For those who have asked me about the Indian performance. The tabla duet is a traditional composition (as explained in the info). The frame drum trio is an excerpt of my 7-stage composition that explores polymeters and independence using the tar frame drum (lap style), ankle bells and vocals. In this excerpt, the drum and bell groove remains constant as the voice explores various degrees of polymer (4 over 3), language gears in different speeds, and rhythm cycles of varying lengths. We incorporate the language system from South India (solkattu) to speak polymeters. The song -- "Auv Matodzo" -- is from the Ewe people of Ghana (12/8 meter). It is from the same Ewe tradition that Joe Galeota's group performs in the 3rd part of the video. Avu Matodzo works well for 12/8, 6/8, and even 3/4 contexts that we explore in my class. This includes singing it in different speeds and reductions to expand the geometry of the cycle. The actual piece "A Quality of 6" lasts about 7 minutes. We kept it short this time, but know that the waters run deep in these combinations of style, tradition, and contemporary vision. Thanks and keep watching this and other Berklee videos. We have the best faculty in the world! Hope to see you there as a current or future student, and at the many performances sponsored by Berklee! All the best -- Jerry Leake
I've made my 3 months old son to listen to this.. His reactions were priceless, especially when the African part started. Too good :-) .. Thanks BCM for the upload!
I just came here for many times cause I wanna listen to they playing frame drum~ "The beats are three-quarter, giving you heart power, get rid of your waver, of us their listener" (that's the rhyme for those frame drum ensemble that I was thinking about) Anyway, you all plays good. P.S: Warm greeting from East Nusa Tenggara, Indonesia
Guys fantastic... i want to write here What i felt about the seconds indian (combination is absolutely south indian) performance. Particularly the second performance! Instrument used is similar to 'PARAI''- mostly used (group of people beat the instruments in a rythm) in a place where a person had died in a family. Dead person carried till the cemetry with this instrument being beaten. With this instrument being beaten, there will be vocal (songs sung) by old ladies of the family and by the other relatives/known members to the dead person. Songs will be very sad, emotional, touching and will praise the goodness of the dead person. With the instrument beat and the vocal, it will increase the emotions of the relatives came to see the dead person. People cry as much as they could with all their emotions spill out so they move on in their life. PARAI is not just limited to this occassion but in many other functions, it is used in olden days and till now. Secondly the vocal you have used is completely different :) it is the south Indian style ÇARNATIC jathi''. mostly this is used in CARNATIC style of singing. This style of singing is very much systematic, it is mostly used in HINDU TEMPLES (like church in your place) to sing and praise the god which in turn get you fortunes. This singing is not just limited to TEMPLES but used in many other functions (other than death place). SALANGAI (in the leg) is also south indian style, DANCERS used to have this in the leg. when they dance to the instruments beats, you can also hear the same beats from salangai. DANCE, instrument beats and sound from SALANGAI will synchronise and 'will be magic to hear the complete combination''. combining 'PARAI (mostly used during death) and CARNATIC vocal (not used during death)' in your performance is awesome and interesting. These musics are not a new one in south india it has been existing in south INDIA for more than 3000 years (according to the books). A place where the oldest culture of the world still living. congrats and best wishes.
This much refreshing than all that Jazz Fusion basically trying hard to digest all of world music tradition for a Western audience. Glad Berklee dare do something like this.
