United States or Barbados ? Vote for the TOP Country of the Week !
In each of the eleven glissandos shown in the notation, the voices drop suddenly to approximately the tone shown by the small square note. The glides are taken diminuendo, the tone dying away completely. The sudden diminuation of tone taken with a glissando gives an effect something like a short groan. The song is in seven-measure periods. Dang-Dang-Ay
Following the tabulation is given a detailed explanation or definition of each of the qualities listed at the heads of the vertical columns. Dying Tones. Found only at the end of some few glissandos. On the glide, the volume of sound diminishes so rapidly that when the final tone of the group is reached, the sound has practically died out.
They have a liaison with the umpah umps the feet. Long ago they danced only to the umpah umps. There were no cadenzas, glissandos, arpeggios then. There was only the thumping of cedar wood on cedar wood, on ebony or taut deerskin. Civilizations have risen, fallen and risen again. Armies, gods, races have been chewed into mist by the years. But the thumping remains.
In taking the glissandos shown near the middle of the top line, the upper tone is sung about half way between B-flat and B-natural. There is some abandon in the rhythm also. The group of six notes marked with an asterisk are trilled on the semitone interval. Dawak This song is doubtless the invention of the singer.
And yet quite comparable with this seems Kelley's device to indicate the oarage of the genie's mighty wings as he disappears into the sky: liquid glissandos on the upper harp-strings, with chromatic runs upon the elaborately divided violins, at length changed to sustained and most ethereally fluty harmonics. It is very ravishment.
The notes G-natural and D-flat do not belong to this scale. At those places where they are put down in the notation, they are used to better define the glissandos. The singers pass over them rapidly, sliding from the topmost note of the group to the lowest with no perceptible dwelling on any of the intermediate tones.
In 1905 it was my privilege to transcribe a number of native songs from the singing of a group of Igorot. In these songs they made frequent use of swelled tones. Downward Glissandos. An even sliding of the voice from the topmost tone of a group to the lowest with no perceptible dwelling on any intermediate tone and without in any manner defining any of the tones lying between the extremes.
The following five group-ingredients, used either in the pure form as shown, or with slight alterations, make up approximately one-half of the entire song. Reiterated tones and glissandos pad out between these and make up practically the remainder of the number. Turning our attention to the first of the above groups, which I have marked "M.M.1."
If, however, this conjecture is wrong, and the performers really feel that the groups in question all start on B, then the G naturals are eliminated by the glissandos. The only other G-natural is shown in measure 7 of verse 4.
The singer uses the downward glissandos, so characteristic of nearly all of the Tinguian songs of this group. These glissandos are indicated by oblique lines drawn beneath the tones covered by the slide. In the second measure there is an almost inaudible tone at the end of the glissando. It is indicated by a small, square note.
Word Of The Day