Solkattu Manual: An Introduction to the Rhythmic Language of South Indian Music |
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| La langue : Francaise - English |
| Filformat : E-Book |
| Date de publication : 2008-07-31 |
| Les éditeurs : David Paul Nelson |
| Disponibilité: en stock |
| évaluations: |
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Solkattu Manual: An Introduction to the Rhythmic Language of South Indian Music By David Paul Nelson Epub
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Solkattu Manual: An Introduction to the Rhythmic Language of South Indian Music by David P. Nelson EPub Title [XEI9]⋙ Solkattu Manual: An Introduction to the Rhythmic Language of South Indian Music by David P. Nelson #78INS30R1VW #Free Read Online
With Solkattu Manual, David Nelson has helped fill in the void. By using mnemonic syllables instead of counting one starts thinking more musically and one's sense of rhythmic design and phrasing becomes more intricate and interesting. Solkattu Manual: An Introduction to the Rhythmic Language of South Indian Music
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Quite often, it seemed to me that some concluding rhythmic formulas were done in Tishra-nadai (at the small scale of only one beat, or even half a beat!). Many nattuvangam artists slow down a little bit the tempo when they switch to Tishna-nadai, but Guruji has an absolute mastery over the regularity of the pulse (Kalapramanam).
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As I have been taught by Sucheta Chapekar (guru of my teacher in Paris), in the style of Kittappa Pillai (also from the Thanjavur bani), the prosody of the text is more important than the tala: the rhythmic contours of the Tattu Muttu follows the contours of the words, and as the words have longer or shorter musical lenghts, the rhythmic patterns of the Tattu Muttu may seem very comlpex, but as they are extremely musical, they are a real pleasure to perform.
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You can use Pensato simply as a learning tool or to build up scale progressions while composing music. The main idea was to make an app that focused on scale progressions instead of chord progressions, allowing you to evolve your music with more richness and interest than if you were to stay in one key.
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For this item, he said not exactly in tamil but in the language of music that the sahitya would start after “Ta ki ta”, which means that in the first half of the Varnam, the lyrics would start on the "and" after the second of the eight beats of Adi Tala.
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