(83 results found)
Bulgar (LKT)
… Bessarabian bulgareasca , named for the ethnic Bulgarian minority in Bessarabia and/or contact with north Bulgaria on …
Doyne (LKT)
… exploration within a particular musical mode [usually the minor Mi sheberakh scale], rather than unrestricted …
La Gallarda matadora
… as the basis for her arrangement. It is originally in A minor, 6/8 meter, but it is sung without a constant beat. …
Ehad mi Yodea - Its sources, variations, and parodies
… Idelsohn . The first two are identical and there is only a minor difference between Idelsohn’s versions and theirs, …
Karev Yom
… between the verses in the poem. The first section is in minor and explores the lower register in a narrow range of a …
Hatikvah: Conceptions, Receptions and Reflections
… melody-type found throughout Europe in both major and minor scale versions. This melody-type has been the object … progression la, ti, do, re, mi , is characteristic of the minor mode and is quite common in folksongs of all climates. … had a contrasting sonic signification in comparison to the minor, stepwise, ‘femenine’ melody of Hatikvah . [47] …
Haynt Iz Purim, Brider
… from the zamelbukh , except that it is transposed to a minor third lower and omits the choral arrangement, leaving …
Na’aleh L’artzeinu – A Simple Melody with an Intricate Story
… song is unremarkable. It stays firmly within a normative minor key and consists of two distinctive sections. The text … as Yemenite in origin. It is firmly rooted in the key of G minor with only a few accidentals in Binder’s piano … the baladi songs of Syrian and Palestinian Arabs, where the minor mode sounds more like the Maqam Bayat.” [4] In …
Eastern Ashkenazi Biblical Cantillation: An Interpretive Musical Analysis
… in general—emphasizes scale degrees 1 , 3 , and 4 in the minor scale. We may notice, for instance, the 4 - 1 (G-D) … to end on 1 . We may also note that the verse uses the minor pentatonic exclusively: 1 , 3 , 4 , 5 , and 7 . Verses with additional te’amim include 2 and 6 , but the minor pentatonic collection remains primary. [24] Finally, …
Debbie Friedman’s Shema’ Koleinu: An ancient prayer in a new musical garment
… by Ashkenazi composers in the twentieth century are in the minor key and its modal derivatives, such as those by Cantor … harmony in the first half of the phrase is in the relative minor (Am) and the second half returns to the original major … the transition from bVII to V (the major dominant, not the minor chord with lowered seventh degree) appears, as it did …