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Home , Apito, Bandish, Bhangra (dance), Dhol, Esraj, Greek folk music

GCSE – OF THE WORLD K NOWLEDGE ORGANISER

A performance is not worked out beforehand and relies on a RAGA (scale) and TALA () to which considerable IMPROVISATON and ORNAMENTATION are added by the performers. Some performances are very Indian long and can last all night! Characteristic Rhythms and Metres, Traditional Rhythm Patterns & Pitch & and & Repetition and Dynamics Based on TALAS (cyclic/repeating rhythm patterns) played by the . based on (scale/mode) – patterns of notes with strict Generally increase throughout a One single TALA used for a piece. Each TALA has a certain number of rules about usage. RAGAS (scales) associated with a particular time of Raga performance starting of softly beats (regular and irregular TALAS are used). The most popular TALA is day or night or season and have different MOODS. Some RAGAS (scales) (p) during the ALAP and JHOR with called TINTAL – 16 beats per cycle. Over 300 TALAS. HAND CLAPS and vary in ascent and descent e.g. Raga Vibhas (morning Raga); Raga Behag a gradual CRESCENDO in the JHALA WAVES are used to mark certain beats. (evening Raga). RAGAS are written down used SARGAM notation. and very loud at the end. Texture Ensemble Form & Structure There are three basic layers to the texture of : ALAP – slow and free unmetred Indian Classical must FOUR sections (no breaks) MELODY (Voice, , , , or performing the rhythm with no recognisable beat work together in order to interpret ALAP – melody and drone, free melodic form of the Raga); DRONE ( or Harmonium performing or pulse. JHOR – speeds up and the music and perform effectively unmetred, slow, soft. long sustained noted); RHYTHM (Tabla performing the rhythmic Tala). becomes more rhythmic. JHALA – as one including starting and JHOR (JOR) – melody and drone, The opening three sections of a Raga performance all have a 2-PART further increase in tempo and stopping together, agreeing tempo increase in speed, more rhythmic TEXTURE (melody and drone), the final Gat (or ) section when the greater sense of metre. GAT – very and dynamic changes, similar JHALA – melody and drone, more Tabla enters performing the Tala has a 3-PART TEXTURE. fast tempo with complex rhythms. interpretation of expression and speed and TEMPO RUBATO sometimes added articulation (accents, staccato) as GAT (BANDISH) – Tabla enters, by performers during performance. well as balance between parts. tempo and dynamics increase. Origins and Cultural Context of the Impact of Modern Technology on Artists, Bands & Performers of Indian Musical Characteristics of Traditional Music Traditional Music Classical Music Around 1700 BC. Developed in temples and A RAGA performance based on one RAGA Available via the internet (YouTube®) and royal palaces. Ragas and Talas learnt by the and one TALA with freedom for heard at cinema, radio and live . ORAL TRADITION. Master-Student tradition. IMPROVISATION and ORNAMENTATION Indian instruments now heard in , pop Spirituality () an important part. during performance. No fixed length. and rock (live or sampled) Shankar Instrumentation – Typical Instruments, and Sonorities SITAR TANPURA SAROD SARANGI ESRAJ HARMONIUM BANSURI SINGER TABLA

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GCSE MUSIC – RHYTHMS OF THE WORLD K NOWLEDGE ORGANISER

Bhangra is a type of FUSION MUSIC – blending together and combining elements of WESTERN , CLUB MUSIC, FILM MUSIC and FOLK MUSIC FROM THE PUNJABI REGION. Traditional Punjabi and string Punjabi instruments are FUSED (combined/used alongside) Western instruments. Modern Bhangra developed in the UK in the 1970’s and 1980’s and fused CHAAL rhythms with Western popular genres such as HIP-HOP, and ‘N’ . Characteristic Rhythms and Metres, Traditional Rhythm Patterns & Repetition and Ostinato Pitch & Melody and Harmony & Tonality The basic rhythms of Bhangra are played by the – a double-headed drum producing two sounds – HIGH has an important role within Bhangra often featuring HIGH-PITCH and LOW. , CROSS-RHYTHMS and can be created by combining rhythms from MALE VOCALISTS (in the tenor range) – the melodies use a SMALL the two drum heads. The CHAAL rhythm in 4/4 metre consists of a repeated 8-note pattern played on the RANGE OF NOTES and backing singers often shout ‘Hoi’ at certain points DHOL. The CHAAL rhythm is ‘swung’ with a TRIPLET-feel. Vocal shouts of the word ‘Hoi’ are often added on in the . The /singer sings SHORT PHRASES in Punjabi, the second and fourth beats of the CHAAL rhythm and the often BENDING NOTES and making use of MICROTONAL INTERVALS and and/or TABLA add decorative, more complex frequent use of the interval of a MINOR . It is common for the rhythms. The TUMBI often plays repeated RIFFS or vocal melody to fall in pitch at the end of a phrase. Harmony is often very using the CHAAL rhythm. simple, based on one or two REPEATED CHORDS. Texture Tempo Dynamics & Articulation Form & Structure HOMOPHONIC (MELODY AND Fast-paced , usually in Consistently LOUD with exciting Similar to Western Popular Music in POPULAR SONG FORM including ) – instruments 4/4 METRE around 140-195 bpm. and dramatic expression. Strong VERSES and a repeated , often with an introduction and some support vocal melody. ACCENTS on the 1st beat of the bar. INSTRUMENTAL sections. Origins and Cultural Context of the Impact of Modern Technology on Artists, Bands & Performers of Punjabi Musical Characteristics of Folk Music Traditional Music Traditional Music Bhangra Bhangra originally refers to a type of Punjabi Working farmers would sing to the Modern Bhangra today uses a lot of music dancing taking place around harvest time sound of the DHOL. The dance rhythm technology – , SAMPLING and DJ where festivities would be accompanied by accompanied a male synchronised dance SOUND EFFECTS such as SCRATCHING as music. It became popular at other with energetic steps and acrobatic stunts. well as using DRUM MACHINES. Using these celebrations such as weddings and New Year effects, Bhangra has evolved into a CLUB parties and now the soundtrack of DANCE GENRE with an individual and cinema. improvised dance to accompany it. Panjabi MC Alaap Instrumentation – Typical Instruments, Timbres and Sonorities – Electronic instruments (Electric , Electric Bass, and Keyboards) are often added to these: DHOL DHOLAK TABLA TUMBI SARANGI ALGHOZA MALE SINGERS

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GCSE MUSIC – RHYTHMS OF THE WORLD K NOWLEDGE ORGANISER

Due to ’s geographical location, its music is influenced by music from Europe, Asia and the Middle East. Eastern Mediterranean and Middle Consisting of songs and , is used for celebrations and social events. Lots of Palestinian music contains only melody/vocals and rhythm often without chords and often begin with a section freely improvised free of Eastern and Arabic Folk Rhythms tempo. Israeli music combines a mixture of music from different cultures – Europe, Russia, Eastern Europe, Arabia. Characteristic Rhythms and Metres, Traditional Rhythm Patterns & Dynamics, Expression and Pitch & Melody and Ornamentation Repetition and Ostinato Articulation Many Greek songs and dances use IRREGULAR RHYTHMS and IRREGULAR Greek folk music uses SIMPLE MELODIES but allows freedom for the player, Greek folk music – simple but highly METRES e.g. 5/8 or 7/8. SIMPLE TIME is also used in Israeli folk dances e.g. 2/4, performer or singer to DECORATE and ORNAMENT those freely especially expressive melody lines with 3/4 and 4/4). In , a rhythm pattern is called a WAZN (similar to a decorating repeated notes. Melodies move mainly by STEP (CONJUNCT performers exploring the and Tala in Indian music). Two popular Arabic WAZN rhythms are shown below and MOVEMENT) covering a relatively small range of notes. The melodies are lyrical SONORITY of the instrument including can be performed on the DOUMBEK (D = DOUM – a low tone played in the (expressive) and enjoyable to sing. Often melodies are harmonised by another playing techniques such as TREMOLO centre; T = TEK – a high tone played on with the right hand; K = – a part playing a THIRD HIGHER giving PARALLEL MELODIES. Arabic melodies are () and slides (GLISSANDO) and high tone played on the edge with the left hand) based on MAQAM and IMPROVISATION is an important feature. Israeli folk singers using MELISMA (singing several dances have melodies played on the , and , often using notes per syllable). MAQSUM – SAIDI – basic rhythm upbeat folk GRACE NOTES and PITCH BENDS to create a distinctive sound with MELODIC used in rhythm DECORATION and ORNAMENTATION. Middle East with FILLS Harmony and Tonality Tempo Texture Form & Structure and Phrasing Greek music uses DIATONIC CHORDS. Tonic and Dominant notes are Greek, Arabic and Israeli folk music is often Greek folk music has a clear HOMOPHONIC Greek folk music – short sections which are emphasised by the bass instrument and music sometimes MODULATES to the relative FAST – designed for dancing. Arabic music (MELODY AND ACCOMPANIMENT) texture repeated. Clear structure with regular major/minor. Arabic music is often based on a MAQAM (type of scale/mode often often begins with an IMPROVISATION free – a prominent melody with accompaniment, phrasing with sections separated by clear accompanied by a DRONE) which is divided into MICROTONES. The closest scale in Western of tempo and Israeli folk dances often often featuring OFF-BEAT CHORDS. . Sometimes instruments and music which resembles this is the DOUBLE HARMONIC SCALE also called the ARABIC SCALE: feature a gradual ACCELERANDO (speeding singers perform in DIALOGUE with each C, Db, E, F, G, Ab, B C. Israeli folk dances often feature the bass playing the and up) throughout the performance. other. of a chord with other instruments performing chords on the OFF-BEAT. Origins and Cultural Context of the Impact of Modern Technology on Artists, Bands & Performers of Eastern Mediterranean Musical Characteristics of Folk Music Traditional Music Traditional Music and Middle Eastern and Arabic Folk Rhythms Greek folk music – songs and dances at celebrations, A typical ensemble in Greek folk music could consist of Globalization means more people around the world social events, cafés, restaurants and bars. Middle the DOUBMEK, BOUZOUKI, violin, bass and vocals. have access to Eastern Mediterranean, Arabic and

Eastern folk music shaped by Arabic, Jewish and Palestinian and Arabic music often features the , Israeli folkl Music via the Internet (YouTube®) which can Christian influences. while Israeli music has taken on many more Western also be heard on the radio or television and at live musical instruments such as the guitar and the . concerts. The harmony is often MICROTONAL. Yannis Parios Le Trio Joubran Effi Netzer Instrumentation – Typical Instruments, Timbres and Sonorities BOUZOUKI OUD DOUMBEK TABLA BALADI MIJWIZ

A typical Greek folk music ensemble could consist of the DOUMBEK, BOUZOUKI, violin, bass and vocals. Palestinian and Arabic music often features the OUD, while Israeli music has taken on many more Western musical instruments such as the guitar and piano. P A G E 3 O F 6 ©WWW.MUSICALCONTEXTS .CO.UK

GCSE MUSIC – RHYTHMS OF THE WORLD K NOWLEDGE ORGANISER

African instruments are often made from plants and animal products such as hide and bone. African musicians are very fond of PERCUSSION instruments and use a wide variety of drums (called ) Drums are traditionally African Drumming used as an accompaniment to singing, dancing, working and communicating between villages. Drummers are typically the most respected members of their community. Characteristic Rhythms and Metres, Traditional Rhythm Patterns Pitch & Melody and Harmony & Tonality & Repetition and Ostinato Ornamentation REPETITION and CYCLIC RHYTHMS used to organise music. A repeated Most African melodies are based on a “limited number of pitches” - four, five, six or seven note SCALES and The MASTER DRUMMER rhythm pattern (OSTINATO or TIMELINE) is used as a basis for are normally short and simple, often expanded by REPETITION and IMPROVISATION. The pitch in African can elaborate and decorate IMPROVISATION to “hold the piece together”. Use of SYNCOPATION, drumming is largely determined by the tuning of the drums. African singers often create by his solo drum part with POLYRHYTHMS (shown below right), CYCLIC RHYTHMS and CROSS- singing in thirds, fourths or fifths. UNISON and PARALLEL OCTAVE harmony is also common. The basic ACCENTS and playing in a RHYTHMS (shown below left). MASTER DRUMMER can give musical ‘cues’ form of African is CHORAL SINGING known as CALL AND RESPONSE where one singer technically demanding style to performers to change rhythms during a performance and can also choose to ACCENT different beats within a RHYTHM CYCLE. (SOLOIST) or small group of singers sings a line and the whole group (CHORUS) makes a reply (often a fixed to “show off” to the rest of ) – like a “musical conversation” – in alternation with the “lead singer”. The soloist often the drum ensemble and IMPROVISES. African singers often “shout words” (VOCABLES) and male and female singers enjoy using audience. their highest VOCAL REGISTER known as FALSETTO. African singing can be accompanied by instruments but can also be unaccompanied (A CAPPELLA). Texture Dynamics Tempo Ensemble Form & Structure and Phrasing In West Africa, drum ensembles have 3-5 players each with a Since African Drumming is often FAST – designed for dancing and A MASTER DRUMMER often leads giving The structure of a piece of signals to the rest of the group to change distinctive method of striking their drum and playing performed outside and at social social gatherings – tempo will match African drumming depends on gatherings and celebrations, the the dance steps. The MASTER rhythms or sections of the piece and can the MASTER DRUMMER and also control the TEMPO. He often interlocking rhythms. This creates a THICK and complex dynamics are generally LOUD (FORTE DRUMMER can both establish the has no fixed or determined IMPROVISES highly complicated rhythms

POLYPHONIC texture. – f) or VERY LOUD (FORTISSIMO – ff), tempo as well as speed up and can indicate the ending of a piece of length, entirely dependent on but like changes in tempo, can be (ACCELERANDO) or slow down music as well as playing the “CALL” to CALL the rhythms used. indicated by the MASTER DRUMMER. (DECELERANDO) or even set a new AND RESPNOSE SECTIONS which are tempo with musical ‘cues’. ‘responded’ by the drum ensemble. Musical Characteristics of Impact of Modern Technology on Artists, Bands & Performers of African Origins and Cultural Context of the Traditional Music Folk Music Traditional Music Drumming African Drumming is ‘traditional’ and handed down via the ORAL Traditional drums such as the African music has been a major influence on the TRADITION (not written down). Not performed ‘at a ’, , TALKING DRUM and development of popular music contributing rhythms, rather everyone joins in by dancing or playing an instrument, DUNDUN remain popular in African structures, melodic features and the use of music today, often combined with a improvisation to such styles as , gospel and jazz, singing or clapping. Combines other art forms and heard at special number of percussion instruments, brought over to America by slaves. High quality occasions and celebrations. Many Africans believe that music stringed instruments and woodwind recordings of traditional African music are now possible serves as a link to the spirit world. instruments. RHYTHM remains a with advanced recording techniques Ladysmith Black key feature of African drumming. Bolokada Conde Mambazo DJEMBE DUNDUN Instrumentation – Typical Instruments, Timbres and Sonorities Other percussion instruments Stringed instruments (CHORDOPHONES) such as (Bass, Tone such as clappers, , bows, , , and the are & Slap scrapers, and sounds) (called ) popular as well as some woodwind instruments produce their sound by () such as whistles, , vibration and are known as pipes, and horns. TALKING DRUM IDIOPHONES.

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GCSE MUSIC – RHYTHMS OF THE WORLD K NOWLEDGE ORGANISER

Calypso is the national dance of . Steel Bands also originated from these islands. Caribbean music combines elements of AFRICAN MUSICAL INFLUENCES – SYNCOPATION, CROSS-RHYTHMS, PERCUSSION, CALL AND Calypso and Steel RESPONSE and EUROPEAN MUSICAL INFLUENCES – TONAL AND MELODIES and instruments. Characteristic Rhythms and Metres, Traditional Rhythm Patterns & Dynamics, Expression and Harmony and Tonality Repetition and Ostinato Articulation CALYPSO is originally the national dance of Trinidad and Tobago and is Harmony of Calypso often enriched used ADDED NOTE CHORDS e.g. added 6ths, Since Calypso and Steel Pan music is th particularly associated with social gatherings such as CARNIVAL. Calypso 7ths and 9ths and Diminished 7 chords. The of Steel Pan designed to be performed at carnivals and music is SLOW – with a single chord often lasting an entire bar. Harmonies are outdoors accompanying dancers or in front is normally in 4/4 METRE and uses SYNCOPATION combining story telling of large audiences, the dynamics are mainly simple and use PRIMARY TRIADS in MAJOR TONALITY and phrases often with memorable melodies. Calypso often uses three-beat rhythms with generally VERY LOUD – FORTISSIMO (ff). end with PERFECT CADENCES. The BASS PAN plays the ROOT of the chord, the two long beats followed by a short beat. An example of a Calypso rhythm Steel pans are played with sticks/beaters CELLO/GUITAR PAN plays the is as follows: with rubber tips and notes of LONG THIRD AND FIFTH of the chord and DURATION are playing by ROLLING, giving a the ALTO PAN plays the ROOT TREMOLO effect which produces a SYNCOPATION is also used in Steel Pan music, both in the melody line AND THIRD of the chord. A typical ‘shimmering’ sound as is a unique and in the chords which are often performed OFFBEAT. CHORD RHYTHM could be: TIMBRE/SONORITY to Steel Pans. Pitch & Melody and Ornamentation Texture Form & Structure and Phrasing The melody of often features IMPROVISATION by the Steel Pan music – mainly HOMOPHONIC Calypso often uses CALL AND RESPONSE regular (e.g. 4 or 8-bar) phrases instrumentalists often on an “established”, pre-existing (folk) melody or (MELODY AND ACCOMPANIMENT) – which are IMPROVISED. Songs are normally in POPULAR SONG FORM. additional textural layers added by CHORD one that has been composed who add ornaments and decorate a melody RIFFS and percussion instruments which Steel Pan music often has a recurring ‘A’ section and made up of short line during a performance. thicken the musical texture. REPEATED PHRASES. Origins and Cultural Context of the Impact of Modern Technology on Artists, Bands & Performers of Calypso and Musical Characteristics of Folk Music Traditional Music Traditional Music Steel Pan Music Calypso is the national dance of Trinidad and Calypso and Steel Band music has African With advances in recording technology, Tobago and is based on a traditional musical influences including: Harry Belafonte recorded a “Calypso ” syncopated rhythm. Steel Bands also and Cross-Rhythms, use of percussion in 1956 selling more than a million copies originated from these islands. instruments, call and response and singing bringing Calypso to a wider audience Harry Belafonte David Rudder Steel Drums were discovered in the late styles as well as European musical influences worldwide. Calypso has also been used in 1930’s by hitting a dented section of an oil including tonal harmonies and melodies and modern-day films e.g. “Under the Sea” from barrel which produced a particular tone. instruments such as the guitar. ‘The Little Mermaid’. Mighty Sparrow Andry Narrell Instrumentation – Typical Instruments, Timbres and Sonorities Instruments used in Calypso include the Acoustic and Bass Guitars with Trumpets, , Electric Guitars, , Vocals and which includes many types of drums and hand-held percussion instruments including: Steel Bands began in Trinidad when a great many oil drums were left lying around after World War II. It was soon found that they could be turned into musical instruments. Steel Pans are made by cutting oil drums into different sizes and then beating the tops into concave bowls. Each individual note is then beaten into a small area of the bowl. Small rubber-headed sticks are used to strike each note. These days, Steel Bands consist of a number of different-sized Steel Pans, and a of Latin-American percussion instruments. Each pan or pair of pans has its own name according to its pitch-range. Some of the pans have more than one name although they mean the same thing. P A G E 5 O F 6 ©WWW.MUSICALCONTEXTS .CO.UK

GCSE MUSIC – RHYTHMS OF THE WORLD K NOWLEDGE ORGANISER

Music in is widely influenced by colourful and exotic carnivals and a range of dance styles. Carnivals may include FANFARRAS, featuring brass instruments associated with fanfare, and almost always a SAMBA BAND. Rhythm and Metre, Form & Structure and Phrasing, Repetition and Ostinato & Ornamentation Built around OSTINATOS usually 4 or 8 beats long (regular phrases). Each group of instruments can have their own Ostinato featuring OFFBEAT RHYTHMS and SYNCOPATION. Often the SON SYNCOPATED rhythm is used, either the 2:3 or 3:2. Samba music is built up of lots of different sections. For each section the SAMBISTA will need to know an OSTINATO. Samba music often starts with an INTRODUCTION often featuring CALL AND RESPONSE RHYTHMS between the Samba Leader and ensemble. The main Ostinato rhythm of Samba is called the GROOVE when all the instruments of the Samba Band play their respective rhythms over and over again forming the main body of the piece. The GROOVE is broken up by BREAKS - 4 or 8 beat rhythms providing contrast and MID SECTIONS – one or two instruments change the rhythm of their ostinato and the others stay the same or stop. Sometimes BREAKS and MID SECTIONS feature a SOLOIST who “shows off” their rhythms. The SAMBISTA must signal to the group when to change to a different section which is normally done with an (Samba Whistle – loud!). A piece of Samba can end with either a CALL AND RESPONSE pattern or a pre-rehearsed Mid- Intro Groove Break 1 Groove Break Groove Groove Break 1 Groove End ending phrase of rhythm. The FORM AND STRUCTURE Section 1 of a piece of Samba may look like the following: Texture Dynamics, Expression and Articulation Tempo Pitch and Melody & Harmony and Tonality Texture varies in Samba music, often MONOPHONIC where a The dynamics of Samba music are normally very loud – Samba music is generally fast at around Samba music is based on rhythms single rhythm is heard as in CALL AND RESPONSE sections, it is music designed to be performed outdoors at 104 bpm and keeps a constant tempo rather than melodies although the sometimes POLYPHONIC where sections of the Samba band play carnivals and is played by large numbers of to assist the dancers or processional pitch of certain instruments within the different rhythms (OSTINATOS) creating CROSS-RHYTHMS (when instrumentalists and to accompany dancers and nature of the music. Sometimes the Samba band provides musical two rhythmic patterns that “conflict” with each other occur processions with large audiences watching and SAMBISTA (Samba leader) uses contrasts. simultaneously) creating a thick texture of interweaving and listening. Sometimes, a CRESCENDO is used at the end (TEMPO) RUBATO – tiny fluctuations in interlocking rhythms. of a piece of Samba music for dramatic effect. tempo for expressive effect. Origins and Cultural Context of the Musical Characteristics of Artists, Bands & Performers of Samba Impact of Modern Technology on Traditional Music Traditional Music Folk Music Samba is a musical genre and dance style with its roots The instruments of Samba have Samba has become popular as a Latin-American ballroom dance on TV in Africa via the West African slave trade and African been influenced by Portuguese shows such as Strictly Come Dancing and Dancing with the Stars. Samba has religious traditions. Samba is an expression of Brazilian colonies who imported slaves from also been mixed/fused with Drum ‘n’ Bass in a musical fusion creating cultural expression and is a symbol of carnival. Samba Africa, while the rhythms of Samba “Sambass” and artists and groups of popular music have used sounds and schools formed and compete bringing people together. are of African origin. rhythms of Samba in their music e.g. Gloria Estefan and Jamiroquai. Fundo de Quintal Exaltasamba Instrumentation – Typical Instruments, Timbres and Sonorities SURDO REPINIQUE TAMBORIM CHOCOLO RECO-RECO APITO AGOGO CAIXA DE GUERRO GUIRO CUICA

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