well, by complete accident, I think I have created a new kind of music for myself, a kind of music that I’d really like to do a lot more of, work out this new process really well, so that I can play pieces that are truly beautiful and inspiring. the good thing is, technology is making it possible for me to play this music live, so that is even more exciting – live performance, with tanpura drone and tabla drums – and it’s wonderful fun to do!
in my head, I am thinking of this new kind of music as a “synthraga” – and that’s because on may 19, 2012, I set up a scenario where I could have an application, itabla pro, providing both tanpura drone and tabla percussion, and then I also set up between one and three apps, synthesizers, that I could use separately, or ganged together, to play melodies on top of this beautiful rhythmic “bed” of indian sound.
when I was playing the pieces – six of them, all of substantial length, I wasn’t convinced that it was really “working” – I had my doubts if a synthesizer was a valid melodic device to play over an indian rhythm. however, when it came time to listen back to the tracks, my opinion changed completely – it works really, really well indeed, which surprised me greatly – I would have thought that synth + tanpura + tabla might have been a disaster, but really, all six takes succeed, one or two of them need a little bit of attention, and a few of them are just exquisite right out of the box – thanks mainly to the genius app that is itabla pro.
the first take, “felled trees float rapidly down river” starts with a ghostly, lone synth melody, that plays for about a minute, then the tanpura enter, then the tabla – the piece continues – then I bring in a second synth, and play a lot of very strange melodies, including violent up and down sweeps of the pitch bend wheel…and then, I switch back to synth one, the ghostly one, and continue with the pitch bend antics but in a more subdued way. for me though, it’s the tabla that make the piece – constant, beautifully recorded – they are just lovely. the tabla stops; but the drone continues, the ghostly soloist returns, then suddenly, the tanpura and melody just fade away – and a new kind of dave stafford piece is borne.
take two could not be more different; two synths are operating at once, one a stuttering, chattering beast, the other a slow, long, wah sound, the two play together for several seconds, with lovely oscillations and delays – then, the tanpura enter – which just sounds amazing on top of these two wildly moving synth voices, and it begins to set a mood, the soloing on the dual synth voice is just wonderful, the drone of the tanpura really enhancing it – then, suddenly – the tablas enter, and we are away. “branches splaying flying outward – powerful gusts of wind” – once the tablas start going, the chattering synth melody begins to move up and down the keyboard, following it’s own melody line, up and down the scales, then ending up in the high registers – the tablas stop, some amazing synth sounds happen thereafter – then, it’s just tanpura – and we are gone. another remarkable piece of music from nowhere, I had no plan, I just set up the instruments and just…played.
the third piece starts with a strange, half-strangled square-wavish sound, as usual by now, the drones enter first, always, to set the mood, while the synth melody plays alone, the drones envelop it and make a lot of beautiful noise. a heavy bass note emerges, then repeats – the tablas enter – and then the strangest thing ever happens, a sort of extreme, in your face wah based synth plays a short sequence – surprisingly – then disappears – then – reappears thirty seconds later, just the most unlikely synth voice you could imagine, it’s arpeggiator based, but it’s the sudden starts and stops – while the original voice continues to play melodies, in fact, it now goes solo, including several interesting pitch wheel motions – then, back to the extreme arpeggiated voice, which if at first was almost irritating, you now can’t help but really like it, and it’s the unusual justaposition of this weird solo voice with the lovely drone/tabla backing, it’s SO unlikely – that it actually works, really, really well. “rustling of leaves turns to rattling, then back to rustling, then, to silence” is a very strange, but very wonderful piece of music, unlike anything I have ever created.
our fourth piece here, “hailstones rattle down the hillside, into the empty riverbed” starts with a mysterious, minor key solo synthesizer that is more fender rhodes than synth, but it sounds wonderful with the tanpura drone and tabla, and most of this piece is taken up with this subtle instrument, it gently plays a lovely melody atop the perfect rhythm kept by the tablas, courtesy of course of the remarkable itabla pro application (which just underwent a fantastic update) – then suddenly, a technological disaster, by accident, the volume increases dramatically, some strange musical events occur, then it goes back to normal – and then, the middle section synth solo comes in (and, the “loud” section can be normalised in post-production, so it’s not a problem) – with again, a most unlikely voice, a very squelchy modified sine wav with a lot of glide, a lot of delay, and a lot of insane pitch wheel bending from the synthesist – that’s me!. again, a sound I would never pick to go with an indian backing – it shouldn’t work at all – but, it works really well !!! – then returning to the rhodes-like sound and quickly dissolves into nothingness….
track number five (“thousands of leaves fly into the air, borne upwards on rising thermals”) again has a lovely, rhodes-like beginning, very mellow, really nice melodic playing as first the tanpura drone, then the tablas enter, just waiting for that completely out of control, mad, glide and delay, brash synth solo – in fact, this track uses exactly the same set up as track four, so it’s a second attempt to control this mad scenario of controlling multiple synth apps from one keyboard – it works, but the solo section is quite insane, but still, a lot of fun, with amazing pitch bending going on – and it’s wonderful to hear the crazy, brash voice AND the beautiful rhodes voice jam through the long, improvised mid-section – in the end, resolving down to just the rhodes-like sound…and through that lovely outro, tabla stop, continuing rhodes-like melody, and eventual drone fade and ending…beautiful stuff!
a third and final attempt using the same set up, track six, the final take of the session – entitled “the moon lights the heavens reflecting on the forest canopy below” – each time, the sound balance a little better, the transition from the rhodes-like beginning and end sections from/to the louder, brash/crazy middle section is more balanced – the piece begins to really, really work, although the beginning of the middle section is STILL a shock, in terms of increased volume; the strangeness of the voice, etc. – although lots of great X-Y pad action makes that voice very, very interesting – a long, descending riff works beautifully – and the arpeggiation is just fantastic! I love this solo I think best out of the three, it’s sudden, like the other two, but it’s very fluid, and it has a very crazy atonal section with lots of VERY warped pitch bend and X-Y manipulation – beautiful.
the inevitable return to just the rhodes-like voice is welcome after the extensive solo, but I believe that I can find a way to balance this out – I think that the right reverb may smooth this somewhat awkward transition between middle solo and the beginning and ending sections. a beautiful, calm, rhodes-like solo finishes the piece, and the series…of course, fading to just solo and tanpura, and then fading away completely…
as I mentioned, when I was actually doing these, I was not sure if any of them was “working” – there are certainly some strange combinations of odd-synth-voice-choice to backing, but the way I played the parts, as if it were “supposed” to be that way – really makes the pieces just work somehow. I would say off hand, that all six are imminently release-able – which is amazing, really – OK, maybe I should only release the first three plus which ever out of takes 4, 5 or 6 is “best” – so, four great takes, two very good takes – but it’s the concept here, the idea of playing synthesizer as the melodic instrument on top of tanpura and tabla – it sounds weird on paper, wonderful on tape. (or on digital, actually!).
I wanted specifically to recount this session, because I believe that I will be trying several more along these same lines, although I may incorporate the guitar synth rather than the keyboard synth – although to be fair, both is probably the best idea. I could certainly command a larger “orchestra” to play over my indian backing tracks…I can forsee playing live on both keyboard synth(s) and guitar synth, using itabla pro as the rhythmic and drone backing – I believe that, over time, I can expand and perfect the “synthraga orchestra” concept, technology, and set-up – maybe even eventually do live streaming performances of synthraga pieces – why not?.
all I know is, I am loving this new sound, kinda found it by accident, but that is what I would call a very, very happy accident, because it’s given me yet another unique kind of dave stafford music to play, along with my ebow loop set up, or my various guitar synth string orchestra set ups, I now can add “synthraga” to the menu – and the best thing of all, they are all LIVE performance set ups – no other way to go if you ask me!