INDIAN MUSIC FORUMS

Register Calendar Latest Topics Chat
 
 
 


Reply
  Author   Comment   Page 2 of 2      Prev   1   2
jazzman1945

Junior Member
Registered:
Posts: 11
Reply with quote  #16 
Thank you, Sanjeeb, for your videos - you taught me a lesson! Now I understand how the Hindu perceives the ICM performing  on the piano, it sounds very unusual, and at times it's strange. But still interesting!
I have more audio than video. This ensemble performed at the Newport Jazz Festival in 1974.



And this is my children's ethno fusion  ensemble ; here I play just on the saxophone instead of keyboard.




From festival Jerusalem Nights :


0
jazzman1945

Junior Member
Registered:
Posts: 11
Reply with quote  #17 

There are a number of musical properties that pose ICM and classical jazz at a great distance from each other:
Timbre
Rhythmic patterns
Scales
Absence of tonal harmony and chords
 
These differences are on the surface, and are captured immediately; However, there are other differences, more hidden:
Sound production
Articulation
Groove
Melodic thinking

These qualities are associated primarily with the native language of the performers and its differences from other languages. The language base of jazz, as well as its main root Blues - English in its Afro-American version; language basics in India - you know better than me - a whole bunch of languages.The basis of music is singing, which dictates the part of  traditions of instrumental performance; and here we can see the huge distance between the two musical cultures  (I'm not even talking about the philosophical side of music).  




0
jazzman1945

Junior Member
Registered:
Posts: 11
Reply with quote  #18 
Traditional jazz, swing and bebop categorically do not accept elements of Indian music - both rhythmically and melodically. The emergence of modal jazz and the abandonment of the classic 4/4 swing resolutely opened up this opportunity. The first example in jazz containing this potency isn't Kind of Blue  the type of blue, but "Sketches of Spain", although Miles Davis plays both of them. 
A separate issue is harmony: the new modality of the 20th century introduced the principle of the unity of the musical horizontal and vertical, which allows a new  harmonic approaches to non-European music.
0
jazzman1945

Junior Member
Registered:
Posts: 11
Reply with quote  #19 
Combinations of melody pitches , sounding of strings, drone sound and  constant sound of tabla inevitably creates something , which can be confidently  called chords. From the point of view of jazz  it is possible to approach to this from two sides:

 Variable bass, but not walking (Zakir Hussain does it fantastically on tabla);

 Selection of pitches from thaat to create chords , containing  in themselves some degree of saturation, density and dissonance.
0
Previous Topic | Next Topic
Print
Reply

Quick Navigation:

Easily create a Forum Website with Website Toolbox.