Difference between revisions of "MA Melodic"
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In El beida,in the first seconds of listening you can memorize the melody and follow it's reputation easily.The melodic phrase doesn't change so much and its variations are nearly similar to the main one..<br> | In El beida,in the first seconds of listening you can memorize the melody and follow it's reputation easily.The melodic phrase doesn't change so much and its variations are nearly similar to the main one..<br> | ||
''Mahsa'' | ''Mahsa'' | ||
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| + | I find it interesting that in some pieces such as the end of Sibouni Ya Nasse the instruments seem to follow a basic melody while freely adding ornaments and small scales around the melody. However, in others such as Wahrane the melody the instruments do less of this. I wonder if this has anything to do with the instrumentation or exposure to larger instrumental ensembles from Europe/North America. Pieces such as Wahrane certainly have that "large orchestra" sound. | ||
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| + | "Patrick" | ||
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Latest revision as of 09:02, 21 September 2010
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The melody does not usually have a lot of leaps. Instead it is fairly stepwise in motion, with a lot of ornamentation and some microtonal pitch changes.
--Cari 23:14, 11 January 2008 (MST)
In El beida,in the first seconds of listening you can memorize the melody and follow it's reputation easily.The melodic phrase doesn't change so much and its variations are nearly similar to the main one..
Mahsa
I find it interesting that in some pieces such as the end of Sibouni Ya Nasse the instruments seem to follow a basic melody while freely adding ornaments and small scales around the melody. However, in others such as Wahrane the melody the instruments do less of this. I wonder if this has anything to do with the instrumentation or exposure to larger instrumental ensembles from Europe/North America. Pieces such as Wahrane certainly have that "large orchestra" sound.
"Patrick"
