4 Matching Annotations
- Jun 2023
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Figure 12.2 illustrates the use of Model II. The R.H. distributes the Charleston rhythmat different locations within the measure
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Chapter 10 embarks on a study of improvisation. After some introductory remarks, theimportance of melody in improvisation is discussed. A few basic improvisational strategiesinvolving blues riffs, guide tones, and motifs are closely examined and implemented inpractice
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MbaqangaAllen suggests that the term “mbaqanga”, which refers to the staple maize-meal diet of manyof the working-class musicians who played the music to earn a living wage, stems from “theneed to define and express an independent and valuable black South African urban identity”by renaming what had become generally referred to as African Jazz (Allen 1993, 26).Although the terms are sometimes used interchangeably by musicians and musicologists,Allen arguest that the style of mbaqanga developed in the 1960s is markedly different fromAfrican Jazz (Allen 1993, 26). As the name suggests, mbaqanga is viewed as a morecommercially appealing style than African Jazz and has been popularised in South Africa byartists such as Simon ‘Mahlatini’ Nkabinde and internationally by Paul Simon’s heavilymbaqanga influenced Graceland album. The roots of mbaqanga lie in traditional Zulu musicmixed with influences of marabi and kwela. Rhythmically, mbaqanga is, like tsaba tsaba,generally based on a straight-eighth note feel with a driving bass drum on all four downbeatsof the bar. This quarter note bass drum pattern, commonly referred to as “four on the floor”,is complemented by the hands performing various orchestrations of the rhythm below. Thisuniversal rhythm is known as the Charleston in American jazz, the Habanera in Cuban Latinmusic, and the Ghoema in South Africa.Figure 1.2 Charleston/ Habanera/ Ghoema rhythm
This rhythm is typically played with brushes on the snare drum. The first of the three notes is omitted on the snare drum as it is played by the bass drum in the four-note note “four-on-the- floor” pattern. This creates the feel of the groove as a heavy emphasis is placed on the eighth note after beat two and beat four of the bar. An additional snare accent is consistently placed on the last sixteenth note before beat two and beat four of the bar to set up the anticipations before beat three and beat one of each bar. The bass guitar generally phrases around this same three-note rhythmic pattern and plays an important role in defining many of the stylistic features of the music. This will be elaborated on in the following chapter
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- May 2023
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Rhythmically, mbaqanga is, like tsaba tsaba, generally based on a straight-eighth note feel with a driving bass drum on all four downbeats of the bar. This quarter note bass drum pattern, commonly referred to as “four on the floor”, is complemented bythe hands performingvarious orchestrationsof the rhythm below. This universal rhythm is known as the Charleston in American jazz, the Habanerain Cuban Latin music, and the Ghoema in South Africa.Figure 1.2 Charleston/Habanera/Ghoema rhythm
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