Difference between revisions of "MA Temporal"
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There are both free, improvised sections (often at the beginning, a kind of introduction, the ''taqsim'') and more rhythmic almost metred sections. These can be heard especially through listening to the rhythmic cycles in the percussion. The number of beats may vary. | There are both free, improvised sections (often at the beginning, a kind of introduction, the ''taqsim'') and more rhythmic almost metred sections. These can be heard especially through listening to the rhythmic cycles in the percussion. The number of beats may vary. | ||
--[[User:Cari|Cari]] 23:18, 11 January 2008 (MST) | --[[User:Cari|Cari]] 23:18, 11 January 2008 (MST) | ||
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| + | Like Cari wrote, I noticed that many pieces begin with a loosely metered section at the beginning, with percussion coming in halfway or more into the track. But then pieces like "Bayti saghir fi Canada" are completely different. In it's case the defining Arab feature is the language. <br> | ||
| + | ''Justina'' | ||
Revision as of 18:24, 15 September 2010
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There are both free, improvised sections (often at the beginning, a kind of introduction, the taqsim) and more rhythmic almost metred sections. These can be heard especially through listening to the rhythmic cycles in the percussion. The number of beats may vary.
--Cari 23:18, 11 January 2008 (MST)
Like Cari wrote, I noticed that many pieces begin with a loosely metered section at the beginning, with percussion coming in halfway or more into the track. But then pieces like "Bayti saghir fi Canada" are completely different. In it's case the defining Arab feature is the language.
Justina
