Junto com Alexandre, etapa de pesquisa de sononidades. Ouvir muita coisa e ler textos específicos.
Algumas ideias:
1- http://www.loopmasters.com/products/3155-Hamsa-Arabic-Percussion
Bom material em percussão e também um orquestra árabe.
2- Kashimir, Led Zeppelin.
Sempre me intrigou o arranjo com a'orquestração dos riffs', distorção, e algumas passagens melódicas orientais.
versão com orquestra
http://www.dailymotion.com/video/xkvaq_led-zeppelin-orchestra-kashmir_music
Versão do Celebration Day
https://www.youtube.com/watch?v=PD-MdiUm1_Y
Versão clássica
https://www.youtube.com/watch?v=ZDwotNLyz10
3- Solo de tabla
https://www.youtube.com/watch?v=0AZZJobohDk
4- Bibliotecas de loops
http://subaqueousmusic.com/arabic-and-tribal-rhythm-midi-pack/
http://www.khafif.com/rhy/
http://www.looperman.com/loops/tags/royalty-free-arab-loops-samples-sounds-wavs-download
http://bedroomproducersblog.com/2012/02/29/102-free-arabic-and-tribal-rhythm-midi-files-by-subaqueous/
Livros
DIB, M. Música Árabe.Expressividade e Sutileza. Edição do autor, 2013. (livro que retoma sua dissertação de mestrado, disponível em http://www.teses.usp.br/teses/disponiveis/8/8154/tde-11062010-103804/pt-br.php
TOUMA, H. The Music of Arabs. Amadeus Press, 2003.
Duas coisas me chamam a atenção:
1-A proximidade entre música indiana e música árabe e, daí, música grega. 2-Pois são construídas a partir de presets, que proporcionam improvisação, ou composição em performance, segundo o conceito da Hipótese Parry-Lord. Dicussão sobre as diferenças e proximidades entre músicas indiana e árabe, v.
http://www.mikeouds.com/messageboard/viewthread.php?tid=14203
e
https://www.quora.com/What-are-the-similarities-and-differences-between-the-Arabic-maqam-and-the-Indian-raga , que eu reproduzo abaixo:
I will try my best to answer this question from my understanding of Arabic music, and you can expect maximum reliable info from my side, though can be inadequate to you.
Arabic and Indian music are mainly modal systems, ie; they have an emotional system associated with the music. The Ragas of Indian music too have a time and emotional content associated with them, much like the Arabic maqams. (esp. the "rakti ragas")
Raga term itself means that "which attracts", "which is emotional".
Arabic maqams too have emotional content for their modes, like Rast- pride, Bayati - joy...
Both Indian and Arabic systems do not use equal temperament, so can be faithfully reproduced only on string or wind instruments rather than piano. Though Hindustani Music has adapted to harmonium, harmonium cannot faithfully reproduce the nuances and microtonal details.
The Carnatic music is at most played only on pitch bender keyboards so that the microtones may be touched. (like eka sruti RShabha of gowla)
Moreover, most of the famous maqams have Indian parallels.
Example :
Shad' Araban : Bhairav thaat (Hindustani), Mayamalavagaula (Carnatic)
Hijaz : Basant Mukhari (Hindustani), Vakulabharanam (Carnatic)
Nawa Athar : Simhendramadhyamam (Carnatic)
Bayati : Asavari that (Hindustani), Natabhairavi (Carnatic)
Like the Purvanga - Uttaranga system, the Arabic music has a much more general "jin" systems, Ajnas (plural of jin) are the building blocks of Arabic maqams.
This is basically reflected in the jivasvara concept of Indian classical music, or the hindutani "pakad", "calan" and finally can be related to Carnatic "sancArams" that
define esp. the "rakti ragas".
The difference is that Indian music focusses on a single raga at a time, and any deviation from it is considered to be undesirable, and the "anyasvaras" are usually frowned upon during the course of a raga.. (except for predetermined raga malikas that have ordered blend of ragas)
(though some artists of 19th century did something like these to appease the British listeners in India)
The anyasvara, but due to Persian influence, did reach India by a small proportion, resulting in the popularisation of modern "Bhairavi" as with full twelve notes (Hindustani) than the lesser but cognate "Sindhu bhairavi" Carnatic. Still, it cannot be called a spontaneous modulation.
But, modulation is an important and valued piece in Arabic music. Most of the performances involve starting with the original maqam and integrating into it ajnas of other maqams, and "modulating". Modulation is a usual presence in most of Arabic melodies. (Just check out some Arabic pieces, and you can notice that)
Both Arabian maqams and Indian thaats/melakartas have a particular family attached to them.
Ou seja, ambas se organizam em modos e blocos de notas pré-fixadas. Na música árabe há maior trânsito (modulações) entre os modos.
Algumas ideias:
1- http://www.loopmasters.com/products/3155-Hamsa-Arabic-Percussion
Bom material em percussão e também um orquestra árabe.
2- Kashimir, Led Zeppelin.
Sempre me intrigou o arranjo com a'orquestração dos riffs', distorção, e algumas passagens melódicas orientais.
versão com orquestra
http://www.dailymotion.com/video/xkvaq_led-zeppelin-orchestra-kashmir_music
Versão do Celebration Day
https://www.youtube.com/watch?v=PD-MdiUm1_Y
Versão clássica
https://www.youtube.com/watch?v=ZDwotNLyz10
3- Solo de tabla
https://www.youtube.com/watch?v=0AZZJobohDk
4- Bibliotecas de loops
http://subaqueousmusic.com/arabic-and-tribal-rhythm-midi-pack/
http://www.khafif.com/rhy/
http://www.looperman.com/loops/tags/royalty-free-arab-loops-samples-sounds-wavs-download
http://bedroomproducersblog.com/2012/02/29/102-free-arabic-and-tribal-rhythm-midi-files-by-subaqueous/
Livros
DIB, M. Música Árabe.Expressividade e Sutileza. Edição do autor, 2013. (livro que retoma sua dissertação de mestrado, disponível em http://www.teses.usp.br/teses/disponiveis/8/8154/tde-11062010-103804/pt-br.php
TOUMA, H. The Music of Arabs. Amadeus Press, 2003.
Duas coisas me chamam a atenção:
1-A proximidade entre música indiana e música árabe e, daí, música grega. 2-Pois são construídas a partir de presets, que proporcionam improvisação, ou composição em performance, segundo o conceito da Hipótese Parry-Lord. Dicussão sobre as diferenças e proximidades entre músicas indiana e árabe, v.
http://www.mikeouds.com/messageboard/viewthread.php?tid=14203
e
https://www.quora.com/What-are-the-similarities-and-differences-between-the-Arabic-maqam-and-the-Indian-raga , que eu reproduzo abaixo:
I will try my best to answer this question from my understanding of Arabic music, and you can expect maximum reliable info from my side, though can be inadequate to you.
Arabic and Indian music are mainly modal systems, ie; they have an emotional system associated with the music. The Ragas of Indian music too have a time and emotional content associated with them, much like the Arabic maqams. (esp. the "rakti ragas")
Raga term itself means that "which attracts", "which is emotional".
Arabic maqams too have emotional content for their modes, like Rast- pride, Bayati - joy...
Both Indian and Arabic systems do not use equal temperament, so can be faithfully reproduced only on string or wind instruments rather than piano. Though Hindustani Music has adapted to harmonium, harmonium cannot faithfully reproduce the nuances and microtonal details.
The Carnatic music is at most played only on pitch bender keyboards so that the microtones may be touched. (like eka sruti RShabha of gowla)
Moreover, most of the famous maqams have Indian parallels.
Example :
Shad' Araban : Bhairav thaat (Hindustani), Mayamalavagaula (Carnatic)
Hijaz : Basant Mukhari (Hindustani), Vakulabharanam (Carnatic)
Nawa Athar : Simhendramadhyamam (Carnatic)
Bayati : Asavari that (Hindustani), Natabhairavi (Carnatic)
Like the Purvanga - Uttaranga system, the Arabic music has a much more general "jin" systems, Ajnas (plural of jin) are the building blocks of Arabic maqams.
This is basically reflected in the jivasvara concept of Indian classical music, or the hindutani "pakad", "calan" and finally can be related to Carnatic "sancArams" that
define esp. the "rakti ragas".
The difference is that Indian music focusses on a single raga at a time, and any deviation from it is considered to be undesirable, and the "anyasvaras" are usually frowned upon during the course of a raga.. (except for predetermined raga malikas that have ordered blend of ragas)
(though some artists of 19th century did something like these to appease the British listeners in India)
The anyasvara, but due to Persian influence, did reach India by a small proportion, resulting in the popularisation of modern "Bhairavi" as with full twelve notes (Hindustani) than the lesser but cognate "Sindhu bhairavi" Carnatic. Still, it cannot be called a spontaneous modulation.
But, modulation is an important and valued piece in Arabic music. Most of the performances involve starting with the original maqam and integrating into it ajnas of other maqams, and "modulating". Modulation is a usual presence in most of Arabic melodies. (Just check out some Arabic pieces, and you can notice that)
Both Arabian maqams and Indian thaats/melakartas have a particular family attached to them.
Ou seja, ambas se organizam em modos e blocos de notas pré-fixadas. Na música árabe há maior trânsito (modulações) entre os modos.
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