as basic demographic information (age, Journal 8. June 2004. Retrieved 14 March 2005. gender, family size, etc). The same
44 45 AY 2004-2005 Matthew Douglas: Hungarian Folk Music And Jazz
most blunt way to explain the departure furulya music was how each melody seems Another common characteristic within the Introduction of jazz from its folk roots. The method to exist within both major and minor keys, vocal music has to do with the structure American jazz has followed a somewhat of acquisition and how it exists in the and in this sense it tells an intricate story of the song. I often found that within a natural trend in its progression over the community defines music as “folk.” The with incredible effect. It sounds like a simple 4 or 8-bar melody, there existed last hundred years, from early dixieland, changes that have occurred in jazz are simple generalization, considering all an internal structure. In traditional jazz swing, and bebop, to free jazz and the avante natural and expected, but at the heart of European based music uses a system of composition, one very common structure guarde, funk, fusion, and all increments a musician in the improvised music world, devices that build tension and allow for a would be A-A-B-A, equaling a 32-bar song: in between. Each style building on its not much has changed. Jazz musicians release of that tension. But the usage of A melody repeated, a bridge section, and previous and its parallel, or dramatically thrive on innovation, exploration, minor and major can be heard just within then the original melody repeated with responding to it in an artistically logical and diversity, but still exist in small the melody itself, without necessarily a slight variation for the ending. Within way, just as classical music has since the communities, rely on these communities harmonic support. A pentatonic scale an 4-bar vocal or furulya tune, there middle ages. In American jazz over the for sustainability, and grow by educating system is often used to shift between can be an A-B-B-A structure: A theme, last 10 years, there has been a growing each other. The “folk” has always been minor and major tonalities. The major a rhythmically similar but harmonically fascination with incorporating Eastern alive in jazz musicians, and it is now being pentatonic scale starts on the root, and different melody repeated, and a closing European folk styles into contemporary manifested in the current styles. then uses the second, third, fifth, and theme that relates back to the beginning. improvised music. This can, in part, sixth scale degrees to evoke a major sound This isn’t a particularly unusual thing with only five notes. The relative minor in music theory, but for folk tunes to have to do with a stylistic move away Finding Common from harmonically driven composition pentatonic scale uses the same tones, but have it represented so consistently, and and towards more rhythmic and melody Characteristics begins on the major scale’s sixth degree. especially in tunes of such a short length, focused songwriting. The minor pentatonic scale is almost it is a defining characteristic. Phrasing The repertoire of Hungarian folk music This fusion of folk music and jazz is exactly like a “blues” scale in jazz, except and rhythmic patterns within different is incredibly vast, consisting of five not limited to Eastern European folk without the flatted fifth scale degree. It is song structures also have many common discernible dialects based on geographical traditions. American folk, or today often very easy to use these scales together to characteristics. regions. My initial problem with this known as “Americana,” has also made create a feeling of major harmony, but then study was that I wanted to get a general its impression on contemporary music. I at the end, to issue a final resolution in feel for the consistencies throughout Analysis of Compositions believe that these new influences are the minor. In simpler terms, many Hungarian Hungarian music as a whole in order to next logical step in the evolution of jazz. folk tunes convey a positive, major feeling, apply it to a contemporary music form. To When I started writing tunes that I The “folk-fusion” style is a reaction to but then end in a more sorrowful, minor understand the differences and subtleties thought would represent both elements of recent movements in that it incorporates mode. Transylvanian vocal music shares of all Hungarian folk music would be a Hungarian folk music and contemporary tonal harmonies, phrase-like rhythmic some of these same traits. The melodies lifetime’s work, so I needed to focus on jazz, my first approach was to begin a concepts, and simpler melodies as they do not often start on the root of a minor just a couple of specific areas. Being a new song from scratch, and hope that relate to the harmony. In other words, scale. They are more likely to start on the saxophone and woodwinds player, but the analysis I was doing of the folk songs this could be a reaction to technology and root of the relative major and then end in also having a strong interest in folk singer would seep through my creative filter and modernity in contemporary improvised the minor. songwriting, I decided to concentrate onto the paper. I quickly realized that my music. This is not a new trend in the mainly on furulya (flute) music and vocal history of Western music, but in jazz this music primarily from Transylvania. I also is the most significant in its history. found these areas of focus easy to access But is this attraction to folk music through the lively dance house scene in simply a reaction to previous trends, or Budapest, where the band is often led by is it grounded in something else? What is a furulya player. And the Hungarian folk the attraction to folk styles? I think that singing style is very unique, with a rich it has to do with the desire to reconnect repertoire of music that is played both with the “folk-ness” of jazz. To remind traditionally and is incorporated into ourselves artistically that jazz was once contemporary music ensembles. an American folk music. Education is the The first thing that struck me about
46 47 AY 2004-2005 Matthew Douglas: Hungarian Folk Music And Jazz technique was incredibly ineffective and different key, but often times these tunes artistically naive. My next attempt was to are played in various keys depending take an existing folk song and rewrite it on what instruments are available. The (ORIGINAL FURULYA MELODY) to incorporate contemporary elements. original tune is also played in a rubato This proved to be much more productive. style, meaning slow and on cue, but I I think that it worked much better decided to write it with a steady tempo. As because I simply reversed my original accompaniment, I wrote two harmonized approach. Instead of using what I KNEW counter lines to be played by guitar and as a base, i.e. contemporary songwriting bass. At the end of the tune, where the elements, and imposing upon them melody implies a minor chord ending, I characteristics that were still very foreign first use a deceptive cadence and resolve it to me (Hungarian folk style), I started to a major harmony, but then I repeat the using actual Hungarian folk melodies and section again and resolve it in minor, as it manipulating them with contemporary would have been in the original. I did this techniques. in order to play on the fact that so many In the first example, I use this new of these furulya melodies begin in major “rewrite” technique. This furulya tune and end in minor. The deceptive cadence is called Feketemagú Cseresznye, and prolongs and magnifies this fall into it comes from Székelyszentmihály in minor at the very end. The reason for the Transylvania. All of the original notes are mixed time signatures is because I wanted in the rewritten form, and the melody to have a steady pulse, but I wanted the is completely discernible. The changes downbeats to be more unexpected, which I made were to the time signature and serves to reference the original rubato to the harmony. I also rewrote it in a style of the tune.
(ARRANGED FOLK MELODY)
Another compositional technique I used Hungarian folk tunes that seem to do just is to take a traditional melody and use it the opposite. After writing the guitar part, merely as a component of a bigger piece. I wrote a bass line that contrapuntally In this next example I take a reversed weaves into the guitar part. This groove approach at using the folk melody. I started oriented composition style has been writing an 8-bar guitar line which is based used a lot in reggae, funk, and afro- off of a pentatonic scale. I liked this guitar cuban styles, as well as jazz. Once I was part because it invokes a minor feel for happy with how those two parts worked the most part, but at the end alludes to together, I searched for a pentatonic vocal its relative major. This is a play on many melody that would fit on top of them.
48 49 AY 2004-2005 Matthew Douglas: Hungarian Folk Music And Jazz
The melody I used is from Bátya. The three lines, played by furulya, guitar and (PÉCS CONTINGENT P.2) bass, ended up sounding nothing like Hungarian folk music even though I had literally copied the folk tune from a book note for note. So as I continued with the composition, I tried to place it back into a more Eastern European setting, which I accomplished by writing a more active line for the furulya and laying it on top of mixed meter, as opposed to the 4/4 meter at the beginning. The first example is the original folk melody, and the second example is the full arrangement. (PENTATONIC VOCAL MELODY)
Up to this point, I had been trying to composition. Where there would normally showcase melodies from either the be either a bass line or chord changes to furulya or vocal repertoire, but I had serve as a guideline for improvisation, I not used the melodies as tools for use this folk melody as a platform. As I showcasing improvisation. This seemed have arranged it in this particular example, to be the next logical step to fusing these the folk melody will be played by the two styles. In the following example, I bass and guitar while the saxophone and use a vocal melody from the village of drums improvise freely over top of them. Andrasfalva. This melody is being utilized This free style of improvisation appeals as an improvisational tool. Leading up to to me because there is a steady, almost this, I wrote a piece that pulled melodic hypnotic undercurrent, provided by the characteristics from Hungarian folk bass and guitar. I think that when a phrase (PÉCS CONTINGENT P.1) music, but it is ultimately an original is repeated the same way over and over
51 AY 2004-2005 Matthew Douglas: Hungarian Folk Music And Jazz: again, it somehow propels the soloist into The instrument that I was most fascinated (CALL ME…P.2- ORIGINAL TO complete freedom, knowing that there is a by is called the tilinkó. It is a wooden flute COMPOSER) solid base underneath. This compositional that has the same opening as a furulya, but is technique for improvisation can be very longer and has no finger holes. It works by liberating for the players.
(TRADITIONAL VOCAL MELODY)
navigating the overtone series. By closing The tilinkó has such a unique scale, I knew off the end of the flute, you get a series of that I could write specific melodies that pitches, and by opening it you get another would only be played on this particular series. When you alternate opening and flute. The traditional repertoire for the closing, you can play a scale almost like tilinkó has certain defining characteristics. a major scale, except for a sharped fourth For one, all of the music has to use the tone and a flatted seventh tone. This sound scale that can be played on the instrument. was very new to me, and I wanted to learn Stylistically, most tilinko melodies have (CALL ME…HALF-BRITE P.1- the instrument and then figure out how to very quick phrases. Notes are not often FIRST 8 BARS ARE WRITTEN IN THE STYLE OF PENTATONIC use it in a contemporary context. This idea sustained, even in a rubato style the notes VOCAL) opened up a new avenue for composition. go by quickly and the rhythmic freedom
52 53 AY 2004-2005 Matthew Douglas: Hungarian Folk Music And Jazz
comes from the pauses in between the folk music. There is a folk song that I have (CALL ME…P.3- LAST 4 BARS IS TRADITIONAL FOLK MELODY, phrases. heard sang many times by many different USED FOR IMPROVISATION) I wanted to use the sound of the singers, and it has had an inescapable tilinko, but write a short melody with presence in my mind. It is called “Volt accompaniment that did not obey the Nekem Szeretom...,” or, “I Had a Lover...” traditional repertoire’s style or method of The lyrics are roughly translated as such: playing the flute itself. Instead of writing a melody based off of the tilinko’s scale and I had a lover then composing appropriate harmonic Or two, on the edge of town support, I wrote a simple four bar guitar Wasn’t any wheat bread part, with a two bar turnaround at the Both of them are dead end. The tilinkó melody is in unison with the guitar part for the first three notes, One of them I buried and then it goes off on its own, ending In a small flower garden the four bar phrase with a sustained The other one however note. The four bars is repeated and then In the center of my heart the extra two bars is played before going back to the beginning. In the last bar of One of them I water the turnaround, I wrote two notes for the With clear Danube water tilinkó that can only be played by covering The other one however the hole half way, which is not something With my many tears that is done in the traditional repertoire. This simple device slightly changes the This particular song is indescribably character of the instrument. Manipulating beautiful. It is rare when melody and what an instrument can do is something lyrics are bound together so tightly, where that is done in jazz all the time, such as you could never imagine one without (SCARF ENVY – ORIGINAL TO playing multiphonics on a saxophone or the other. This, to me, is where the true THE COMPOSER, WRITTEN FOR TILINKÓ) prepared piano techniques to change the essence of folk music lies. It cannot be timbre of the sound. So I thought I would analyzed. For whomever the songwriter try something like that with the tilinkó. in Komarom County was that created The bass line that supports the guitar this piece, putting the lyrics and harmony and the melody is one that can often be together was an obvious creation. heard in popular music. It is a simple Despite all of the melodic and harmonic descending line that repeats over and over interpretation that I did in order to create again, and is very recognizable. It was an compositional devices, the desire to write easy thing to do to the bass line in order to music that comes so obviously never faded give the whole tune a contemporary feel, away. I don’t think that timeless music can along with the fact that the assumed drum be written with intention to do just that. rhythm would be a slow rock beat. An idea comes, and the next thing to do is After using these tricks and strategies for unmistakably clear. I have never been able “re-vamping” traditional folk songs and to accomplish this act, but discovering instruments, I felt like I was able to write the existence of this fact has opened more some completely original music that is doors for creativity than I could ever simply rooted in the spirit of Hungarian achieve through theoretical analysis.
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Conclusion with what local musicians would call only tool to overcome these limitations is Bibliography an “ethnic jazz” sound. The two pairs honesty within and around each creative Recordings: Making a Recording complimented each other extremely well, endeavor. I have tried to do so with these Besh O Drom: Macso Himzes,Fonó Records, 2000 and after some time was spent together compositions. Although I have dedicated After writing dozens of compositions that Besh O Drom: Nekemtenemmutogatol!, Fonó Records, 2002 rehearsing and discussing the music, a lot of time to this study, I realize that I use these elements of Hungarian folk Borbély Mihály, Quartet B: Üveghegy. Fonó Records, 2003 this duality did not exist anymore. It was have not only just scratched the surface of music, I wanted to make a recording to Dresch Mihaly: Zeng A Lelek, Fonó Records, 1993 simply a quartet with the common goal Hungarian folk music, but also that of the document them. Since the music is so of documenting someone’s musical ideas. endless possibilities that contemporary heavily influenced by contemporary jazz, And with regards to folk music in general, improvised music provides. Grencsó Surprise Kollektiv: Dream Car Adventure Music. it doesn’t do much good to have the tunes this production documented how folk KVB Records, 2003 simply written on a piece of paper. The music has changed over the recent years, György Szabados: Az Esküvö. Hungaraton Records, 2002 majority of the music is intended to come and how contemporary jazz will never Herczku Ágnes: Arany és Kék Szavakkal. Fonó Records, 2002 from musicians, their interpretation of the abandon its spirit as a folk art. Hodorog András: Furulyazene Moldvából. Dialekton Népzenei melodies, and their improvisational style. All of the music I wrote was arranged Kiadó, 2004 for saxophone (and other woodwinds), Limitations Kiss Ferenc: Nagyvárosi Bujdosók. Etnofon Népzenei Kiadó, double bass, acoustic guitar, and drums. There are always limitations to an 1999 For primarily illogical reasons, I had it artistic study. The first and foremost is Makám: Anzix. Folk Europa, 2003 in my head that the “folk” sound would that of time. The Hungarian folk music Tudósok: Szép A Puszta. HMK Records, 1999 come from the bass and guitar, while the repertoire is huge, dating back hundreds Tüzkö Csaba Septet: Tavaszköszöntö. Antenna Hungaria, 2003 contemporary sound would come from and hundreds of years. I have had only Books: the drums and myself on saxophone. So enough time to scratch the surface of Balogh Sándor: Moldvai Hangszeres Dallamok. Óbudai for this reason I enlisted the help of a a small area of it. As an instrumentalist, Népzenei Iskola with Etnofon Records, Budapest, 2001 guitarist and bass player from Budapest, my exploration of the furulya and tilinko Csoóri Sándor: Zeneszavak. Süss Fel Nap Kiadó, Budapest, and invited an American drummer from has been filled with frustration. To play 2004 New York City to play on this recording. these flutes with all of the ornamentation, Géza Gábor Simon: The Book Of Hungarian Jazz. Hotelinfo, Though the guitarist and bass player articulation, and nuance that they deserve are contemporary musicians working requires years of listening to the masters, Ltd., Budapest, 1992 professionally in Hungary, their approach sitting in with bands at dance houses, and Juhász Zoltán: Furulyaiskola II. Skékelyföld. Hagymanyok to the compositions was uniquely melodic, traveling all over Hungary and the former Háza, Budapest, 2001 and they played their cooperative parts Hungarian regions to experience the with a steady persistence that seems to roots of this music that cannot be read in Juhász Zoltán: Furulyaiskola III. Gyimes. Néptancosok well represent the intangible quality that I books or heard on recordings. Szakmai Háza, Budapest, 1999 have felt in Hungarian folk tradition. The The simplest definition of jazz that I drummer brought with him his originality know is a music form that incorporates that in some ways can only be traced improvisation, but contemporary jazz back to New York. His sense of time and is a warped and fickle anomaly. Jazz can rhythm is unlike Hungarian music in sound like anything from swing to rock many ways, so it was the perfect contrast to electronica. My interpretation of to the Hungarian players. this genre is based off of relatively little This was a unique recording project experience, a handful of teachers, and a in that we were intentionally paired personal taste that ranges from Bob Dylan, up in two’s: two Americans with a very to Miles Davis, to music on popular radio. American jazz sound, and two Hungarians Art will always be subjective, and the
56 57 Staging the Folk: A Suggested Framework for Researching Staged Folk Dance in Hungary
Lisa Overholser
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Indiana University-Bloomington Hagyományok Háza Folklore and Ethnomusicology Institute Budapest, Hungary Bloomington, IN http//:www.hagyomanyokhaza.hu http//:www.indiana.edu/^folklore [email protected] Advisor: Kelemen László
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ABSTRACT: Staged folk dance is a unique performance genre that has the ability to display and, in many cases, transform folk elements as a basis for representation, commentary, and reflection. In Hungary, the staging of folk dance forms has a significant history, dating back to the 19th century and continuing to the present day. Throughout its history, the staging process of folk genres has adapted in accordance with social, political, economic, and cultural conditions of the given time. This paper summarizes my preliminary research into how folk elements are used to provide a basis for the creative activity of folklore ensembles. I start with an examination of the relationship between staged folk dance and the development of folk dance ethnography, since this relationship has in many cases defined the constitutive elements of the staging process. A basic historical overview, focusing on contemporary precedents of staged folk dance, particularly on the defining features of the staging process at each historical stage, follows. In conclusion, I will briefly discuss other contexts of dance folklorism in Hungary, suggesting a basic outline for how to best analyze the current phenomenon of staged folk dance in the early 20th century. This is a work in progress for my doctoral dissertation in ethnomusicology at Indiana University on the staging processes of the Hungarian State Folk Ensemble.
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