Applying Karnatic Rhythmical Techniques to Western Music by Rafael Reina PDF

By Rafael Reina

ISBN-10: 147245149X

ISBN-13: 9781472451491

Such a lot classical musicians, even if in orchestral or ensemble events, must face a section by way of composers equivalent to Ligeti, Messiaen, VarAse or Xenakis, whereas improvisers face tune encouraged via Dave Holland, Steve Coleman, Aka Moon, climate file, Irakere or components from the Balkans, India, Africa or Cuba. Rafael Reina argues that todaya (TM)s track calls for a brand new method of rhythmical education, a coaching that might offer musicians with the mandatory instruments to stand, with accuracy, extra diversified and intricate rhythmical options, whereas holding the emotional content material. Reina makes use of the structure of the South Indian Karnatic rhythmical process to augment and transform the instructing of rhythmical solfege at the next schooling point and demonstrates how this studying can impact the construction and interpretation of advanced modern classical and jazz track. The booklet is designed for classical and jazz performers in addition to creators, be they composers or improvisers, and is a transparent and whole consultant that might let destiny solfege lecturers and scholars to take advantage of those innovations and their technique to enormously increase their rhythmical talents. An accompanying web site of audio examples is helping to provide an explanation for each one approach.

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In karnatic notation, no symbol for accent is employed. The sign that signifies the end of a phrase also implies that the first note of the next grouping is to be emphasised (which is, in essence, what the concept of accent is all about) and, very importantly, performed with a downbeat feeling. ) As we shall see throughout the book, an accent in karnatic music is always to be performed with a down-to-earth feeling, and with the intentionality of being the first note of a phrase (similar to the intentionality we may have in western music with the downbeat of a metre), whereas in western music accents are related to the level of dynamic expressions or to provide a feeling of syncopation or anticipation.

In karnatic notation, no symbol for accent is employed. The sign that signifies the end of a phrase also implies that the first note of the next grouping is to be emphasised (which is, in essence, what the concept of accent is all about) and, very importantly, performed with a downbeat feeling. ) As we shall see throughout the book, an accent in karnatic music is always to be performed with a down-to-earth feeling, and with the intentionality of being the first note of a phrase (similar to the intentionality we may have in western music with the downbeat of a metre), whereas in western music accents are related to the level of dynamic expressions or to provide a feeling of syncopation or anticipation.

24) Chatusra jathi 7 vs Misra jathi 5 = 35 b. 26) Tisra jathi 5 vs Khanda jathi 7 = 35 b. 28) Tisra jathi 4 vs. Misra jathi 5 = 20 b. 30) Tisra jathi 5 vs. Misra jathi 4 = 20 b. 32) Tisra jathi 7 vs. Khanda jathi 4 = 28 b. 34) Tisra jathi 7 vs. Misra jathi 4 = 28 b. 36) Khanda jathi 3 vs Misra jathi 4 = 12 b. 38) Khanda jathi 4 vs. Misra jathi 3 = 12 b. 40) Khanda jathi 7 vs. Misra jathi 3 = 21 b. 42) Khanda jathi 7 vs. Misra jathi 5 = 35 b. Jathis 41 Audio examples 1) Tisra jathi 4 vs. khanda jathi 3=12 beats (track 20)  × 3 times  × 4 times 2) Chatusra jathi 3 vs.

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Applying Karnatic Rhythmical Techniques to Western Music by Rafael Reina


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