0:00:31 > 0:00:35All over China, you see this range of instruments.
0:00:35 > 0:00:37They all look the same, but some are wider,
0:00:37 > 0:00:41some are more narrow. They have a different amount of strings
0:00:41 > 0:00:47and it first originated in the warring period of China,
0:00:47 > 0:00:52about 771 to 221 BC.
0:00:52 > 0:00:57It was...popularised during the Qing dynasty, in China.
0:00:57 > 0:01:00In the beginning, we have five notes.
0:01:00 > 0:01:06The tone was a lot softer, and it's harder to bend.
0:01:07 > 0:01:13The wood has always been paulownia wood for the face board,
0:01:13 > 0:01:15right here - the sound chamber.
0:01:15 > 0:01:17They use paulownia wood.
0:01:17 > 0:01:24Over the dynasties, they changed it from five strings
0:01:24 > 0:01:29to 12 strings. Later on, it evolved to 14 and 15 strings.
0:01:29 > 0:01:33For a while, China was war torn, and a lot of the traditional music
0:01:33 > 0:01:35was disappearing.
0:01:35 > 0:01:39But later it was brought back, and towards the 1960s
0:01:39 > 0:01:42they developed the instrument a little bit more,
0:01:42 > 0:01:46and then you get the 16 strings,
0:01:46 > 0:01:5018 strings and you have 21 strings, 23 strings...
0:01:50 > 0:01:56And up through...for common use, up through 26 strings.
0:02:00 > 0:02:04A lot of the contemporary music still takes a lot of the folk flavour
0:02:04 > 0:02:09or even the folk melody, and brings it to a new area,
0:02:09 > 0:02:10a new level.
0:02:16 > 0:02:18Towards the mid-19th century,
0:02:18 > 0:02:23the guzheng musicians did a lot more to turn this instrument
0:02:23 > 0:02:25into more of a solo instrument.
0:02:25 > 0:02:28They developed a lot more techniques,
0:02:28 > 0:02:31a lot more new techniques. Instead of just using the right hand,
0:02:31 > 0:02:34as I've been doing this side, the left hand on this side,
0:02:34 > 0:02:36doing the bending, the vibrato,
0:02:36 > 0:02:41they bring it over and the left hand plays chords.
0:02:41 > 0:02:42so we have arpeggios...
0:02:47 > 0:02:49And then we have bass...
0:02:52 > 0:02:54So they have a lot of accompaniment
0:02:54 > 0:02:59and second, third supporting parts to accompany the melody,
0:02:59 > 0:03:05so you have this full... full structure in their music,
0:03:05 > 0:03:07not just a simple melody.
0:03:17 > 0:03:22In China, there's people starting music at any age.
0:03:22 > 0:03:27People don't just take it up as a hobby, but as a lifelong career -
0:03:27 > 0:03:28their profession.
0:03:28 > 0:03:31But because of that, they also have a lot of private lessons,
0:03:31 > 0:03:34and that's how I learned, is private lessons.
0:03:34 > 0:03:39In the past, a lot of the music is taught orally and visually.
0:03:39 > 0:03:43So...although we do have our own music,
0:03:43 > 0:03:45our own way of writing the music,
0:03:45 > 0:03:48we don't use the grand staff, we use simplified music.
0:03:48 > 0:03:53In the past, they didn't really just say, "OK, here's the music.
0:03:53 > 0:03:57"Read from it." OK, and then go from there.
0:03:57 > 0:04:01The teacher plays a phrase.
0:04:01 > 0:04:07And then the student listens, and then...
0:04:07 > 0:04:10I guess you could say mimics the teacher. Or repeats after the teacher.
0:04:10 > 0:04:15And that's the way I actually was taught.
0:04:15 > 0:04:19Through this playing and repetition.
0:08:04 > 0:08:09The instrument I'm holding right now, in Chinese name we call hulusi.
0:08:09 > 0:08:12It translates in English, we call gourd pipe.
0:08:13 > 0:08:18It's very popular in the southern part of China,
0:08:18 > 0:08:21the province called Yunnan province.
0:08:21 > 0:08:25It's very popular with minority groups.
0:08:28 > 0:08:33This instrument has seven holes -
0:08:33 > 0:08:35six in the front, one in the back.
0:08:35 > 0:08:38And it only contains one octave.
0:08:38 > 0:08:40Maybe eight notes.
0:08:40 > 0:08:43And it sounds very smooth.
0:08:50 > 0:08:55This part is real gourd - that's why we call it the gourd pipe.
0:08:55 > 0:08:59And we have three bamboo inserts inserted into the gourd.
0:08:59 > 0:09:03People will ask, "How come if you only need one bamboo in the centre,
0:09:03 > 0:09:05"why you have two on the side?"
0:09:05 > 0:09:08There's different versions of this instrument.
0:09:08 > 0:09:12More traditionally, which is the one you see right here,
0:09:12 > 0:09:16the one in the middle contains most of the notes.
0:09:16 > 0:09:21The two on the side... Sometimes, because the notes are so limited,
0:09:21 > 0:09:25we want to promote this instrument, so what we do is...
0:09:25 > 0:09:31put two on the side. Nowadays, we put two extra reeds inside,
0:09:31 > 0:09:34so sometimes we can have one or two extra notes.
0:09:42 > 0:09:45This instrument, we call suona.
0:09:46 > 0:09:49In English, it translates as double-reed trumpet.
0:09:49 > 0:09:55This instrument originally came through the Silk Road
0:09:55 > 0:09:59from the Middle East. Even nowadays, you go to India,
0:09:59 > 0:10:03go to Middle East, you still can see similar instruments.
0:10:03 > 0:10:06Of course, there's different styles in China,
0:10:06 > 0:10:08because our country is so big.
0:10:08 > 0:10:12Up north, near the border with Russia...
0:10:14 > 0:10:17their local area is very cold,
0:10:17 > 0:10:19because all the mountains...snow,
0:10:19 > 0:10:22and very cold in the winter.
0:10:22 > 0:10:25And because they always see really tall trees,
0:10:25 > 0:10:28they always see really big mountains,
0:10:28 > 0:10:30so when they're playing, it's wide open - you can hear
0:10:30 > 0:10:33for miles away - bang, bang, bang!
0:10:33 > 0:10:36Also, if you close your eyes when I'm playing...
0:10:38 > 0:10:41..it's supposed to bring you to some open area,
0:10:41 > 0:10:44it's very wide open. You can think...
0:10:44 > 0:10:48maybe not on a beach, maybe on a really wide open mountain.
0:10:48 > 0:10:51That's how their music translates -
0:10:51 > 0:10:55how they're language translates to their music.
0:12:21 > 0:12:26The way my people learn kulintang music is...
0:12:26 > 0:12:28through exposure.
0:12:28 > 0:12:31Through playing with other musicians.
0:12:34 > 0:12:36My parents are musicians -
0:12:36 > 0:12:41I learned this music when I was very young,
0:12:41 > 0:12:43from my mother, from my parents.
0:12:43 > 0:12:48I always watched old people, when I was a child,
0:12:48 > 0:12:53playing the music. I started learning it from my mother.
0:12:53 > 0:12:58I remember she had to put me on her lap, guiding my hands
0:12:58 > 0:13:00to hit the gong.
0:13:00 > 0:13:04And eventually, I learned through exposure.
0:13:11 > 0:13:16Because this is a music that is handed from generation to generation.
0:13:16 > 0:13:18From families to families.
0:13:25 > 0:13:28Many people in the Philippines,
0:13:28 > 0:13:32especially the non-Muslim Filipinos in the northern part
0:13:32 > 0:13:34of the Philippines, they think that this music
0:13:34 > 0:13:38is Muslim music. It's not.
0:13:38 > 0:13:41It has nothing to do with our religion.
0:13:41 > 0:13:44If we have a wedding, for example - without this music,
0:13:44 > 0:13:46you don't expect many people to attend.
0:13:46 > 0:13:49It's the music that attracts them to come.
0:13:49 > 0:13:55It is an opportunity for young men and women to be able to see each other in public,
0:13:55 > 0:14:00because traditionally, we are not even allowed to speak to a woman in public
0:14:00 > 0:14:03unless she is your relative.
0:14:03 > 0:14:07But with the playing of the music, you have a chance to communicate with them.
0:14:20 > 0:14:24SHE SINGS IN NATIVE TONGUE
0:14:32 > 0:14:35I belong to Islam,
0:14:35 > 0:14:38and I come from Pakistan, and there's all Muslim people.
0:14:38 > 0:14:42So...there's like some people...
0:14:42 > 0:14:46very hardcore Muslim, you know, like, very strict.
0:14:46 > 0:14:50So what I'm singing, this is like Sufi music.
0:14:51 > 0:14:53And Sufi's always free.
0:14:53 > 0:14:59'You can dance, you can move, you can do whatever.
0:15:05 > 0:15:09'Classical music is basic music, you know?'
0:15:09 > 0:15:13Any music...like, I'll give you examples.
0:15:13 > 0:15:18Bollywood songs, bangla, folk, Sufi music, kawali...
0:15:20 > 0:15:25If you don't learn classical raga, you don't know anything.
0:15:25 > 0:15:28Everything is a note, like seven notes, you know?
0:15:28 > 0:15:31The whole music has seven notes.
0:15:31 > 0:15:35If you don't learn those notes, and you don't learn basic,
0:15:35 > 0:15:36so you don't know music!
0:15:38 > 0:15:40SHE SINGS IN NATIVE TONGUE
0:17:10 > 0:17:16The tabla is always tuned to the tonic pitch.
0:17:16 > 0:17:20That means, suppose I'm playing with somebody,
0:17:20 > 0:17:26and that artist, his...skill,
0:17:26 > 0:17:30or his tonic pitch at that time is C sharp...
0:17:32 > 0:17:37Now, in Indian music, when a person is singing or playing in C sharp,
0:17:37 > 0:17:40he does not change the pitch.
0:17:40 > 0:17:44His whole entire concert will be in C sharp.
0:17:46 > 0:17:51And so we have to tune our instrument according to that tonic.
0:17:57 > 0:18:01OK, say for example this is now... in C.
0:18:01 > 0:18:06And if I want to change it to C sharp, what I will do, usually,
0:18:06 > 0:18:09I will hit the pegs down.
0:18:12 > 0:18:14And...once I do that,
0:18:14 > 0:18:18the straps get tightened, and it tightens the skin.
0:18:18 > 0:18:22And that's then...you know, the...
0:18:24 > 0:18:27the pitch goes up. See, it's already up?
0:18:27 > 0:18:29So...
0:18:34 > 0:18:35It's already there.
0:18:40 > 0:18:44- It is called...the phrasing is... - HE SPEAKS RHYTHMICALLY
0:18:44 > 0:18:48HE SPEAKS IN TIME TO THE BEAT
0:18:48 > 0:18:49First note - "tage".
0:18:51 > 0:18:53Look at the similarity here...
0:18:53 > 0:18:54"Tage".
0:18:54 > 0:18:56"Tage Tete".
0:18:57 > 0:18:59"Tete". "Tage Tete".
0:18:59 > 0:19:02So it is all related.
0:19:02 > 0:19:04So if I don't practise,
0:19:04 > 0:19:08I may think differently than I am playing.
0:19:08 > 0:19:11When you are playing,
0:19:11 > 0:19:14it is so fast that things come to your head,
0:19:14 > 0:19:18that even before you think, everything will be there.
0:19:32 > 0:19:34My instrument is called the sarode,
0:19:34 > 0:19:39it's a 25-stringed instrument that comes from India.
0:19:39 > 0:19:43And we play north Indian classical music on my instrument.
0:19:44 > 0:19:48It has...goat skin on the top,
0:19:48 > 0:19:50a steel, fretless plate...
0:19:52 > 0:19:55..a bell on the back, for added amplification.
0:19:57 > 0:20:00We pretty much play four strings on the sarode.
0:20:04 > 0:20:06These are our main playing strings,
0:20:06 > 0:20:10and these two strings, which are called chikari strings...
0:20:11 > 0:20:14..which we tune to our tonic note.
0:20:14 > 0:20:19These strings here are called jawari strings.
0:20:22 > 0:20:25And then we have a whole bunch of strings...
0:20:26 > 0:20:30We have a whole bunch of strings up here, which are called taraf strings
0:20:30 > 0:20:32or sympathetic strings.
0:20:32 > 0:20:35And there's 15 of them. We tune them to all the notes in the scale.
0:20:35 > 0:20:40And that's how the sarode gets that resonating sound.
0:20:40 > 0:20:44When you play a note on it that corresponds with a note here,
0:20:44 > 0:20:46it resonates.
0:20:47 > 0:20:52We play on our nails to get the sliding sound on the instrument.
0:20:52 > 0:20:55There's no frets on this,
0:20:55 > 0:20:57so we have to practise for many years,
0:20:57 > 0:21:00and learn where the notes are placed.
0:21:00 > 0:21:02And that's really important -
0:21:02 > 0:21:04the most important thing is to be in tune,
0:21:04 > 0:21:06and to be in rhythm.
0:21:06 > 0:21:09Before anything else, that's the most important thing -
0:21:09 > 0:21:12being in tune. So you have to learn where the notes are.
0:21:36 > 0:21:39Like in Western music you say "Do re mi",
0:21:39 > 0:21:41you know, you have the names for the notes,
0:21:41 > 0:21:46we have "Sa", which I tune to C.
0:21:46 > 0:21:51"Sa...ray...ga
0:21:51 > 0:21:56"ma...pa...da...
0:21:57 > 0:22:01"nee and then sa again".
0:22:01 > 0:22:02So, "sa"...
0:22:31 > 0:22:34There are ten main scales in Indian classical music -
0:22:34 > 0:22:38we call them "thats" - T-H-A-T-S.
0:22:38 > 0:22:39Thats, or that.
0:22:39 > 0:22:45And in these ten scales, we...all the 75,000 different ragas
0:22:45 > 0:22:48are derived from. They come from these ten scales.
0:22:48 > 0:22:50So when you're playing a certain raga,
0:22:50 > 0:22:54certain moods should be expressed. Like sadness, joy,
0:22:54 > 0:22:58detachment, attachment,
0:22:58 > 0:23:02these kind of things will be expressed through the ragas and certain notes.
0:23:03 > 0:23:10Our music is taught strictly from mouth to ear.
0:23:10 > 0:23:13So whatever the teacher says, you hear it like that,
0:23:13 > 0:23:17you learn it first from your teacher's mouth,
0:23:17 > 0:23:22singing, or demonstrating - you learn it from their playing to your ear,
0:23:22 > 0:23:23and you memorise it.
0:23:23 > 0:23:26Nowadays, I think it's very necessary to record,
0:23:26 > 0:23:29and that's where technology is good, because otherwise,
0:23:29 > 0:23:33the teachings may be lost.
0:23:33 > 0:23:36And you can get...the way it sounds from your teacher,
0:23:36 > 0:23:39and having them on recording is very important.
0:23:39 > 0:23:42Back in the old days, they didn't have tape recorders,
0:23:42 > 0:23:45so they had to memorise it, or they used this notation system.
0:23:45 > 0:23:52But mostly, our music is not notated. Just through discipline
0:23:52 > 0:23:56and practise, you memorise these things and you keep on practising,
0:23:56 > 0:23:59learning them, and your teacher keeps checking you on it.
0:25:14 > 0:25:19TRANSLATION: The raita is a traditional instrument, similar to the modern saxophone.
0:25:19 > 0:25:22I can play both of them, but I prefer the raita.
0:25:24 > 0:25:28Some people don't care for the raita, but others like it very much.
0:25:28 > 0:25:32For example, when people listen to music, they might start dancing.
0:25:32 > 0:25:37But in Morocco, there are people who hear raita, and they just start dancing unconsciously.
0:26:15 > 0:26:17THEY SING IN NATIVE TONGUE
0:26:47 > 0:26:50TRANSLATION: The origin of this music is Arabic.
0:26:50 > 0:26:51It has six chords,
0:26:51 > 0:26:54and we use a pick to play it - a piece of ivory.
0:27:08 > 0:27:11TRANSLATION: I play the flute and the violin.
0:27:11 > 0:27:14This kind of music is different - it's full of poetry.
0:27:14 > 0:27:19It has two kinds of poems. The first one is in classical Arabic.
0:27:19 > 0:27:21The second is in Arabic dialect.
0:27:21 > 0:27:25And there is no relationship between the Andalucian music
0:27:25 > 0:27:26and Oriental music.
0:27:29 > 0:27:33The orchestra of Andalucian music has a lot of instruments,
0:27:33 > 0:27:38like the lute, percussion, cello, bass, violin.
0:27:46 > 0:27:50TRANSLATION: The rebab is over 2,000 years old.
0:27:50 > 0:27:52It came before the violin and the lute.
0:27:52 > 0:27:54It comes from Spain as well.
0:27:54 > 0:27:57I also play the lute in the orchestra.
0:28:21 > 0:28:25TRANSLATION: My nickname is Ghninou.
0:28:25 > 0:28:27I'm from Fez, Morocco.
0:28:27 > 0:28:29I play all the instruments of percussion,
0:28:29 > 0:28:31but I'm professional on the darbukkah.
0:28:36 > 0:28:39I'm a professional, and I love its melody.
0:28:39 > 0:28:42When I play this kind of music, I play it with my soul
0:28:42 > 0:28:46and blood, and I feel that I'm in a different state.
0:28:47 > 0:28:50When I was growing up, I found myself playing percussion,
0:28:50 > 0:28:53just like a young sportsman would learn a sport.
0:28:53 > 0:28:57I found myself playing on my schoolbag, walking to school.
0:28:57 > 0:29:00I would play on the table before my mum would bring dinner.
0:29:00 > 0:29:02And I found that people were listening.
0:29:02 > 0:29:05I really liked it, and they applauded me.
0:29:05 > 0:29:08I would walk down the street and hear music playing,
0:29:08 > 0:29:12and unconsciously, I would start playing music myself.
0:29:12 > 0:29:16In Morocco, there are traditional and modern styles.
0:29:16 > 0:29:19They are both 12:8 time,
0:29:19 > 0:29:21but the way they are played is different.
0:29:21 > 0:29:24A lot of times, we get recordings from the East,
0:29:24 > 0:29:25of Arabic music.
0:29:25 > 0:29:29And we hear that they've tried to add Moroccan percussion.
0:29:29 > 0:29:32But a lot of the times they make mistakes.
0:29:32 > 0:29:35It's not played correctly, because it's difficult.
0:29:40 > 0:29:43Most of the time, Moroccan music begins with four bars of percussion,
0:29:43 > 0:29:46with no other instruments playing accompaniment.
0:29:46 > 0:29:49People in other countries don't really care for this,
0:29:49 > 0:29:52but Moroccan people get really excited as the percussion builds.
0:30:06 > 0:30:08I do this.
0:30:12 > 0:30:16If I'm outside over there drinking my tea, talking to friends,
0:30:16 > 0:30:18they can just play what I just played...
0:30:20 > 0:30:21..for me to come.
0:30:21 > 0:30:23They don't have to yell my name.
0:30:23 > 0:30:27So if they want me there, I'm outside, they just play this.
0:30:27 > 0:30:32I know they play this to call me and I know this is my rhythm
0:30:32 > 0:30:33for my family.
0:30:46 > 0:30:50I don't have to stop and tell my friends,
0:30:50 > 0:30:54or tell my brother or my nephew we're going to switch rhythm.
0:30:54 > 0:30:56To go to a second rhythm.
0:30:58 > 0:31:00What I have to tell my brother,
0:31:00 > 0:31:04I can just say it with the drums. It's all speaking.
0:31:05 > 0:31:09That's why we call...that's why we say "Talking drums".
0:31:09 > 0:31:13Or sabar, djembe, djum djum,
0:31:13 > 0:31:16all those kind of different drums.
0:31:24 > 0:31:26And every time I'm with my family,
0:31:26 > 0:31:28or relatives, friends,
0:31:28 > 0:31:33I always see the happiness round.
0:31:33 > 0:31:35That's what we want to share to the world.
0:31:35 > 0:31:40To outside Senegal, outside Africa,
0:31:40 > 0:31:44inside Africa, we want to share that, we want to show the world
0:31:44 > 0:31:49you can learn this to save people,
0:31:49 > 0:31:51make people happy.
0:31:51 > 0:31:53Make people gathering together.
0:31:53 > 0:31:56Make people work together.
0:32:49 > 0:32:51This is a cowbell.
0:32:51 > 0:32:54Cowbell is universally known here.
0:32:58 > 0:33:01And this is a two-tone agogo.
0:33:01 > 0:33:03We call it agogo.
0:33:05 > 0:33:06And in the village...
0:33:07 > 0:33:11..this is one of the first instruments they you how to play.
0:33:12 > 0:33:14And if you can hold this down...
0:33:16 > 0:33:20..while the masters play solo on top of it,
0:33:20 > 0:33:22then you have passed the audition.
0:33:22 > 0:33:24But if you cannot,
0:33:24 > 0:33:26then you've got more to learn.
0:33:35 > 0:33:40On top of that, there will be a lot of criss-cross rhythm
0:33:40 > 0:33:42being played to confuse you.
0:33:43 > 0:33:46But you may not get confused!
0:33:48 > 0:33:50We have shekere here.
0:33:53 > 0:33:56Of course, most people here are familiar with...
0:33:59 > 0:34:02..the shaker. The maracas.
0:34:02 > 0:34:05The original is a fruit. When you caught it,
0:34:05 > 0:34:08you scoop the stuff out of it, and you dry it.
0:34:10 > 0:34:13And...you make the beads...
0:34:15 > 0:34:18..around it. You can play it in different ways.
0:34:18 > 0:34:20You can play it this way...
0:34:24 > 0:34:25You can play it this way...
0:34:29 > 0:34:30Or you can play it this way...
0:34:46 > 0:34:47My name is Yehuda Glantz,
0:34:47 > 0:34:50and I live in Israel, in Shiloh.
0:34:50 > 0:34:54To be here is a big honour for me.
0:34:54 > 0:34:59You have many places - that's the energy of this place -
0:34:59 > 0:35:02the energy that you get is very strong and powerful.
0:35:04 > 0:35:08The inspiration that I receive is from the silence of the place
0:35:08 > 0:35:14that I live here. I get a lot of inspiration when I come to this area,
0:35:14 > 0:35:19alone, with myself the sky. And God.
0:35:20 > 0:35:23So I get a lot of energy from that.
0:35:23 > 0:35:28That gives me the possibility to create new music,
0:35:28 > 0:35:32and the inspiration to do other things.
0:35:33 > 0:35:35The accordion was my first instrument,
0:35:35 > 0:35:39and I have something very deep with the accordion.
0:35:39 > 0:35:43First of all because the sound of the accordion is a very happy sound.
0:37:37 > 0:37:40HE SINGS IN NATIVE TONGUE
0:40:06 > 0:40:11Firstly, I want to tell you we tune the violin differently to the Western violin in Arabic music.
0:40:13 > 0:40:19This string...we tune it G, D, G, D.
0:40:19 > 0:40:22And the Western music is G, D, A, E.
0:40:22 > 0:40:26So the reason we tune it that way is because it makes the makam scales,
0:40:26 > 0:40:28which we think resonate better.
0:40:28 > 0:40:31Because we play a lot more times on the G.
0:40:31 > 0:40:33The scales on G. So the two strings resonate...
0:40:34 > 0:40:37..together...
0:40:38 > 0:40:41..better, and also, it makes it easier to play the quarter tones,
0:40:41 > 0:40:44if you want to switch to upper scales.
0:40:51 > 0:40:54So the more you practise, the more you become lean and faster.
0:40:54 > 0:40:55So...
0:41:04 > 0:41:09You go over the scales, then when you learn a few scales,
0:41:09 > 0:41:12you can connect those scales together by...
0:41:22 > 0:41:27Then we give them a piece of music to learn on that scale,
0:41:27 > 0:41:29so it's like an example of that scale.
0:41:36 > 0:41:41So they can hear it...with rhythm,
0:41:41 > 0:41:43with time and rhythm,
0:41:43 > 0:41:45and they can hear it with other instruments too.
0:41:51 > 0:41:55Brake drums from the motor car. That will keep you safe,
0:41:55 > 0:41:57when you hit the brake.
0:41:57 > 0:42:01And as I said, you can tune them,
0:42:01 > 0:42:03well, they come already tuned.
0:42:03 > 0:42:07Sometimes we heat them in Africa, to bend them
0:42:07 > 0:42:11and get different song. You can have a whole range of them,
0:42:11 > 0:42:14and then when you have that with other parts of percussion,
0:42:14 > 0:42:15we call that the engine room!
0:42:15 > 0:42:18So somebody might just play...
0:42:19 > 0:42:21Another...
0:42:23 > 0:42:24Another...
0:42:25 > 0:42:29Then, like what I was saying earlier, about the rhythm
0:42:29 > 0:42:33which would be played on two drums, right?
0:42:33 > 0:42:35Either part...right?
0:42:35 > 0:42:38But if you play what we call on the double iron,
0:42:38 > 0:42:40where you're using that pattern, it's like...
0:42:47 > 0:42:48Right? So...
0:42:56 > 0:42:59So when you put a lot of all these different patterns together...
0:43:05 > 0:43:07# People are interested
0:43:07 > 0:43:10# To know where calypso originated
0:43:10 > 0:43:13# People are interested
0:43:13 > 0:43:16# To know where calypso originated
0:43:16 > 0:43:19# Some said it came from Cuba
0:43:19 > 0:43:21# Some say British Guiana
0:43:21 > 0:43:26# Some contend seriously it was sung by Moses crossing the Red Sea
0:43:26 > 0:43:30# But I told them, "No, no, no"
0:43:30 > 0:43:33# Trinidad is the land of Calypso
0:43:33 > 0:43:36# No, no-o, no
0:43:36 > 0:43:38# Trinidad is the land of Calypso
0:43:38 > 0:43:41# Bam ba-ba da dibi bam ba-da
0:43:41 > 0:43:44# Bam-du bam ba-dam ba-dam ba-dam
0:43:44 > 0:43:48# Bam ba-ba da dibi bam ba-da... #
0:44:09 > 0:44:12And it's... # Bo Diddley, Bo Diddley Have you heard?
0:44:12 > 0:44:14# Hey... # I wanna do this.
0:44:14 > 0:44:18We do this in schools, and I wanna show you the answer and call,
0:44:18 > 0:44:21because all of today's music is answer and call.
0:44:21 > 0:44:26So I'll sing the lead line, then you sing, and I want everybody to sing.
0:44:26 > 0:44:30I just want to get the impact on film - that whole answer and call.
0:44:30 > 0:44:33So everybody here, follow Dave.
0:44:33 > 0:44:36And I'll...as all music goes, we have an intro,
0:44:36 > 0:44:41to get you on the rhythm, to get you into the beat,
0:44:41 > 0:44:45and then I'll start my lead line, and you...spread it out.
0:44:45 > 0:44:46All right, "Hey, bo diddly".
0:44:46 > 0:44:50And this is definitely the oldest form of black music right here.
0:45:02 > 0:45:04# Bo Diddley, Bo Diddley, have you heard?
0:45:04 > 0:45:06ALL: # Hey, Bo Diddley!
0:45:06 > 0:45:09# I'm gonna buy you a mockingbird
0:45:09 > 0:45:11# Hey, Bo Diddley!
0:45:11 > 0:45:14# And if that mockingbird don't sing
0:45:14 > 0:45:16# Hey, Bo Diddley!
0:45:16 > 0:45:18# I'm gonna buy you a diamond ring
0:45:18 > 0:45:20# Hey, Bo Diddley! #
0:45:20 > 0:45:24The thing that was so unique about Elvis - he was good!
0:45:24 > 0:45:29And what they've done - they said, "We can't call this music blues,
0:45:29 > 0:45:33"but that's what he's singing." So they said, "Let's call it rock-a-billy.
0:45:33 > 0:45:37So they called it rock-a-billy, which was just really rock'n'roll.
0:45:37 > 0:45:39You know, and the whole term...
0:45:39 > 0:45:42every rocker from the '40s, '50s, '60s,
0:45:42 > 0:45:44this was part of their music...
0:45:46 > 0:45:47Like the Rolling Stones...
0:45:47 > 0:45:53HE PLAYS "Satisfaction by The Rolling Stones
0:45:53 > 0:45:55That's the same fingering as...
0:45:56 > 0:46:01Only they didn't use... He used actually two fingers,
0:46:01 > 0:46:02he didn't use the...
0:46:07 > 0:46:10Now everybody knows Satisfaction, but that was part
0:46:10 > 0:46:11of that whole blues thing.
0:46:11 > 0:46:15And rock music - the only thing again is the beat
0:46:15 > 0:46:19was stretched out, and rock music is much more shuffle,
0:46:19 > 0:46:22or much more driving shuffle than blues.
0:46:22 > 0:46:26Other than that - back to the sound and the guitar and the effects of the guitar.
0:46:26 > 0:46:28It would almost become hypnotic -
0:46:28 > 0:46:31and to this day, if you go to a Rolling Stones or...
0:46:31 > 0:46:35even the Grateful Dead used a lot of black rhythms in their music.
0:46:35 > 0:46:40And you become hypnotised, because it's almost the pace of the heart.
0:46:45 > 0:46:48And then, you know, the drummer would put a counter-melody there,
0:46:48 > 0:46:51then the bass, but everything would be on the one,
0:46:51 > 0:46:54and again - James Brown music - all his music is still on the one.
0:46:54 > 0:46:58I'll give you an example. Now, with James Brown, he's famous, again,
0:46:58 > 0:47:02we're talking about the rhythm and the rhythm that the slaves used
0:47:02 > 0:47:05because rhythm, when they say rhythm and blues,
0:47:05 > 0:47:07the key to a lot of blues is the rhythm of the song.
0:47:07 > 0:47:13And James Brown would use that same...only James Brown used what's called an E9 chord musically,
0:47:13 > 0:47:15we're talking music now! And he would use that...
0:47:29 > 0:47:31And yet, you hear artists like Prince use that...
0:47:33 > 0:47:36And no change! Same thing, and if you listen,
0:47:36 > 0:47:38you still hear that click...
0:47:47 > 0:47:50The music, the folk music of Chile,
0:47:50 > 0:47:54is...kind of,
0:47:54 > 0:47:58you encounter it in different areas.
0:47:58 > 0:48:04In the north, you have a music that is more related with the Andean music.
0:48:04 > 0:48:11Which is a close relation with Ecuadorian music,
0:48:11 > 0:48:15Bolivian music, with Peruvian music.
0:48:15 > 0:48:18And of course, instruments like the charango,
0:48:18 > 0:48:24some ponas, bombo, are in all that zone.
0:48:24 > 0:48:27SHE SINGS IN NATIVE TONGUE
0:48:27 > 0:48:33In the centre, we have something more directed from the Spanish culture.
0:48:36 > 0:48:39And mainly la tonada,
0:48:39 > 0:48:43um...other things like vals too,
0:48:43 > 0:48:45and using the accordion,
0:48:45 > 0:48:47also the guitar,
0:48:47 > 0:48:50and the bomba.
0:48:54 > 0:48:59Then going to the south, this has some original, um...
0:49:00 > 0:49:03..influences. Like in the south of Chile,
0:49:03 > 0:49:07where the persons of Mapuches are,
0:49:07 > 0:49:11and other...Indian cultures are,
0:49:11 > 0:49:15it is also the influence of this part of the population.
0:49:25 > 0:49:27This instrument is called charango.
0:49:28 > 0:49:30And it comes from Bolivia.
0:49:30 > 0:49:37It was first created in Potosi, Bolivia,
0:49:37 > 0:49:42and...it's also played in the folk music of Peru,
0:49:42 > 0:49:44and the north of Chile and Argentina.
0:49:47 > 0:49:52This charango is used mainly in the Andean music,
0:49:52 > 0:49:59as as soloist instrument or also along with other instruments,
0:49:59 > 0:50:01like these panpipes.
0:50:05 > 0:50:08Before, it was made with the shell of an armadillo.
0:50:08 > 0:50:13There...some of them are made with the shell of an armadillo.
0:50:13 > 0:50:17Today, that practice has been forbidden,
0:50:17 > 0:50:20and they're made with wood.
0:50:41 > 0:50:45TRANSLATION: This quatro is based on a Venezuelan quatro,
0:50:45 > 0:50:48although the Venezuelan quatros are wider.
0:50:48 > 0:50:50This one is much thinner.
0:50:50 > 0:50:54And we in Chile love the quatro.
0:50:54 > 0:50:59Well, because all musicians love different sounds and pitches,
0:50:59 > 0:51:01and this pitch is much higher.
0:51:11 > 0:51:16So I came across the quatro because I love Venezuelan music
0:51:16 > 0:51:18and I think Venezuelan music.
0:51:27 > 0:51:31The quatro is my friend because it accompanies me
0:51:31 > 0:51:33and my Venezuelan music.
0:51:35 > 0:51:39In the new songs I'm creating, I also use Venezuelan rhythms,
0:51:39 > 0:51:43because it's Venezuelan, but it also is ours.
0:51:43 > 0:51:45It's a Latin American rhythm.
0:51:53 > 0:51:56SHE SINGS IN NATIVE TONGUE
0:53:26 > 0:53:30TRANSLATION: The musica criolla comes from a mix of black,
0:53:30 > 0:53:32Indio and Spanish people.
0:53:43 > 0:53:46The name of cajon this is in an African language.
0:53:49 > 0:53:51"Nka" is a drum, and "kwa" is wood.
0:53:51 > 0:53:53"Wooden drum".
0:54:05 > 0:54:07Black people were forbidden to play music.
0:54:07 > 0:54:12Their instruments were stolen from them, so they had to make the cajon smaller.
0:54:32 > 0:54:34The technique of the cajon - it has highs...
0:54:36 > 0:54:37lows...
0:54:37 > 0:54:41The cajon has first variation, second variation and third variation.
0:54:41 > 0:54:46We have bass, complement and ornament.
0:54:46 > 0:54:48These are the parts of the cajon.
0:54:48 > 0:54:52For instance, in a festejo, the cajon has to play bass,
0:54:52 > 0:54:54a complement and ornament.
0:55:22 > 0:55:26This instrument is called cajita, or "small box",
0:55:26 > 0:55:28and it comes from churches.
0:55:34 > 0:55:38TRANSLATION: Later on, a stick was incorporated.
0:55:41 > 0:55:45And then another stick was added to beat the cajita.
0:56:21 > 0:56:25Here we have the quijada - "donkey's jaw".
0:56:25 > 0:56:28It is also known as caracha, or carachacha.
0:56:28 > 0:56:32It is called donkey's jaw because it comes from a donkey.
0:56:32 > 0:56:33We play it like this...
0:56:43 > 0:56:46The donkey's jaw, along with la cajita,
0:56:46 > 0:56:51were the very first instruments that black Peruvians played after la cajon.
0:57:00 > 0:57:02This is a tambor.
0:57:02 > 0:57:07A drum to mark dancers' movements so there's more brightness in the music
0:57:07 > 0:57:09that is played when they perform.
0:57:09 > 0:57:12Normally, there is the cajon.
0:57:12 > 0:57:15And then the tambor.
0:57:34 > 0:57:35When the dancer does this...
0:57:36 > 0:57:38..we play like this...
0:57:39 > 0:57:41When a dancer moves this way...
0:57:41 > 0:57:42we play it like this...
0:58:51 > 0:58:54Subtitles by Red Bee Media Ltd
0:58:54 > 0:58:57E-mail subtitling@bbc.co.uk