The same sequence all the way. Just playing with the sounds. An excerpt from a piece of about 30 mins.
Synthi AKS plus the sync-connected Randrum pulse synth. - 7:57
http://www.samshuijzen.nl/sam/butapes/27a/2_ragastudy.ogg
You're so unappreciated, Sammy! :D
I will listen to this piece, and comment....
Yeah, yeah, i know you don't NEED anyone's appreciation, me neither. But you prob'ly make it available in case it will edify SOMEONE. My opinion will only serve to give you the perception of your art thru other people's ears, which in turn may edify you in some small way...I will take it home and comment tomorrow (Sunday).
I just hate to see your poor little uncommented post.... :cry: :P
Anyone noticed that it sounded like a song that could be taken from an indian wedding or something like that?
2 Harbinger
Well, in some other post you felt a bit offended. If I'm stupid, I could feel the same with your comment.
Who says that I don't care about anyone's appreciation ?
And don't reply, just because you feel a pity about no comments..
2 Rakib
An indian wedding is a nice picture here.
Hi Sam,
hurdy gurdy for the win!
http://en.wikipedia.org/wiki/Hurdy_gurdy
I like this - nice development.
Is this totally live then? If so it is even more impressive.
Indian wedding... but medieval - folk music uses modes much more commonly (Irish and Scottish and Czechoslovakian etc.)
This sounds like a mode to me more than a different tuning.
some tams would make the European association more complete for me I guess.
You could call it a mode indeed, and the hurdy gurdy can do something like that.
Same situation as with the Tanpura playing the background tone and the Sitar playing the raga melody.
I don't think it was done in one take. I used the click-track on tape to make some overlays.
Notes as i'm listening:
Was ready to be bored, especially after the first 2 minutes and no musical development had occurred. But the composer began introducing rhythmic movement (subtly at first), and the variations in timbre and voicing took over. I found myself entranced as the pace neither quickened nor lessened, but it was rather like waking up on a train, slowly coming to, only to find out the train was well on its way.
I am neither moved by nor interested in Indian music, but this piece held my fascination with the constant non-Western obbligato that laid the tilework for the melody's study. I likened it to Scottish bagpipes but with a more calming timbre and less melodic definition. It's easy to see why this is the music of meditation.
I would like to ask the composer if this indeed used the Raga scale or did in fact just "sound" Indian to you, and hence the name (forgive me if this is a music you've studied in-depth :) ). I should also ask why the recording is at such low volume -- purpose to this? A minute in, and i'm still wondering if there was indeed any sound at all. I turned up the volume about 150% and found the music hiding....;)
You could've doubled the amount of time on this etude with further exploration and it would not have been annoying and tedious by the end... it is an unexpectedly captivating piece (unexpected for me, maybe not for you :) ).
Nice observations, Harbinger.
The piece indeed starts at a quite low volume, but the rest couldn't be normalized more.
As I recall, I used the notes from some Raga scale, but the melody was made a bit at random.
The rhythm has a cycle of 6 (6/8 if you like) on purpose.
I didn't study Raga (almost impossible by the way, these things are teached orally not theoretically, with a lot of practicing).
So I called it 'study' because I tried to make it sound Indian.
About the duration : As said, this is an excerpt of 30 minutes..