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7/8 in Balkan music

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aaronishappy

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Im trying to a learn a song, called this video it seems like its bass-chord/chord-bass but when I try put that to paper it doesnt look or feel right...

Can anyone help me out!? Im sure the answer is a lot clearer than it seems and I will probably shoot myself in the foot once its revealed to me but until then I will continue to scratch my head...!
 
I can only answer your first question.

When a B flat intrument plays in the key of C the resulting key will be be concert B flat.

So when a B flat instrument plays in the key of G (per your sheet music) then the resulting key will be concert F. So if you are playing the music on an accordion in the key of G then you are only two semi tones away from what a B flat instument will sound. So you cannot play a duet wilh a B flat instrument and both use the same sheet music.

I'm sure the music will sound fine in the key of G as opposed to F.
 
Firstly, the music you see there is in E minor, not G major (though it has the same key signature).

If you play this as written on a Bb transposing instrument, it sounds 2 semitiones lower than written. Therefore, although you read it a E minor, what you hear is actually in D minor.

The accordion is NOT a transposing instrument - so if you play the notes written, you get it in E minor, which will sound absolutely fine on its own. If you want to play it in D minor you need to transponse everything down two semitones. Or find a version written out in D minor.

On to the rhythm question. 7/8 means each bar is split evenly into seven beats. However, it is better to think of it as three uneven beats per bar so you get the intended feel. So it's:

1 2 3 1 2 1 2

Each of the "1"s is stressed, so a group of three then two groups of two. Once you've worked this out slowly it makes much more sense to just think of where the 1's are to get the basic rhythm at normal speed.
 
simonking said:
Firstly, the music you see there is in E minor, not G major (though it has the same key signature).

I stand corrected about the key of your sheet music ( I do not read music), but the principle is the same, as simonking says, you will sound 2 semitones higher when played on your accordion.
 
Actually I wrote that as a reply to the original post, not in reponse to yours. Looks like we posted about the same time!
 
simonking said:
On to the rhythm question. 7/8 means each bar is split evenly into seven beats. However, it is better to think of it as three uneven beats per bar so you get the intended feel. So its:

1 2 3 1 2 1 2

Each of the 1s is stressed, so a group of three then two groups of two. Once youve worked this out slowly it makes much more sense to just think of where the 1s are to get the basic rhythm at normal speed.

Or it could be 12 12 123. In fact thats for all the 7/8 tunes I can think of, right off hand, but I see this one starts with the long beat. This structure should be evident from the melody. The tempo is usually fairly fast, like q=145.
 
I'd be inclined to think of this as a bar of 3/8 then 2/4 rather than a single bar of 7/8, It's easier to line up the bass part to it as well.

BobM.
 

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BobM said:
Id be inclined to think of this as a bar of 3/8 then 2/4 rather than a single bar of 7/8, Its easier to line up the bass part to it as well.

Well, I suppose that can work - if you dont get carried away with it. Specifically, dont emphasize 1 equally in both of these artificially divided measures.

Similarly, you can talk your way through the meter with phrases like pineapple, apple, apple, but again, watch that the syllable stresses are musically right. I think that may be easier with tunes like this where the 3 is in front. When its apple, apple, pineapple, people seem a little prone to hollering out the last word, where musically it should be no stronger than the one before it.
 

<FONT font=Garamond><SIZE size=125><COLOR color=#0040FF>I wrote out the first four measures in AAA accordion notation. Im not an expert in this music at all, but this is how I would realize it. See if you like it. If you do, just use a similar pattern for the rest of the tune.
Good luck!
 

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Zevy said:
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<FONT font=Garamond><SIZE size=125><COLOR color=#0040FF>I wrote out the first four measures in AAA accordion notation. Im not an expert in this music at all, but this is how I would realize it. See if you like it. If you do, just use a similar pattern for the rest of the tune.
Good luck!

Thats how I understand it to be as well..

BobM.
 
Well, some new wrinkles there - not the same melody or chords as indicated by the first source, I mean so it would appear to me - if theres a systematic transformation that produces one from the other, Id be interested to know how it works!

I would feel free to stick with the melody in the first source for now - sounds to me more less in line with the Teija Niku. Those are the only two renditions Ive heard so far and it looks like there are plenty more out there.

Anyway, back to the original question, interesting that Vasilija Radojcic puts in the same key as the original source for Bb instruments. It matters only if there are other parts that will join in, and in that case the thing to do is check those parts to make sure everyone is in the same effective key. If youre on your own, might as well play it as written if you like.

The chords dont look very good, though. Dont take my word for it, I havent really worked on it, but for example the Em in the second line is more like G to me, the change to D in the first line doesnt happen right on 1 as shown (you can see this difference in Zevys example also.) Theres more. If you stick with the music as written, youll be in the same key as the Vasilijia Radojcic video so you can use what you hear without having to mentally transpose.
 
My favourite version of Ajde Jano (and the one Ive tried to play) is by the Klezmer trio Kroke.

The bass is very clear in that version; might be helpful. Ive not played a lot of Eastern European music, but when attempting, found it easier to play the rhythm by feel than by counting.
 
Anyanka said:
The bass is very clear in that version; might be helpful. I've not played a lot of Eastern European music, but when attempting, found it easier to play the rhythm by 'feel' than by counting.

Yes, but bearing in mind, Kroke naturally has moved a little in the klezmer direction and in that respect not super representative.

One really sweet part of the more Serbian renditions is the transition from what I guess is the "A" part to "B", where the bass walks up from D to G against a downward harmony line. It's just part of a measure, and as the B part is repeated a lot more than A it doesn't happen very often, but plays a large role in the feel of the piece.
 
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