modern film songs - scale/pitch/key
nilanjan
I have noticed that many modern hindi film songs ( notably by
Sukhwinder , Udit Narayan amongst others ) are certainly at a higher
pitch or key ( sometimes called scale as in scale-changer harmonium
!!) than the songs from earlier times lets say 50s thru 80s.
Is it actually recorded/sung that way or do the recording folks or
music directors now alter the pitch/key ? There are digital effects or
processors which can certainly change the key available now-a-days .
Comments ??
Kas Subramanian
scale than the ones of yesteryear. One not-so-amusing consequence of this is
that the "screechiness" factor of the female singers has increased too. As
it is, female vocalists in Hindi film music have been naturally selected to
have abnormally high pitches and the trend is increasing now. Singers like
Alka Yagnik and Kavita Krishnamurthy are unbearable when they have to match
the high pitches of their male counterparts. Not pleasant on the ear at
all...
Kas
"nilanjan" <nilanja...@hotmail.com> wrote in message
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nilanjan
at a time and then merged together ( instead of entire song as sung by
previous singers earlier)
Is that true ?
nilanja...@hotmail.com (nilanjan) wrote in message news:<6c8b1f5.02081...@posting.google.com>...
naniwadekar
nilanjan <nilanja...@hotmail.com> wrote -
>
> Also I have heard that these songs are recorded one section or piece
> at a time and then merged together ( instead of entire song as sung by
> previous singers earlier)
> Is that true ?
>
Yes. Lata, Asha and I am sure many others don't have time
to practise for hours and go through multiple takes. A dummy
singer is used and the song recorded. Once the MD is satisfied,
the chosen singer hears the song and records it. The dummy's
voice is replaced.
Anupama or Anuradha Deshpande was used as dummy for a
song in Sohni Mahiwal? by Anu Malik? . (bhool-chook lenaa
denaa about the names.) The producer liked the song so much
that he didn't bother to have the original singer sing it. No names
please, but much as many posters would have us believe that Lata
was the only monopolist, it wasn't Lata. Some singers thought it
a capital idea to monopolise bad songs when they discovered that
'good' songs would invariably go Lata's way. The IBS (intended
big singer) was stung that Ms Deshpande's version made it to
the soundtrack.
Thenceforth, she would point to Ms Deshpande if she was in the
orchestra and ask that she be removed. One day, Laxmikant Pyarelal,
neither of whom was married to the IBS in question,
decided enough was enough and told the IBS that she could cancel
her association with the song if she wished. But the choice of singers
in orchestra would be made by the two MDs only.
- dn
aanand
DN.. Why are u not taking names.. Why are u afraid to take Asha's name
if
you want to point to at her .. Its open forum ..i guess nobody would
object..
But let me put two cases which i know..
Uttara kelkar ( Marathi as well Hindi Singer) started as Chorus singer
when she was spotted by Asha. She asked her that as u r looking from
well being family , if not for monetary resons, why are you singing in
chorus. You should come out of this if u want to establish yourself.
Just wait for ur right chance to come upon. Uttara kelkar stopped
sining in chorus and soon she got good breaks in MArathi as well as
few in Hindi.
Also Aparana MAyekar used to sing dummy songs which would be sung
later
sung by either Lata or Asha . She points out several instances where
Asha has refused to dub saying that Aparna HAs sung it very well and
not need to dub the song. ( May be becuase of fact that Aprana mayekar
is daughter of DD..Datta davejekar who is got relations with
MAgeshkars).
I guess all the facts should be considered before pointing figures on
somebody.
regards
Anand.
nilanjan
My initial query was not with regard to Lata or Asha , it was about
the pitch/scale now especially compared to Lata/Asha/Kishore/Rafi's
pitch/scale in the past.
And whether they are electronically modified pitch and merged segments
when published in the final production...
Havanur
> Uttara kelkar ( Marathi as well Hindi Singer) started as Chorus singer
> when she was spotted by Asha. She asked her that as u r looking from
> well being family , if not for monetary resons, why are you singing in
> chorus.
I am not sure I follow the logic here. If u r NOT "looking from well
being family" you have to be a chorus girl for the rest of your life?
Havanur
Prabhat Kumar
flat and even as high as E Scale, rarely in F. These newer singers are
generally in D to E scale.
About scratchiness, since the scales are not different they are the result
of the singer's voice.
--
Regards,
Prabhat Kumar
http://www.newsindia.net
"nilanjan" <nilanja...@hotmail.com> wrote in message
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nilanjan
western music , more like a raga, per my understanding ) would
certainly be dependent on the song . Different songs are sung at
different scales. You could easily sing even at F if the notes are
mainly in the lower part of the octave.
But if you see the highest notes or the large part of song being in
higher notes at a higher key then that is different or harder to sing.
(unless electronically changed). That is what I noticed.
For example listen to Lagaan songs and check the notes , or check
ARRahman's DilSe song (Chaia Chaia, Dil se re)
"Prabhat Kumar" <pku...@ptd.net> wrote in message news:<O_899.611$AK3.3...@nnrp1.ptd.net>...
Prabhat
scale. Of course using higher notes with loud heartbeat rhythm creates
excitement. Not necessarily cerebral music but more appealing to the feet.
Also, different scales are used in songs to present different emotions and
also are based on the singers capability.
The 7 notes scales in western and Hindustani are identical. Only difference
is that the Hindustani "Sa" is mobile. For example our Sa can be "Pehali
Kali" or "Doosri Kaali", etc. In all of these cases the Sa Re Ga Ma Pa Dha
and Ni scale will still remain there - starting from whichever Kali or even
"safeid" Sa we elect to play from..
Western tradition also maintains 7 notes scales. Here Pehli Kali will
correspond to a C# (Sa), then D# (Re), F (Ga), F# (Ma), G# (Pa), A# (Dha), C
(Ni) or Doosri Kali will correspond to D# (Sa), then F (Re), G (Ga), G#
(Ma), A# (Pa), C (Dha), D (Ni) . Note that Sa, Re, Ga, Ma stayed the same,
we just moved our hand on our instrument and made the doosri kali our Sa.
In western we renamed our scale from C# to D#.
The distance from Sa to Re and then to and rest of the notes in the Saptak
or Octave never changes in music, no matter where your Sa starts from.
--
Regards,
Prabhat Kumar
http://www.newsindia.net
"nilanjan" <nilanja...@hotmail.com> wrote in message
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Shree
--Shree
"Prabhat" <pku...@ptd.net> wrote in message news:<LlK99.973$AK3.5...@nnrp1.ptd.net>...
Surajit A. Bose
"Prabhat" <pku...@ptd.net> wrote:
> The 7 notes scales in western and Hindustani are identical. Only difference
> is that the Hindustani "Sa" is mobile. For example our Sa can be "Pehali
> Kali" or "Doosri Kaali", etc. In all of these cases the Sa Re Ga Ma Pa Dha
> and Ni scale will still remain there - starting from whichever Kali or even
> "safeid" Sa we elect to play from..
>
> Western tradition also maintains 7 notes scales. Here Pehli Kali will
> correspond to a C# (Sa), then D# (Re), F (Ga), F# (Ma), G# (Pa), A# (Dha), C
> (Ni) or Doosri Kali will correspond to D# (Sa), then F (Re), G (Ga), G#
> (Ma), A# (Pa), C (Dha), D (Ni) . Note that Sa, Re, Ga, Ma stayed the same,
> we just moved our hand on our instrument and made the doosri kali our Sa.
> In western we renamed our scale from C# to D#.
>
> The distance from Sa to Re and then to and rest of the notes in the Saptak
> or Octave never changes in music, no matter where your Sa starts from.
This is SO illuminating ...
-s