Difference between revisions of "Bayyati ostinato"
Line 3: | Line 3: | ||
'''percussion''': (8 beats, based on ciftetelli) | '''percussion''': (8 beats, based on ciftetelli) | ||
− | D.TT.TT.D.D.T... (tabla) <br> | + | D.TT.TT.D.D.T... (tabla, duff) <br> |
− | D..T..T.D.T.T... ( | + | D..T..T.D.T.T... (riqq) <br> |
t.ttt.ttt.ttt.tt (shakers, jingles) <br> | t.ttt.ttt.ttt.tt (shakers, jingles) <br> | ||
+ | |||
+ | Tabla should add fills, especially in the last 1.5 beats. | ||
'''melody''': (8 beats) | '''melody''': (8 beats) |
Revision as of 11:57, 11 September 2008
Establish the following ostinato. Melody instruments can play the melodic portion heterophonically. One person (melodic or percussion) is designated as soloist, performing taqsim (or layali) "ala al-wahda", on the beat.
percussion: (8 beats, based on ciftetelli)
D.TT.TT.D.D.T... (tabla, duff)
D..T..T.D.T.T... (riqq)
t.ttt.ttt.ttt.tt (shakers, jingles)
Tabla should add fills, especially in the last 1.5 beats.
melody: (8 beats)
2..32.1.7.6.7.1. 2.....5.4.3.3.2.
Maqam Bayyati, where
6 = A3 (below middle C)
7 = B3d (B half flat, below middle C)
1 = C4 (middle C)
2 = D4 (tonic or qarar)
3 = Ed4 (E half flat)
4 = F4
5 = G4 (dominant or ghammaz)