Quote:
Originally Posted by Fiddleplay
Hi, Thank you for posting these Drones. I have been using the Shirdy Drones for about 6 months and they have been amazing. I am interested in adding the Tambura Drones to my studies as well. Can you please explain the following for me so I can understand fully the tones.
rP:
'Drones contain roots and 5ths only. In the case of the tambura drones the sequences are 5RRR or R555 when two choices are given for 1 tonal center. None of the drones contain thirds making them ideal for improvisational practice in any key or modal rotation.'
Thank you again for your sharing of valuable information.
Roland White
fiddleplay
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Quote:
Originally Posted by patrickgm60
I checked out one of each type of drone. The synth drones can be handy for percussion practices; thanks. One question about the tambura tracks: I couldn't detect a consistent tempo or groove; are the timing of the notes random?
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CL Post
Drones for Improvisation | 12 Synth + 17 Tambura: All Keys
Drones contain roots and 5ths only. In the case of the tambura drones the sequences are 5RRR or R555 when two choices are given for 1 tonal center. None of the drones contain thirds making them ideal for improvisational practice in any key or modal rotation.
Tambura Drones:
http://www.box.net/shared/e10mc3apk6
A1
A
Ab
B
Bb
C1 5RRR GCCC
C#1
C#
C R555 CGGG
D1
D
E
Eb
F
F#
G1
G
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Answer(s):
1)
This is a good article on the tuning of the tambura and the significance of the various uses with ragas:
http://en.wikipedia.org/wiki/Tambura. In this article two common tunings are given: 5881= 5rrR = GccC = Sol do do Do (or the Indian solfeggio: Pa sa sa Sa, the complete solfeggio being Sa Re Ga Ma Pa Dha Ni Sa=SRGMPDNS). Also given is the tuning for ragas without the use of the 5th (Pa) which is Ma sa sa Sa = 4881 = FccC.
Because I am using the drones for improvisation that is not 'bound' to a strict raga formula, the way I have them listed focuses on Roots (R) and Fifths (5) only, not Fourths; so that there are two offerings for the keys of: A, C, C#, D, and G. In addition 7 other tonal centers can be accessed: Ab, B, Bb, Eb, E, F, F# thus providing a complete set for all keys used in Western music. In Indian music it appears that the most common keys are: C, G, D, A, E, C#, G#, & Bb.
Therefore instead of seeing the Ma sa sa Sa drone of C as FccC = 4881, I have listed it as an F Drone: FccC = R555. Since Thirds are not in the drones in either perspective, improv through all the modes of any given tonal center is possible: Ionian, Dorian, Phrygian, Lydian, Mixolydian, Aeolian, and Locrian; as well as any of the synthetic modes (rotations of non-diatonic scales, e.g. Harmonic Minor, Ascending Melodic Minor, Hungarian, Neapolitan, etc.).
Again from Wikipedia:
The seven notes of the scale (swaras), in Indian music are named shadja, rishabh, gandhar, madhyam, pancham, dhaivat and nishad, usually shortened to Sa, Ri (Carnatic) or Re (Hindustani), Ga, Ma, Pa, Dha, and Ni and written S, R, G, M, P, D, N. Collectively these notes are known as the sargam (the word is an acronym of the consonants of the first four swaras). Sargam is the Indian equivalent to solfege, a technique for the teaching of sight-singing. Sargam is practiced against a drone. The tone Sa is not associated with any particular pitch. As in Western moveable-Do solfège, Sa refers to the tonic of a piece or scale rather than to any particular pitch.
Shruti Drone Samples:
Free:
http://shruthibox.boosy.in/shruthibox.html
Cheap iPhone Download:
http://www.synthtopia.com/content/20...or-the-iphone/
2)
Though there is a built-in rhythm to the drones, the tempo of the raga is not based on that, so yes I would say it is random or variable, but deeply considered. At the beginning of any raga, the soloist plays or sings with just the tambura drone. This section is called the Alap: the introduction and development of the raga and its themes. When the tablas or other accompanying percussion join the soloist, then the tempo is established, as well as the meter.
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rPeikoff
