Zabeˇ i Babe. The Band and a Musical Analysis of their song Sjaj Mjeseˇce

Paper for the Proseminar And then I wrote a song... - Popularmusikalische Formen und Strukturen, held by Michael Hecht in the Winter Term 2009

Institut f¨urMusikwissenschaft, Universit¨atWien

Timon Thalwitzer Matrikel # 0103857 Studienkennzahl A 316

January 29, 2010 Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 2

Contents

1 Introduction3

2 The Artists3 2.1 Zabeˇ i Babe...... 4 2.1.1 Tim Eriksen (vocals, electric guitar)...... 6 2.1.2 Mirjana Lauˇsevi´c(vocals, keyboard)...... 7 2.1.3 Tristra Newyear (vocals)...... 8 2.1.4 Donno Kwon (vocals, percussion)...... 8 2.1.5 Other members of Zabeˇ i Babe...... 9 2.2 Ansambl Teodosijevski...... 10 2.2.1 Sami-Buco Zekirovski (clarinet)...... 11 2.2.2 Simeon Atanasov (accordion)...... 12 2.2.3 Pero Teodosijev (keyboard)...... 12 2.2.4 Eljam Raˇsidov (drums)...... 12 2.2.5 Zahir Ramadanov (trumpet)...... 12

3 The Recording 13 3.1 Lineup...... 14 3.2 Form...... 14 3.3 Meter and Rhythm...... 16 3.3.1 Terminological Remarks...... 16 3.3.2 Drum and Bass Patterns...... 17 3.4 Melodics...... 18 3.5 Harmonics...... 20 3.6 Lyrics...... 21 3.6.1 Bosnian (original)...... 21 3.6.2 English (translation)...... 22 3.6.3 Remarks...... 23 3.7 Summary Chart...... 23

4 Appendix 25 4.1 Sjaj Mjeseˇe- Lead Sheet...... 26 4.2 Sjaj Mjeseˇce- Arrangement...... 27 4.3 Sjaj Mjeseˇce- Bass...... 28

Bibliography 30 Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 3

1 Introduction

I originally planned to solely conduct a musical analysis of a recording I appreciate a lot: Sjaj Mjeseˇce, by the American Balkan/Folk/Pop Band Zabeˇ i Babe. But when I started to do some research on this band, I noticed that not much material seemed to be available. The band is no longer active, released one record only, and did not gain too much public attention outside the northwest of the U.S.A. To my knowledge, there is no account of them in music literature. Information on them is mainly to be found on the Internet (in particular, Zabeˇ i Babe’s website [4]), and since the Internet is such a short-lived and elusive medium, I decided to use the opportunity of writing this paper to collect and document the sparsely scattered information that I found and to conserve the texts in written form, hopefully contributing to preventing Zabeˇ i Babe’s work from fading into oblivion too soon. Also, I contacted Tim Eriksen and Donna Kwon1 (two former members of Zabeˇ i Babe), in order to find out a little more about the group’s history. They were kind enough to take the time and answer many of my questions, and so I had the chance to conduct a little interview via e-mail with them. In Section2, I want to outline the background and history of the artists involved in the recording of Sjaj Mjeseˇce. Section3 is the main part of this paper, the one I originally had in mind writing. In it, I analytically examine some of the features of the song. In Subsection 3.7, for reference, I am summing up the data relevant to Sjaj Mjeseˇce in list/tabular form. In the appendix, Section4, I have included the transcriptions I have made from the recording and which I used as a basis for the musical analysis.

2 The Artists

Two bands collaborated for the recording of the album Drumovi (1997), on which Sjaj Mjeseˇce was released: Zabeˇ i Babe (from the U.S.A.) and the Ansambl Teodosijevski 2 (from Macedonia). These two groups are coming form fairly different backgrounds, met by chance, and have worked together this one time only.

1At this point, I would like to express my great gratitude to them for their open-hearted and encouraging helpfulness. 2A few different spellings of this name can be found, e.g. Ansambl Teodosievski. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 4

2.1 Zabeˇ i Babe Zabeˇ i Babe was “[f]ormed in 1991 by Bosnian ethnomusicologist Mirjana Lausevic and multi-genre performer Tim Eriksen (the band Cordelia’s Dad, the film Cold Mountain) [18].” They were last active in 2000 [17]. During that period (1991–2000), the band featured a few different lineups. The most notable activities of the group were the following:

Live Performances According to Donna Kwon (another member of the band), “[t]he concerts were mostly on the East Coast of the US”, and the group “played anywhere from 1-7 shows per year while [they] were active”. She also sent me a list of some of the band’s bigger shows [24]:

• apr 2000 Tufts University, Hillel Center, Boston, MA • aug 1999 Harvard University, Kosovo Benefit, Sanders Theatre, Boston, MA • may 1999 Harvard University, Sanders Theatre, Boston, MA • oct 1998 Dartmouth College, Hanover, NH • sept 1998 Balch Institute, Philadelphia, PA • sept 1998 Amherst College, Amherst, MA • jul 1997 Trinity College, Hartford, CT • oct 1995 Colgate University, Hamilton, NY • oct 1995 Wesleyan University, Middletown, CT

Dona Kwon told me that the concerts typically consisted of two sets with different types of songs: “There was usually an a capella set of more traditional pieces and a electric set with the band. Many of the a capella songs were for three female voices, although there were several male and female solos and other ensemble vocal songs [24].”

Recording The band recorded one album, called Drumovi, together with the Ansambl Teodosijevski, in 1997.

Television Program Zabeˇ i Babe was featured in an episode of the PBS3 series Exploring worlds of music, which “was a pretty big deal—it aired on our [the U.S., remark] public television quite a bit [24].” I suppose that this is what exposed the music of Zabeˇ i Babe to the greatest number of recipients.

3Public Broadcasting Service: a “private, nonprofit corporation, founded in 1969, whose members are America’s public TV stations.” [7] Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 5

The band came from an academic context. The listing above already indi- cates that many of the concerts were held at universities, and—as Donna Kwon told me—the group’s members knew each other from a university pro- gram:

Basically, most of the musicians were linked through the Wes- leyan University world music program (Tim [Eriksen], Sarah, Inge, Donna [Kwon], Minja [Lauˇsevi´c],Michael [Veal], Tristra [Newyear] - undergrad) or were friends of people (Rani [Arbo], Peter [Irvine]) in the program. [24]

Apart from the last two, these were all ethnomusicologists. I asked Donna Kwon whether she thinks that it had any impact on the music of Zabeˇ i Babe that so may of its members were ethnomusicologists. Here is what she answered:

Yes, I think so. Many of our shows were academic in nature and the fact that we had those connections probably helped. On the other hand, if [we] had nothing else to do but just perform, maybe we would have been more active because most of us were trying to juggle multiple projects at one time. [24]

On the official homepage of Zabeˇ i Babe [4], as well as on the band’s MySpace- webpage [8], one can read the following text:

ˇzabe i babe is an exuberant and eclectic band. Their style is all their own, but they love, and are influenced by, Bosnian tradi- tional and popular music. [. . . ] Formed by MINJA LAUSEVIC, zabe i babe debuted at a Yale University symposium on music and politics in Eastern Europe. Since then, zabe i babe has been well received by audiences at festivals, clubs and Universities such as Dartmouth, Wesleyan, Harvard, the Charter Oak Cultural Cen- ter, and the International Festival of Arts and Ideas.

In the booklet to the CD Drumovi, the band is described by Mirjana Lauˇsevi´c as follows:

Zabeˇ i Babe (literally meaning “frogs and grandmothers”) is the Serbo-Croation equivalent of the phrase “apples and oranges”. We chose the name to reflect the eclecticism which has been a trademark of the band since it was formed in 1991. Most of our songs are drawn from Bosnian traditional and popular sources, but over time we have developed our own style, embracing all our Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 6

various musical and cultural backgrounds. When all is said and done, the band is probably more American than anything else. [25]

Now I want to introduce the members of Zabeˇ i Babe, who were involved in the recording of Sjaj Mjeseˇce in a little more detail. Thereafter, I will also briefly say something about the remaining members, who were (at least at some stage) part of the band.

2.1.1 Tim Eriksen (vocals, electric guitar) The internationally probably best-known member of Zabeˇ i Babe is Tim Erik- sen. According to the Wikipedia-page on him, “Tim Eriksen is an American musician, musicologist, and professor. He is the leader of the band Cordelia’s Dad, a solo artist, and was a performer and consultant for the award-winning soundtrack of the film Cold Mountain. [10]” The following, “official” text is provided on Tim Eriksen’s MySpace-Webpage:

Fans of singer and multi-instrumentalist Tim Eriksen (Cordelia’s Dad, ”Cold Mountain” soundtrack) know him for his hair-raising voice and intense renditions of ancient American songs. Tim’s hardcore Americana sound is a tightrope walk balancing tradi- tion and innovation, as befits someone who has shared the stage with both Doc Watson and Kurt Cobain, and recorded with both Ralph Stanley and Jack White. Tim combines raw vocals with savvy arrangements for fiddle, banjo, guitar and bajo sexto, and alternates stripped-down story songs with quirky originals. His new solo album ”Northern Roots Live in Namest” (Indies Scope, 2009) highlights the power of New England murder ballads, stark ”shape-note” tunes, love songs and a dose of Irish and Southern Appalachian sounds. [11]

More information can be found on Tim Eriksen’s official website [18]. Besides being a vocalist (in a range of different styles, sacred harp4 and others), instruments he plays include violin, banjo, guitar, bass guitar, and Saraswati veena, an Indian string instrument (see [10]). There is also a snippet introducing him on the Zabeˇ i Babe homepage:

4sacred harp singing is a tradition of sacred choral music, performed a cappella, in the U.S.A. It is a form of “shape note singing”, which uses a notation system differing slightly from standard western musical notation. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 7

TIM ERIKSEN and PETER IRVINE are both founding members of Cordelia’s Dad, who have produced numerous recordings and toured extensively throughout Europe and North America. In ad- dition, ERIKSEN tours solo and with his vocal group Northamp- ton Harmony. His formal training is in Carnatic (South Indian) music, and he holds an MA in ethnomusicology from Wesleyan University. [4]

2.1.2 Mirjana Lauˇsevi´c(vocals, keyboard) Mirjana Lauˇsevi´cwas born on April 3, 1966 in Sarajevo, Yugoslavia and died on July 15, 2007 in Western Massachusetts, U.S.A., from cancer [24]. Apart from her work as a musician, she was researching and teaching as an ethnomusicologist. She was married to Tim Eriksen. From Zabeˇ i Babe’s MySpace-Webpage, one learns that [i]n her native Sarajevo, LAUSEVIC was a commentator on na- tional Television, led Yu-Etno, a traditional Bosnian vocal group, and taught at the Music Academy of the University of Sarajevo. She has published numerous articles and radio interviews on var- ious issues concerning music and politics in Bosnia. [8] Here is a short “in Memoriam” article/curriculum vitae on her by Emily Gold Boutilier, which I found on the website of the Amherst College, where she was working: Mirjana Minja Lausevic, visiting Valentine Professor of Music at Amherst (2006–07) and associate professor at the University of Minnesota in Minneapolis, died of a recurrent illness on July 15 in Western Massachusetts. Born and raised in the multi-ethnic city of Sarajevo in the former Yugoslavia, she received her bachelor’s degree in musicology and ethnomusicology from Sarajevo University in 1988. Much of her research examined how music helped to both unite and divide ethnic groups in the Balkans. After coming to the United States in 1991, Lausevic earned her master’s degree and doctorate in ethnomusicology at Wesleyan University. She published numerous articles based on her field- work in Bosnia, Serbia, Croatia and, more recently, the United States. Her book, Balkan Fascination (Oxford University Press, 2007), explores the multiple roles and meanings Balkan music has had in the United States over the past century. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 8

Lausevic once led a traditional Bosnian vocal group named Yu- Etno. In New England, she sang and played keyboard with her group Zabe i Babe, which recorded a CD titled Drumovi (Bi- son Publishing) and was featured on public televisions Exploring Worlds of Music series. She was a regular member of shape- note/sacred harp singing communities in Northampton, Mass., and Minneapolis. Lausevic earlier taught at Dartmouth College. She is survived by her husband, Tim Eriksen 88, also a visiting Valentine Professor of Music; two children, Anja, 3, and Luka, 5; her mother; and her brother. A memorial service was held in Northampton at the end of July. [13]

2.1.3 Tristra Newyear (vocals) The lead vocalist on Sjaj Mjeseˇce, “Tristra [Newyear,] was in the band from 1994/95 until just after the time Drumovi was published so about 1997. [. . . ] Tristra is not Native American, she is Caucasian [24].” She is also working as an ethnomusicologist. Here is the text from the Omnium Records homepage, which is (no longer) to be found on the Zabeˇ i Babe homepage (probably because when the band last worked together, she was not in the group anymore):

TRISTRA NEWYEAR (not pictured) has applied her phenom- enal voice to various folk traditions around the world including those of Bosnia, Russia, Finland and India. [5]

2.1.4 Donno Kwon (vocals, percussion) Donna Lee Kwon was “[b]orn in San Francisco, CA, [as a] second generation Korean American [24].” She is an assistant professor for ethnomusicology at the university of Kentucky in Lexington, Kentucky, U.S.A. Her main re- search interests include the music of Korea, East Asian, and Asian-American popular musics (see [6]). As far as her role in Zabeˇ i Babe is concerned, she told me that she “pretty much only sang and played tambourine on Drumovi but during [Zabeˇ i Babe’s] performances (without the Teodosijevski ensem- ble) [she] also played keyboards and dumbek [24]. ” About her other work as a musician, she says that I have been active doing Korean traditional percussion (pungmul and samulnori) and Asian American jazz or creative music in the last decade. In this capacity I’ve played with Jeff Chan, Tatsu Aoki, Francis Wong, Jon Jang, Miya Masaoka, Mark Izu, Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 9

Brenda Wong Aoki, Hafez Modirzadeh, John Carlos Perea and others, mostly in the San Francisco Bay Area and Chicago. I play most regularly with Jeff Chan and Tatsu Aoki these days and I mostly play Korean percussion and sing. I did play in a couple of other rock/pop bands but they were pretty temporary affairs/experiments. [24]

Here is the text from the Zabeˇ i Babe homepage about her:

DONNA KWON has performed as a vocalist/ percussionist at such venues as the Metropolitan Museum of Art (NYC), San Francisco’s Asian American Jazz Festival, Stanford, and recently was a guest soloist with the Berkeley Symphony Orchestra. She recently completed a Ph.D in ethnomusicology at UC Berkley. [4]

In the interview questions she answered for me, she gives an interesting ac- count about her view on Southeastern European music and her time with Zabeˇ i Babe:

I would say that Zabe i Babe was one of the most meaningful musical and social experiences I have had in my life, a once in a lifetime thing. It was really an eye-opening and adventurous time in my life that really challenged me to think about music and vocalizing in a new way. There is so much about Southeastern European music that I love and I am so grateful that I had this opportunity to get to know it so intimately and in such a fun setting. [24]

2.1.5 Other members of Zabeˇ i Babe The following are the members of Zabeˇ i Babe who are not linked directly to the track Sjaj Mjeseˇce:

Peter Irvine played drum set and sang on two of the tracks on Drumovi and in the live performances. He is also playing in the band indie rock Cordelia’s Dad with Tim Eriksen, sings Sacred Harp music (e.g. for the soundtrack of the film Cold Mountain), and is working as an attorney (specialized in the music industry). [2]

Rani Arbo Donna Kwon tells us that “Rani got involved in Zabe i Babe through mutual friends. She went to college with Tim and we knew her through the Wesleyan music scene [24].” On the Zabeˇ i Babe homepage, we are informed that “RANI ARBO is a songwriter, singer Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 10

and instrumentalist best known for her work as a founding member of the bluegrass/swing band Salamander Crossing [4].” She currently (2010) plays fiddle and lead vocals in the band Rani Arbo & Daisy Mayhem [3].

Apart from these two, Donna Kwon said that “[t]there were other vocal- ists and other members of the band prior to 1994 or 95, plus Michael Veal (another ethnomusicologist/performer) played bass at one point as well. The two other vocalists’ names were Inge and Sarah but I don’t know how to spell their last names [24].”

2.2 Ansambl Teodosijevski The Ansambl Teodosijevski is probably best known for its work as the regular backing band of Esma Redˇzepova. Different incarnations of the group have supported the latter during more or less her whole career, from 1957 up to the present (2010). Esma Redˇzepova Teodosievska is a Romani singer from Macedonia and generally regarded as being the best-known Romani singer in the world. One of her most popular tunes, Cajeˇ Sukarijeˇ , is perceived by some as the unoffi- cial hymn of the Romani people. Apart from that, for her humanitarian work she was nominated for the nobel peace price twice. Together with her hus- band Stevo Teodosijevski5 she adopted 47 (!) boys [1], many of whom went on to be educated in the “School of Music by Esma and Stevo Teodosievski” and become members of the Ansambl Teodosijevski. In the booklet of the CD Drumovi, Mirjana Lauˇsevi´ctells us the following about the Ansambl and how she met them:

Ansambl Teodosijevski, in their concerts and numerous record- ing, feature music from all over the former Yugoslavia, particu- larly from their own Macedonian Rom tradition. They grew up together playing music and accompanying their adoptive parents (Pero’s aunt and uncle) Esma Redˇzepova and Stevo Teodosijevski as they toured the world performing for adoring crowds and heads of state alike. Their songs were so popular in the former Yu- goslavia that everybody thought they were folk songs. However, don’t be surprised if they break into a Duke Ellington tune or the

5Stevo Teodosijevski (April 16, 1924, Koˇcani–April9, 1997, Skopje) was a Macedonian musician and Esma Redˇzepova’s husband. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 11

theme from from “Dobar, loˇs,zao” (“The Good, the Bad and the Ugly”6). Along with millions of others, I grew up watching Esma Reˇzepova and Ansambl Teodosijevski year after year on national televi- sion. Strangely enough, our paths intersected last summer at a Balkan music camp in Mendocino, California. I cherish this time spent with with Esma [Redˇzepova], Buco [Zekirovski], Zahir [Ramadanov], Simeon [Atanasov], Eljam [Raˇsidov] and Pero [Teo- dosijev]. Their consummate musicianship and humanitarianism is a true inspiration. [25] On Zabeˇ i Babe’s homepage, the following additional information is given: ANSAMBL TEODOSIJEVSKI is an internationally acclaimed group of Romani musicians from the Former Yugslav Republic of Mecedonia. They have played in over 30 countries, produced over 20 albums, and won the 1st world Festival of Romani Music in India. The Ansambl Teodosijevski tours with Esma Redzepova commonly referred to as ”Queen of the Gypsies”. [4] All of the following introductory texts on the members of the Ansambl can be found on the same webpage [4], as well as on the website of Omnium Records [5], where a subpage is dedicated to Zabeˇ i Babe. Just the text on Sami-Buco Zekirovski can be found on the latter one only. I suspect that it might have been taken down from the Zabeˇ i Babe homepage after Zekirovski’s passing in November 2008.

2.2.1 Sami-Buco Zekirovski (clarinet) SAMI/BUCO ZEKIROVSKI is of the first generation of Teo- dosievski’s school, having toured with Esma and Stevo since he was a small child. His clarinet playing covers a tremendous ex- pressive range, sometimes evoking the sound of the gaida (bag- pipe), at others the sound of Benny Goodman. [5]

In an Issue of the Kef Times of the East European Folklife Center7 (pub- lished through their homepage [9]), I found an “In Memorian”-article on Sami “Buco” Zekirovski. I reproduce a snippet from it here:

6Il buono, il brutto, il cattivo is a 1966 Italian Western movie directed by Italian director Sergio Leone. Ennio Morricone wrote the film score. 7This is the American non-profit organization which regularly organises “Balkan camps”, on one of which Mirjana Lauˇsvi´cmet the musicians of the Ansambl Teodosi- jevski Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 12

Sami “Buco” Zekirovski, a musician from the first generation of Esma Redˇzepova and Stevo Teodosijev’s music school and mem- ber of Ansambl Teodosievski, who toured and recorded with Esma and Stevo for many years, died in November 2008, of leukemia. He taught at the EEFC’s Balkan Music & Dance Workshops in 19978 and 1998 and toured extensively in the U.S. and interna- tionally with the group. [. . . ] His son Antonio currently [spring 2009] plays drums with Esma’s band. [16]

2.2.2 Simeon Atanasov (accordion) Accordianist SIMEON ATANASOV, born in Kocani, eastern Mace- donia, in 1976, is from the seventh generation of students of the music-performance school of Stevo Teodosievski. He has partici- pated in many tours throughout Europe, America, and Australia. As a composer/arranger, he won a prize for his song ”Caje, Caje” at Shutkafest 1993. He also participated in the two big European tours organized by Magneten. Simeon is also an accomplished player of tarabuka (Macedonian hand drum). [4], [5]

2.2.3 Pero Teodosijev (keyboard) PETAR ”PERO” TEODOSIJEV, also born in Kocani, is of the second generation of students of the music-performance school of Stevo Teodosievski, beginning in the 1965/66 school year. He has been on many of the Ensemble’s concert tours throughout Europe, America. and Australia. He has composed over 40 pieces for nearly 25 LP and single-play recordings—appearing on these recordings on his true instrument, the accordian. [4], [5]

2.2.4 Eljam Raˇsidov (drums) ELJAM RASHIDOV plays the tarabuka, tapan (Macedonian two- headed bass drum), and drum set. Also born in Kocani, he joined the Teodosievski school when he was nine years old. [4], [5]

2.2.5 Zahir Ramadanov (trumpet) Trumpeter ZAHIR RAMADANOV, also born in Kocani, joined the Teodosievski school when he was eight years old. Zahir has

8I suppose that this is the one where Mirjana Lauˇsevi´cand the Ansambl Teodosievski members first met. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 13

been described by a New York teacher of trumpet as the best trumpet player he has ever heard, including Wynton Marsalis. [4], [5]

3 The Recording

Zabeˇ i Babe’s song Sjaj Mjeseˇce was released on the CD Drumovi 9 [31] by Zabeˇ i Babe (with the Ansambl Teodosijevski) in 1997. Two years later, it also appeared on the CD Balkans Without Border [32], which is a benefit compilation CD for Doctors Without Borders released by the American label Omnium Records10. Reflecting Zabeˇ i Babe’s live performances, the record Drumovi consists of two different kind of songs: there are seven songs (tracks 1–6 and 18 on the CD) performed by a relatively large electric ensemble and eleven traditional songs (7–17) performed a cappella by two or three singers. According to the booklet of Drumovi, Sjajˇ Mjeseˇce was “recoded live with a few overdubs by Norman Blaine” in “Moonstar Media at Guy Devito’s, Shutesbury, MA11”, mixed by “Zabeˇ i Babe with Norman Blaine”, mastered by “Zabeˇ i Babe with Jim Hemingway”, and produced by “Mirjana Lauˇsevi´c and Tim Eriksen” [25]. About the recording process, Mirjana Lauˇsevi´cwrites the following: We appreciate the expertise, patience and adventurous spirit of engineers Norman Blaine (tracks 1–6 and 18) and Jim Heming- way (tracks 7–17). The big band songs were recorded in a party atmosphere, everyone playing live in one room with little of the customary studio isolation between microphones, and everyone singing on parts of tracks 112 and 413. We are thrilled to have this record of a wild and philosophical time with fast friends, old and new. We hope you enjoy listening to it as much as we enjoyed making it! [25] On Zabeˇ i Babe’s website, the following text about Drumovi can be found: In their stunning debut, DRUMOVI, ˇzabe ibabe not only presents their own mix of bracing Balkan vocals, Dance beats, and provoca- tive rock textures, but it is enriched by the irresistable Romani

9Bosnian: “Routes” 10http://www.omniumrecords.com/ 11Massachusetts, U.S.A. 12Djurdjevdan 13Lipe Cvatu Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 14

rhythms and mesmerizing melodies of the Ansambl Teodosijevski. [4]

3.1 Lineup In the booklet of Drumovi, there are some credits of who played what on which tracks, but not everything is listed in complete detail. From what Tim Eriksen and Donna Kwon told me, I learned that Donna sang the second voice on Sjaj Mjeseˇce and that Mirjana Lauˇsevi´c(probably) played the bass line on the keyboard. I am still not a hundred percent sure who played the tarabuka though. Her is what Donna Kwon said on the topic: Eljam Rasidov played most of the percussion on Drumovi except for Peter Irvine on Visoko Drvo and Zuta Baba I believe. I think most of the time he is playing drumset believe it or not but I do remember him playing tapan on maybe Bol. It’s possible that he may have overdubbed the dumbek but I can’t remember clearly. Minja played bass on keyboard for most of the record. Otherwise, Tim played guitar and Minja on keyboards on all of the electric songs along with the Teodosijevski ensemble. [24] So here is a list of the instruments and people who can (most probably) be heard on Sjajˇ Mjeseˇce: Instrument Player Lead Vocals Tristra Newyear Backing Vocals Donna Kwon Clarinet Sami-Buco Sekirovski Trumpet Zahir Ramadanov Accordion Simeon Atanasov Bass (played on the keyboard) Mirjana Lauˇsevi´c Drum Set Eljam Raˇsidov Tarabuka Eljam Raˇsidov (?)

3.2 Form The recording has an easily perceptible and especially clear structure. A sequence of three very distinct parts is repeated twice:

k : A, B, C : k, or, in other words, A1,B1,C1,A2,B2,C2. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 15

Herein, the two repeats of each part (A1 and A2, B1 and B2, C1 and C2) are almost identical, expect for

1. B1 and B2 having different lyrics, 2. some minor ornamental variations in the performance of all players,

3. the second voice doubling up the first one for B2 but not for B1, 4. the drums playing different fills for their brief solo-spot in the 12th bar of C1 and C2, and

5. C2 being one bar longer than C1 (all the instruments hold the final chord/notes one bar longer, which creates some extra dramatic ten- sion). Each part is distinguished from the previous one by some new elements in the arrangement and is preceded by a short but prominent tacet of the whole ensemble. A lead sheet and an arrangement chart I transcribed are provided on pages 27 and 28). Using pop terminology, one could say that part A functions as an intro (actually part A1 as an intro and A2 as a re-intro), part B as verse, and C as the chorus. In the arrangement chart on p. 28, if a certain bar contains a horizontal line for some instrument, this indicates that the respective instrument plays something in the respective bar, whereas a blank likewise indicates a tacet. Part A is instrumental and consists of 11 bars, subdivided (by the melodic line and by the entry of the clarinet and the trumpet), into 4+3+2+2 bars. Alternatively, one could think of it as a three bars being repeated (arranged differently both times) with the 1st ending consisting of 1 bar and the 2nd ending consisting of 4 bars (3 + 1 + 3 + 4). Part B, in which the voice(s) enter, has 15 bars, subdivided (by the melodic phrases) into groups of 3 bars each. A sequence of two melodic phrases, each spanning over 3 bars, is repeated twice, followed by a third 3-bar phrase (k : 3 + 3 : k + 3). This last phrase consists of bars 2 and 3 of the 1st phrase of B, followed by an ending. What I find interesting is that in a very high percentage of Western Art and Pop music, the musical phrases and the overall form is organized on the basis of groups having a duration of 4 bars (or some multiple of 4 bars). In Southeastern Europe, this is true only to a far lesser extent. For example, Alice Singer claims that “three and five measure dances are the most common” ones in Macedonia [30]. Part C1 consists of a total of 22 bars. In the lead sheet on p. 27,I have written the part as 6 (2+4) bars which are repeated with a 1st ending consisting of 4 bars and a 2nd ending consisting of 6 bars (the same holds for Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 16

nd C2, expect that the 2 ending there has 7 bars). So C1 is subdivided into 2 + 4 + 4 (1st ending) +2 + 4 + 6 (2nd ending) bars.

3.3 Meter and Rhythm The tempo of the song is very constantly =272. The meter is a clearly marked 7/8, subdivided into 3+2+2 quavers: 7 8k : : k Herein, I would describe the 1st and♩ ♩♩ 4th quaver as being the “heavy” (h) beats, or downbeats, the 3rd and 6th quaver as “lighter” or “medium” (m) beats, upbeats, or backbeats, and the remaining 2nd, 5th, and 7th quaver as the “light” (l) or “lightest” beats, or offbeats:

7 8k : h l m h l m l : k This basic meter is spelled out very explicitly by 1. the harmonic changes occurring almost exclusively at the beginnings of the bars,

2. the drums and the bass accentuating the 1st and 4th quaver in each bar,

3. the bass playing the root note of the chords on the 1st quaver of each bar almost throughout the piece, and

4. the rhythmic organization of the melodic phrases being closely linked to the basic meter; very little syncopation occurs.

3.3.1 Terminological Remarks This meter, or rhythm,14 is an instance of what was called Bulgarian Rhythm by B´elaBart´ok(see e.g. [21]). This name is somewhat misleading of course, as it neither limited to Bulgaria, but rather commonly used throughout the Balkans, Turkey, and beyond, nor is there any evidence that it originated from Bulgaria.

14Unfortunately, these two terms are used in an unclear and unsystematic manner, and are often interchanged randomly, by many authors. Quite frequently, “rhythm” is used, where “meter” would probably more accurately express the author’s intention. For discussions, see e.g. [27, chapter 4], [26, p. 278–279], or [23, p. 65–66]. However, in the case of this recording, I would argue that the relation between the abstract meter of the song and the rhythms actually played could be described in an almost one-to-one manner, such that the difference between the two is relatively small. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 17

A more neutral name found in the literature is aksak15 rhythm (com- pare e.g. [20], [21], [15]. Nice Fracile writes that “[w]hat makes the aksak rhythm different from the classical/distributive rhythm is its fundamental assymmetry reflected in the invariable use of two duration units—a long and a short one—instead of one unit only [21, p. 198].” He distinguishes between “a) a dactylic form [. . . ], in which the prolonged unit is at the beginning of the rhythmic pattern b) the anapestic form , in which the prolonged unit [is] at the end [21, p. 199]”. This would make the meter of Sjaj Mjeseˇce a dactylic aksak rhythm. Concerning the question of the spread of the rhythm, he claims that

[. . . ] it can be stated that the aksak rhythm, which originates from folk dances, serves nowadays as convincing proof of the vitality of music tradition and of strong cultural relations of a number of peoples. It has been passed on from one generation to another ever since the oldest times not only all over South- Eastern Europe, the Mediterranean and the Iranian regions, but spreads much wider than that. The dactylic form of the aksak rhythm is a fundamental and common thread in the folklore of the Rumanians in Banat and Transylvania, Rumania, and of the Rumanians in Yugoslavia who are of the Banat and Transylva- nian origin. [20, p. 152]

However, Fracile also uses the term aksak in a less specific way, referring to the collection of all additive, compound, complex or asymmetric meters (all of which are yet other terms utilized by a number of authors) found in South- Eastern European music, such as meters comprising 5, 7, 9, 11,. . . crotchets, quavers, or semiquavers (with different possibilities of how these are grouped, i.e. of where the accents fall, and of how they are subdivided). As a final example, Alice Singer calls the rhythm Lesnoto, and claims that it is the “most common Macedonian rhythm” [30, p. 386]. There are probably lots of other names used by different people.

3.3.2 Drum and Bass Patterns The basic drum set pattern in Sjaj Mjeseˇce consists of continuous semiqua- vers (part A) or quavers (part B and C) played on the Hi-Hat (with accents on the opened Hi-Hat on the 2nd and 5th (offbeat) quavers in parts B and C), the bass drum accentuating the 1st and 4th quaver of each bar (the down- beats), and the snare drum playing pop-typical snare drum backbeats on the

15Turkish: “lame” Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 18

3rd and 6th quaver of each bar (the upbeats). In Addition to that, there are a couple of extra bass drum and snare drum notes and open Hi-Hat accents, thrown in mainly for rhythmic variety. They are placed so irregularly (re- minding me of a jazz-like playing style), that the feeling of constant change arises. The bass, in almost each bar throughout the song, plays the root note of the respective harmony on the 1st quaver and the perfect fourth below (i.e. the fifth of the harmony) on the 4th quaver. Often, it repeats the root note on the 6th or 7th quaver (see p. 30). Still, just like the drum part, the bass plays gets a lot of variations out of this basic pattern (mainly concerning the last note in each bar, played on the 6th or 7th quaver, or being left out altogether). These variations occur in an irregular, seemingly random manner, which results in a constantly changing bass line. In the sense that all the rhythms utilized in the different parts are in- timately correlated to one basic meter, that few counter-rhythms and lit- tle syncopation are played, and that no major rhythmic changes occur, the rhythmic complexity of the piece could probably arguably described as mod- erate. On the other hand, due to the relatively quick tempo, the many semiquavers of the melody, the many subtle variations in all parts, and the inherent asymmetry of the underlying meter, I still find the recording very interesting in terms of rhythm. And, first and foremost, the performance conveys a uplifting feeling of buoyancy and forward motion.

3.4 Melodics The tonal center/tonic of the song is the note c. The notes used in the recording are mainly the following. I present them ordered as a scale, first the actual notes by their names, and then as abstract scale degrees: c d[ e f g a[ b[ 1 [2 3 4 5 [6 [7 There is a great number of different names used for this scale. As Tim Eriksen’s puts it, “The mode [Sjaj Mjeseˇce]’s basically in is called various things by various people—sometimes people call it Gypsy mode too”[17]. I collected evidence of some of these names: In Jazz context, this scale type is usually referred to as harmonic minor 5 (or HM 5 ), since it is the scale obtained when starting a harmonic minor scale from the fifth scale degree (see, for instance, [14, p. 115], or [29, p. 55]), or as mixolydian ([9/[13), since it is the scale obtained from mixolydian by lowering the sixth and seventh scale degree by a half tone (see e.g. [29, p. 54–55]). Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 19

Similarly, one could call the scale phrygian (\3), which is uncommon, probably because the (minor or major) third scale degree is usually regarded as being an essential feature of scales, defining the scale’s “minority” or “majority”. As such, phrygian is a minor scale, whereas the scale above is a major scale. Nevertheless, a name found in the literature is major-phrygian (e.g. [19, p. 62]). In Flamenco context, the typical name for this scale is flamenco mode (e.g., see [14, p. 115], or [19, p. 77]). Lola Fern´andezwrites the following in her textbook on Flamenco music theory:

When the Phrygian is harmonized for the instrumental accom- paniment of a cante16, the raised or major III scale degree is found in the tonic chord. This creates what is known as the Fla- menco mode [. . . ]. Melodies that have an accompaniment based on chords of the Flamenco mode are sung in Phrygian, since the Flamenco mode stems from the Phrygian. However, these melodies often include the same major third that is found in the tonic chord of the Flamenco mode (Major-Phrygian). The third degree of the scale is not always major, but alternates with the minor third of the Phrygian mode, especially in melody lines that descend to the tonic. [19, p. 68]

Another name utilized for this scale type is freygish17. For example, musician Peter Michael Haas uses this name in an educational accordion textbook about the music of Russians, Jews, and Roma in Eastern Europe ([22, p. 12]). He states that this scale type is widespread in Eastern/Southeastern Europe. I found even a few more names on Wikipedia: Spanish Gypsy scale, Phry- gian dominant scale, Neapolitan minor scale, and Jewish scale18 [12]. Characteristic for this scale is the (phrygian type) lowered second com- bined with the major third degree, as well as the augmented second between these two scale degrees. This is a feature not found too often in Western Art and Pop Music. There are a couple of related scales also sharing this feature: among others the hidjaz scale type:

1 [2 3 4 5 [6 7

16Spanish: “song” 17Although I have found no evidence for this, I would assume that this term could be etymologically related to phrygian, german: phrygisch (pronounced similarly to freygish). 18The last name stemming from the fact that this scale type is also used a lot in Klezmer music. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 20

This is scaled is for example described by B´alint S´arosiin [28]. He claims that the name “hidjaz” is of Arabic origin, that the scale is characteristic for the genre of Andalusian cante flamenco, and that the scale is most common in India, Persia, Turkey, the Balkans, and Hungary.

3.5 Harmonics In the lead sheet on p. 27, I wrote out chord symbols which I found appropri- ate. None of the instruments explicitly states these chords, they are rather meant to summarize the harmonic interplay of the bass with the melodic lines of the two singers, the clarinet, the trumpet, and the accordion. In other words, they represent the underlying harmonic progression that I think is implied. This technique is what sometimes is called “macro analysis”. To describe the function of each chord in the harmonic progression, I use “T” for tonic, “D” for dominant, and “S” for Subdominant. These are the chords occurring in the recording: Chord Symbol C D[ Fmin G[ B[min Scale Degree I [II IVmin [V [VIImin Harmonic Function T D S S S

All of these chords, except for the note g[ in the chord G[, belong to the underlying scale, or mode, of the song and use only notes inherent to it. To answer the question of the harmonic function of the various chords is not a straight forward task. In my opinion, c is definitely heard as the tonic, the tonal center, of the piece. But the scale is not a tonic scale but a dominant scale, with a characteristic tritone between the [7 degree and the 3 degree, and without a guide tone. Some would argue that this adds a little instability to the tonic function of c, and this is probably also the reason why a harmonic analysis in the tradition of Hugo Riemann might be suitable only to a limited extent. One possibility to overcome the difficulties would be to assume f to be the underlying tonic and c to be the fifth scale degree.19 In traditional Western music theory, the chord D[ would be described as a “Neapolitan chord”, stemming from a minor subdominant context and having subdominant function (see [14, p. 84] for example). In fact, all of the chords D[, Fmin, G[, and B[min, could probably be explained within a minor subdominant framework. 19For an account of how the fifth scale degree (which in our case would be c, with the scale of c-harmonic minor 5) can, under certain circumstances, assume the function of the actual tonic (which is a way of explaining the so-called “Andalusian cadence” I/VII/VI/V in a minor mode, commonly used in flamenco), see [19, p. 81]. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 21

However, in jazz theory, D[ would rather be explained as the tritone substitute of G, hence having dominant function (leading to C). Also, Lola Fern´andezwrites in her book on flamenco music theory: The chord sequence II/I is called the resolution or the resolving cadence [. . . ] Its harmonic function is the same as that of a perfect authentic cadence in tonal music (V/I). [19, p. 84] Concerning the function of the seventh chord B[min, the following remark can be found in the same book: The feeling of tension and release created by the progression II/I can also occur between VII and I, giving this sequence the char- acter of a plagal cadence. [19, p. 85] In the table at the beginning of this section, I listed the basic functions of the chords simply as how I hear them. In the end, there is definitely more than one possibility of explaining harmonic progressions theoretically, and classifying chords according to their function into the the categories of tonic, dominant, and subdominant is not an entirely objective task. What still can be done objectively describing the proximity of the various triads used in the song in terms of common tones.20 Concluding the section on harmony, I give such an overview in the following table: G[ g[ b[ d[ B[min b[ d[ f D[ d[ f a[ Fmin f a[ c

C c e g

3.6 Lyrics In the booklet of Drumovi, the lyrics of Sjaj Mjeseˇce are credited as “tradi- tional/Lausevic” [25]. Tim Eriksen gave the following reply to my inquiry on that topic: “The song is one we wrote based on an existing poem—mostly written by Minja Lausevic with help from Tristra Newyear, myself and Donna Kwon [17]”. Donna Kwon says that “[t]he lyrics are adapted from traditional lyrics [24]”. I have taken the lyrics to the song, as well as the English translation, from the homepage of Omnium Records [5]. In the Bosnian version, the syllables rhyming with each other are put in the same font, in italics, or underlined. 20Although, being a formal procedure, it remains questionable what, if any, the musical significance of such a description is. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 22

3.6.1 Bosnian (original) B1 Ono moje ˇstopo putuˇseˇce Putem ˇseˇce, a pleˇcima kreˇce ˇcinimi se, prevarit’ me neˇce ˇcinimi se, prevarit’ me neˇce C Sjaj mjeseˇce, sjaj mjeseˇce, obasjaj doveˇce, il’ doveˇce ili drugo veˇce. Sjaj mjeseˇce, nek mi dragi noˇcas teˇsko diˇse sjaj mjeseˇce snivajuˇciza mnom nek uzdiˇse. B2 Svu noc sjala sjajna mjeseˇcina Dok mom dragom na um pade draga. Gledam sada putem kako ˇseˇce. Ej, putem ˇseˇce a pleˇcima kreˇce.

3.6.2 English (translation) B1 That one of mine, strolling on the path strolling on the path, swaying with his shoulders, it seems to me, he will not deceive me it seems to me, he will not deceive me C Shine moon, Shine moon, lit well tonight, tonight, or another night. Shine moon, let my darling breathe heavily tonight, Shine moon, let him sigh after me in his sleep. B2 All night long the glittering moonlight shined Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 23

until to my darling his darling came to mind. Now I watch him strolling on the pathway. Ey, strolling on the pathway, swaying with his shoulders.

3.6.3 Remarks Ear-, respectively eye-catching is the fact that almost all lines of the lyrics rhyme on the same ending, namely -eˇce. This is facilitated by the fact that a lot of the words in the Bosnian language end on that syllable. I leave an interpretation of the lyrics to the more gifted literary theorist. In the booklet to the CD Drumovi, Mirjana Lauˇsevi´cand Tim Eriksen give a little introduction to, or synapsis of, Sjaj Mjeseˇce, that I want to cite as a concluding remark of this survey:

“Shine Moon” is, like any good newly composed folk song, about love. In this case a woman tells the moon to shine on her darling to make him restless, sighing for her in his sleep. [25]

3.7 Summary Chart Name Sjaj Mjeseˇce

Lyrics Bosnian; based on a traditional poem; written by Mirjana Lauˇsevi´c with help from Tristra Newyear, Tim Eriksen, and Donna Kwon

Music written by Tristra Newyear, Mirjana Lauˇsevi´c,Donna Kwon, Tim Eriksen

Arrangement written by Simeon Atanasov, Pero Teodosijev, Mirjana Lauˇsevi´c, Tim Eriksen

Recorded 1997 by Norman Blaine in Moonstar Media at Guy Devito’s, Shutesbury, MA

Produced 1997 by Mirjana Lauˇsevi´cand Tim Eriksen

Mixed 1997 by Zabeˇ i Babe with Norman Blaine

Masterd 1997 by Zabeˇ i Babe with Jim Hemingway

Published 1997 on the Zabeˇ i Babe CD Drumovi, 1999 on the compilation CD Balkans without Borders Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 24

Instrument Person voc Tristra Newyear back voc Donna Kwon clar Sami-Buco Sekirovski Instrumentation tr Zahir Ramadanov acc Simeon Atanasov b (key) Mirjana Lauˇsevi´c dr Eljam Raˇsidov tar Eljam Raˇsidov (?)

Duration 2:30

Tempo =272

Meter 7/8, (3+2+2)/8, (Dactylic) Aksak Rhythm, Bulgarian Rhythm, Lesnoto, additive meter, asymmetric meter, compund meter, complex meter

Form Part Function Starting Bar # of Bars Grouping Starting Time Duration A1 intro 1 11 4+3+2+2 0:00 16sec. B1 verse 12 15 3+3+3+3+3 0:16 24sec. C1 chorus 27 22 2+4+4+2+4+6 0:40 34sec. A2 re-intro 49 11 4+3+2+2 1:14 16sec. B2 verse 60 15 3+3+3+3+3 1:30 24sec. C2 chorus 75 23 2+4+4+2+4+7 1:54 36sec.

Scale/Mode c d[ e f g a[ b[ , 1 [2 3 4 5 [6 [7 , Har- monic Minor 5, HM 5, Mixolydian ([9/[13), Phrygian (\3), Major- Phrygian, Phrygian dominant scale, Flamenco Mode, Spanish Gypsy scale, Gypsy mode, Freygish, Jewish scale, Neapolitan minor scale Chord Symbol C D[ Fmin G[ B[min Chords Scale Degree I [II IVmin [V [VIImin Harmonic Function T D S S S Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 25

4 Appendix

On the following pages, I present a lead sheet, an arrangement chart, and a transcription of the bass line, all of which I have transcribed from the recording by ear. Hence, they are all subject to errors and mistakes. As mentioned before, in the lead sheet I have added chord symbols that I found appropriate. The melody is notated only approximately and meant as a guideline. On the recording, there are lots of variations and ornaments, and the two repeats are not exactly the same, for example, the two verses (B1 and B2) are differing due to the differences of the underlying lyrics. I have also included rhythmic notation in a couple of places, pointing out important rhythmic ensemble play. In the arrangement chart, a horizontal line in some bar means that the respective instrument/voice plays something in that bar, a blank indicates a tacet of the respective instrument/voice. Regarding the time code and the bar numbering, the two numbers before and after the slash are referring to the two repetitions of the whole structure (A1/A2, B1/B2, C1/C2). Again, for orientation I have included some rhythmic notation in key spots of the arrangement. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 26

words trad./Lausevic Folk-Rock Sjaj Mjesece music Newyear/Lausevic/Kwon/Eriksen â=272 Lead Sheet arr. Atanasov/Teodosijev/Lausevic/Eriksen transcr. Thalwitzer C D B min C ÿ b b 1. & 87 ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ ’ . C 2. 2 . . Û Û Û Û Û Û Û Û Û Û Œ « C D C(add 9) C B min D C(add 9) C Ÿ b b b b b j j . œ œ œ j j Œ . œ œ œ œ œ œ bœ. ˙ bœ œ bœ œ œ œ œ œ bœ. ˙ F min C(add 9) C F min C b . j œ Œ œ œ œ œ bœ. ˙ œ œ œ B min F min N .C . B min C ⁄ b b j j . bbœ œ œ œ Œ. Ó bbœ bœ œ œ bœ bœ œ œ œ. . . Ó J J œ œ œ œ œ. œ. œ œ. D C(add 9) C F min C 1.b b . j j œ Œ . bœ œ œ œ bœ œ œ œ bœ. ˙ œ œ œ F min D G 2. b b j j bœ bœ œ bœ bœ œ bœ œ œ bœ œ œ. œ œ œ J C(add 9) C b To Coda D.C. al Coda fi bœ. ˙ Û Û Û Û. Œ

Coda fi ˙.. Û Û Û Û. Œ Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 27

ä=272 arr. Atanasov/Teodosijev/ Sjaj Mjesece Lausevic/Eriksen Arrangement Chart part ÿ time code 0:00/1:14 transcr. Timon Thalwitzer 1 7 Vocals 8 2 87 Clarinet . . . . 87 ÛÛÛÛÛÛ ÛÛ Û Û Œ ÛÛÛÛÛÛ Û Û Û Û Œ Trumpet . . . . 87 ÛÛÛÛÛÛ ÛÛ Û Û Œ ÛÛÛÛÛÛ Û Û Û Û Œ Accordion . . . . 87 ÛÛÛÛÛÛ ÛÛ Û Û Œ ÛÛÛÛÛÛ Û Û Û Û Œ Bass . . . . 87 Û. Û Û Û. Û Œ Û. Û Û Û. Û Œ Drum-Set . . . . 87 ÛÛÛÛÛÛ ÛÛ Û Û Œ ÛÛÛÛÛÛ Û Û Û Û Œ Tarabuka . . . . 87 ÛÛÛÛÛÛ ÛÛ Û Û Œ ÛÛÛÛÛÛ Û Û Û Û Œ bar # 1/49

Ÿ 0:16/1:30 1 ÛÛ Û Û. Œ Voc. 2nd time only 2 ÛÛ Û Û. Œ

Cl. ÛÛ Û Û. Œ

Tr. ÛÛ Û Û. Œ

Acc. ÛÛ Û Û. Œ

B. Û. Û. Œ

Dr. ÛÛ Û Û. >Û Tar. . 12/60 ÛÛ Û Û Œ

⁄ 0:40/1:54 0:55/2:09 1 2 2:30 1 ÛÛÛÛ.Œ Û. Û.Œ . Voc. 1 . 2 2 . . . . ÛÛÛÛŒ 1Û ÛŒ . 2 Cl. . . . . ÛÛÛÛŒ 1ÛÛÛÛŒ . 2 ÛÛÛÛŒ Tr. ÛÛÛÛ.Œ ÛÛÛÛ.Œ . ÛÛÛÛ. Œ 1 . 2 Acc. . . . . ÛÛÛÛŒ 1ÛÛÛÛŒ . 2 ÛÛÛÛŒ B...... Û ÛŒ 1Û ÛŒ . 2 Û ÛŒ Dr. Œ. Œ. >Û ÛÛÛÛ.>Û ÛÛÛÛ.>Û . ÛÛÛÛ. Œ 1 . 2 Tar. ÛÛÛÛ.Œ ÛÛÛÛ.Œ . ÛÛÛÛ. Œ 27/75 37/85 . 97 Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 28

Sjaj Mjesece performed by Tim Eriksen Bass transcribed by Timon Thalwitzer {A1} ? 7 ‰ bœ ‰ ‰ œ ‰ ‰ j ‰ Œ 8 œ œ œ bœ J bœ œ œ œ œ

. . . œ ‰ œ bœ ‰ ‰ œ ‰ Œ œ ‰ œ Œ Œ œ ‰ œ œ Œ 5 œ bœ J bœ œ œ œ. œ œ. {B1} j œ ‰ ‰ œ bœ ‰ ‰ œ œ ‰ Œ ‰ Œ bœ ‰ ‰ œ œ ‰ Œ 12 œ bœ J œ bœ œ bœ J œ

. œ ‰ œ bœ ‰ ‰ œ œ ‰ Œ ‰ Œ bœ ‰ Œ œ ‰ œ 18 œ bœ J œ bœ œ bœ œ

. . . œ ‰ œ Œ œ ‰ œ œ. œ Œ 24 œ {C1} . . ‰ Œ. Ó ‰ Œ ‰ ‰ j œ ‰ Œ œ ‰ œ 27 bœ œ œ bœ œ bœ œ œ œ œ

1 . . bœ ‰ Œ bœ ‰ œ œ ‰ Œ ‰ œ Œ . 33 bœ bœ œ œ

2 . bœ œ œ ‰ œ Œ bœ ‰ Œ ‰ Œ œ ‰ Œ œ ‰. œ Œ 37 œ. œ bœ bœ œ Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 29

{A2} ? œ ‰ œ ‰ ‰ bœ ‰ bœ ‰ œ œ ‰ Œ 43 œ œ bœ J bœ J œ

. . . œ ‰ œ œ ‰bœ ‰ œ bœ ‰ Œ œ ‰ œ Œ Œ œ ‰ œ œ Œ 47 œ J bœ œ œ. œ œ. {B2} . œ ‰ œ bœ ‰ ‰ œ œ ‰ Œ ‰ Œ bœ ‰ ‰ œ œ ‰ ‰ j 54 œ bœ J œ bœ œ bœ J œ œ

j œ ‰ ‰ œ bœ ‰ œ ‰ œ œ ‰ Œ ‰ Œ bœ ‰ Œ œ ‰ œ 60 œ J œ bœ œ bœ œ

œ ‰ œ ‰ œ œ ‰ Œ ‰ œ Œ 66 J œ œ {C2} . ‰ Œ. Ó ‰ ‰ j ‰ œ ‰ Œ œ ‰ œ 69 bœ œ œ bœ œ bœ bœ œ œ œ œ

. bœ ‰ Œ bœ ‰ ‰ œ œ ‰ Œ ‰ œ Œ 75 bœ bœ J œ œ

‰ Œ. Ó ‰ Œ ‰ ‰ j œ ‰ ‰ j œ ‰ œ 79 bœ œ œ bœ œ bœ œ œ œ œ œ

. . j œ ‰ œ Œ œ ‰ œ œ bœ ‰ Œ ‰ ‰ œ ‰ Œ œ Œ 85 œ bœ œ bœ œ ‘ œ. Timon Thalwitzer: Zabeˇ i Babe and Sjaj Mjeseˇce 30

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