It is currently Fri May 24, 2013 3:05 am
will vine wrote:
Did you ever see that French and Saunders sketch where they played guitar according to the book but couldn't make it sound remotely "right"? The joke was that they then called as witnesses people like Mark Knopfler who proved similarly unable to make the right noises by working from the book. Like most F&S stuff it wasn't side-splittingly funny but it struck a chord with me (see what I did there?).
Adam Blake wrote:Willy: you mentioned Arabic notation systems. The Arabs are weird. They cut semitones down the middle into quartertones, thus giving you a potential 24 notes. Unlike the Indians or B.B.King (say) they don't just bend a note to where they want it to go, they actually go plonk straight on to the note between two semitones. A classical Arabic singer like Oum Kulthum or Fairuz can hit this quartertone smack on. It's extraordinary and not a little disconcerting the first few times you hear it.
It's why Arabic music sounds like that. Also they don't do harmony. All the instruments are playing in unison. They may be in different octaves and they may be taking a few liberties with the phrasing but they are essentially all playing in unison. If they're harmonising, it ain't Classical. Weird. But I like it.
(N.B: Unison means when two or more instruments are playing the same melodic line at the same time.)
davidt wrote:For example I have 2 copies of Standing in the Shadows of Motown.
The PAL copy plays almost a semitone sharper than the US purchased NTSC region 1 version.
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