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