andrewjdowty.com

I have always played music. I began guitar at six year old. I got my first harmonica at 8. I played in Jazz band, boys chorus and various garage bands in middle- and high-school. I learned to read music but preferred guitar TAB as, it was more specific because it showed exact fingerings.
After two semesters of College music theory and a dreadful experience in men's choir at a little junior college in northern Wisconsin, I abandoned a career in music. Little did I know that I would never be able to turn my back on my musical inclinations. Later, when I transferred to the University of Madison, WI, I could not see a musical group, go to a football game, see a band or soloist and not wonder what it would have been like if I had pursued it further. Among my favorite places to be was the Chamber bar and musical venue, especially Monday nights to see Clyde Stubblefield and the Blue Monday Group. It was at this time that I quit smoking cigarettes and learned to blow cross-harp. I believe the harp player I used to see there was named West Side Andy Lindermann. I couldn't afford lessons.

The moment I saw a chance to get back into anything musical, I took it. I have been involved with Carl Fischer Music Publishers for 10 years. I brought just enough musical knowledge and experience to the job to be able to handle book and ad layout related to musical education and performance. I have been able to speak with authors, editors, music engravers and composers about music as it relates to the various projects we have produced and I have learned from my experiences there.

Recently, I have begun to study Classical Indian music. I fell in love with the sound of the Bansuri (North Indian cane flute.) The first complete raga I heard was called Myian Ki Malhar. It sounded like water. I have, since pursued properly tuned cane flutes all over the world (web) and am finally the owner of a very respectable set. As of yet, I haven't played any better flutes than these.
After several years of listening to the North Indian ragas of the legendary Hariprasad Chaurasia, I came to the bitter realization that I would never learn this complicated tradition of Classical Indian music by ear. I would need to seek instruction.

I now see a Guru, His name is Jeff Slatnick. He has run the Music Inn, a very small world musical instrument store and repair shop for forty some-odd-years. I am learning very complete and challenging compositions. Indian music has been a very rewarding path. Contrary to popular belief, Raga music is not entirely improvised. Many gurus share written pages. All gurus encourage students to write down their lessons. The written music, uses a notation, called SaReGaMa, that differs greatly from western notation. It's strongest feature, in my opinion is it's ability to describe rhythms much more accurately and simply than western notation can.

(photo of Andrew J. Dowty veinly impersonating a diety by Zachary Fernandes)

Here are some links to some very informative sites devoted to the study of Indian Classical music:

http://www.itcsra.org/sra_others_samay_index.html
http://www.asavari.org/ragamala.html
http://www.ancient-future.com/theka.html
http://www.sawf.org/music/articles.asp?pn=Music
http://www.chandrakantha.com/articles/indian_music/

As promised, I will now begin to publish recordings of my Bansuri.
My goal is to record every piece I have learned so as to aid in my own memory of the melodies.

Raga Hemant. Part of the Deepak family, thaats Khammaj and Bilawal. Tintal.

Alap, Jor and Slow Gat. 16MB

—Andy Dowty


	I have always played music. I began guitar at six year old. I got my first harmonica at 8. I played in Jazz band, boys chorus and various garage bands in middle- and high-school. I learned to read music but preferred guitar TAB as, it was more specific because it showed exact fingerings. After two semesters of College music theory and a dreadful experience in men's choir at a little junior college in northern Wisconsin, I abandoned a career in music. Little did I know that I would never be able to turn my back on my musical inclinations. Later, when I transferred to the University of Madison, WI, I could not see a musical group, go to a football game, see a band or soloist and not wonder what it would have been like if I had pursued it further. Among my favorite places to be was the Chamber bar and musical venue, especially Monday nights to see Clyde Stubblefield and the Blue Monday Group. It was at this time that I quit smoking cigarettes and learned to blow cross-harp. I believe the harp player I used to see there was named West Side Andy Lindermann. I couldn't afford lessons. The moment I saw a chance to get back into anything musical, I took it. I have been involved with Carl Fischer Music Publishers for 10 years. I brought just enough musical knowledge and experience to the job to be able to handle book and ad layout related to musical education and performance. I have been able to speak with authors, editors, music engravers and composers about music as it relates to the various projects we have produced and I have learned from my experiences there. Recently, I have begun to study Classical Indian music. I fell in love with the sound of the Bansuri (North Indian cane flute.) The first complete raga I heard was called Myian Ki Malhar. It sounded like water. I have, since pursued properly tuned cane flutes all over the world (web) and am finally the owner of a very respectable set. As of yet, I haven't played any better flutes than these. After several years of listening to the North Indian ragas of the legendary Hariprasad Chaurasia, I came to the bitter realization that I would never learn this complicated tradition of Classical Indian music by ear. I would need to seek instruction. I now see a Guru, His name is Jeff Slatnick. He has run the Music Inn, a very small world musical instrument store and repair shop for forty some-odd-years. I am learning very complete and challenging compositions. Indian music has been a very rewarding path. Contrary to popular belief, Raga music is not entirely improvised. Many gurus share written pages. All gurus encourage students to write down their lessons. The written music, uses a notation, called SaReGaMa, that differs greatly from western notation. It's strongest feature, in my opinion is it's ability to describe rhythms much more accurately and simply than western notation can. (photo of Andrew J. Dowty veinly impersonating a diety by Zachary Fernandes) Here are some links to some very informative sites devoted to the study of Indian Classical music: http://www.itcsra.org/sra_others_samay_index.html http://www.asavari.org/ragamala.html http://www.ancient-future.com/theka.html http://www.sawf.org/music/articles.asp?pn=Music http://www.chandrakantha.com/articles/indian_music/ As promised, I will now begin to publish recordings of my Bansuri. My goal is to record every piece I have learned so as to aid in my own memory of the melodies. Raga Hemant. Part of the Deepak family, thaats Khammaj and Bilawal. Tintal. Alap, Jor and Slow Gat. 16MB —Andy Dowty
Home • Covers • Fineart * Photography • Pagelayout • Music • Contact Copyright © 2007 by Andrew J. Dowty / Legal Notice All rights reserved