatileru” & “Nenandiriki Raaraju” the Music moves to G Minor, the dominant Minor and even the lyric changes it’s colour. Then the descending Chord notes of F Minor and Eb Major bring back to the Tonic.

Guitar opens and ends the 2nd Interlude. The theme of the Interlude is basically on the Horn (signifying Heroism) against a Timpani beat. The Song ends on Bells & Timpani.
Track 4 (Madi Ninda):

The theme of this Song is “Romance”. This Song talks about a guy’s romance with his Paramour. It is an experiment bringing Romance out of a Pathos Raaga [Composer’s choice :-)].

The Song is based on Dhenuka scale (C-Db-Eb-F-G-Ab-B) in 4/4 time. However, we have an extensive usage of Accidentals (Anya Swaras).

The Song starts with a Chorus in 2 parts, 5th apart [violation of the rule of consecutive fifths, (C+G/C#+G#/C+G/B+F#/C+G) :-)]. A haunting motif, central to the composition on Guitar and Flute follows. The Pallavi is a group of 6 cryptic phrases in Dhenuka around Sa/C, the tonic.

The 1st Interlude starts with a theme on Strings, then a variation on Flute follows after which the Theme is restated in lower and upper octaves.

The Charanam is based on playful usage of Staccato Skips of the Notes on the scale enlivening the Romantic aspect. Towards the end of the Charanam, there are phrases that use Chromatic slides that dive back into the tonic.

The 2nd Interlude starts with Brass Ensemble in counterpoint against Timpani. Then a Flute in semi-quavers enters into a counterpoint against Strings, mainly in crotchets. The Interlude ends with Flute phrases ending the commotion, connecting the Charanam. The song ends with the central motif.

The lyric supports the entire music, especially, so well in the Charanams.

I've observed that this song produced different [rather confused, though it was not my intention :)] feelings (including effects of different Raagas like Subhapanthuvaraali, pure Pathos) among the listeners. I attribute this to the usage of parallel fifths at the beginning, difficult phrases in Pallavi, a haunting theme, melodious staccato notes in Charanam and extensive usage of accidentals. Nevertheless, it remained a favorite for many of my music-loving friends:-)

Track 5 (Ekamaina):

The theme of this Song is “Being Together”. This Song is portrayal of Ideal love (if it really exists:-)) between the Partners. This composition is based on Raaga Chakravaakam (C-Db-E-F-G-A-Bb) in 2/4 time. However, usage of techno beats and syncopated rhythms and western phrases give a kind of fusion effect between Carnatic and Western classical forms.

There are some outstanding lyrical phrases signifying Ideal love in this song, for example, ‘Prema Leni Jeevithalu Asaanthine Varinchule, Paramu leni Parinayalai Ihaalalo Charinchule’.

The Song starts with a motif on Veena on which the entire composition is developed. Veena supports the song throughout and sometimes with counters. The Pallavi touches all the prominent notes & Slides / Gamakas of the Raaga, also with some typical phrases like ‘Ga-Pa-Ni-Sa or E-G-Bb-C (Notes of C7th Chord)’, ‘Sa-Ri-Da-Ma, Pa-Ni-Pa-Ga’ etc.

The 1st Interlude is a Staccato counterpoint, mostly in quavers, between Flute and Cello with Crescendo effects followed by a Counterpoint between Piano and Cello in the upper and lower registers respectively.

The Charanam begins with a syncopated (change in Rhythmic style / Nadaka) kind of phrase, followed by arpeggiated phrases such as Sa-Ga-Pa, Ri-Ma-Da, Ga-Pa-Sa. Then we have melodic phrases and variations that highlight the Raaga Lakshana.

In the 2nd Interlude, Veena states a theme followed by a repeat on the Clarinet. Harmonized Strings follow this theme with a passage reminding us of Chakravaakam again :-)

The final rendering of the Pallavi by the duo towards the end has a subtle variation, followed by Flute ending the song on the prominent note Ga/E.

Track 6 (Panta Pandi):

The theme of this Song is “Thanksgiving”. This folk Song is based on the farmer’s celebration of Sankranthi (Pongal) after reaping the harvest and thanksgiving to the almighty for the prosperity. This is based on Raaga Hari Kambhoji (C-D-E-F-G-A-Bb) in 3/4 time suitable for folk melodies. However, there is usage of Eb as well giving a touch of Karaharapriya to bring out the folk effect.

The folk lyrics are built so well to make the listener visualize the village festivities. There are some very good phrases like ‘Bhogi Mantala Yedimi Nundi Sankuraathiri Yecha Yechangochinaadhi’, ‘Muchatla Dandalu Sudatha Vunte’ etc.

The Song starts with a Chorus followed by Piccolo in Chromatic fashion. Pallavi is a set of rhythmic phrases followed by Piccolo.

The 1st Interlude is a passage on Oboe followed by a repeat on the Clarinet in the lower register. This is followed by a flute passage and its folk variation with accidental against rhythmic support.

The Charanam has some continuous phrases going into lower registers and then coming back higher in pitch. Towards the end of the Charanam, the thanksgiving effect is visible in the tune.

The 2nd Interlude starts and ends on Piano taking off from the Pallavi and leading to Charanam. There is a theme played on the flute followed by a staccato repeat on the Violin along with flute. Then the Violin connects the Piano for the Charanam. The Song ends with the starting portion of the Chorus.
Recapitulation:
The efforts of the Lyricist, young singers, musicians & technicians are commendable who put their best in making this Album a successful first venture.

Thanks for going through such a long post – wanted to cover the entire Album in one post. Feedback is welcome :-)

Coda:

Probably, my next Post would be after I publish “3 Little Fantasies for Piano”, Music of about 30 minutes for Piano!!!