Відео

This is interesting and all, but Western music can be sung a cappella or played on a simple wind instrument and still sounds Western, so the "team" analogy only goes so far. This points to the biggest difference between Eastern and Western music, which is that Western music introduced the world to a much more refined concept of melody. The simple way to think about it is: "music that is hummable." Eastern music is interesting, but you can't remember anything you heard as soon as it stops, and you sure can't hum it. Western melody, especially when augmented with modes, creates songs with memorable hooks and that more impact on the emotions. There is a reason Western music (including classical) is so immensely popular in places like Japan and China.

Super explanation, I really enjoyed your baglama solo as well!

I am struggling to decide if I should Salute you for this mind-blowing video alone, or simply for your skills of playing all these instruments effortlessly - let alone the fusion itself!!

Adaab Aaron , please share the Aroh avroh of this raag saazgiri

I really like music and am interested in the guitar you play very special

To be honest I wasn't sure where the sports analogy was going but by the end of the video I realised just how well you laid out your explanation and how clear and understandable it was. Well done!

25:00 I understand the point being made about dissonance but tbh I personally liked how it turned out. (context: I listen to King Gizzard)

brilliant video. I hardly ever leave comments but this one blew me away!

Great Lesson! Thanks so much. I'm gettin into balkan music for the first time and this was just great for getting the feeling.

Tl;dr

Thanks for the video aaron ;)

As a musician and a sportsman, I do not agree with your analogy at all.

Amazing video thank you

excellent presentation very educational

Great job. Very easy to follow. How did you know which slice of the pie to take out for the 15/16 one? It is not just taking out the last beat.

Are those double hammers your doing?

This is fantastic! Thanks! I play slide in open tunings . Now I understand why drones and power chords work best for accompaniment when I am improvising microtonally all over the place!

To clarify the difference between; it is that there is no theory (till now at least) able to harmonize quarter tones. So when you say that eastern music is monophonic it is not totally correct because eastern has also modes like major, minor, harmonic and phrygian, additionally to the ukrainian dorian (dorian 4). Because the western could not with its theory harmonize the modes with quarter tones like rast, beyati, saba, sika... they said it is unharmonizable so monophonic. At the same time, I heard some arab compositions with quarter tones and include harmony composition with a very consonant and beautiful tonality to hear.

absolutely necessary

Amazing! Btw.. are those guitar strings on the oud?

Is that guitar scalloped? Is that an effective guitar modification if you want to play microtonal music on the guitar?

I love the way you make things simple to understand when you explain them. I really want to go into a deep dive into other countries and cultures music theories and you have really helped a lot! Where do you recommend learning other music theories than the classical western theory?

Very Cool!☺

This video should when an Oscar.

This sounds ridiculously good

Absolutely excellent explanation for somebody who is trying to make sense of a new music system they've probably just started listening to. I'm really glad I stumbled upon this video of yours. I tend to pretty much like diverse kinds of music, but don't necessarily understand or connect with all of them. You video is surely gonna help me understand some new stuff better. Thank you so much.

Thank you. Helped a lot. Greetings from Brazil

That music at 26:55 was really cool sounding

Great tutorial

Thank you for this video. I've been trying to understand the differences between western and eastern music and this is a wonderful explanation that gives respect to both systems.

Masterpiece!! ❤

This is gold. Thank you man

11:15 you mentioned gamelan as not really fitting at all, and I don't think you gave it a justified description. many gamelan instruments are polyphonic by their physical design, and gamelan uses much more than 5 tones. not even sure if some of what goes on with their percussive instruments can even be considered microtones, but something else that evades description without writing a long paragraph. complimentary dissonance? I'm happy you mentioned it because with some of what you said toward the beginning of the video I immediately thought of gamelan as contradicting some of your assertions. but it does contradict some of your assertions, I think you're doing some shoehorning here. that said javanese/balinese music is very unique on the scale of the world. most cultures seem to appreciate 5/7/12 tone cores sometimes with microtones allowed for certain instruments. I've had a fascination for their music ever since I discovered it while desperately looking for music that is less invaded by western influence. listen to an indonesian folk song with a western instrument like an electric guitar included in the ensemble and it becomes clear how far away from a 12 tone structure their music is.

Really nice explanation! Thanks!

מטורף

Are you going to put out a CD of these improv and pieces you've written??? So much God-given talent!!!!

Great lesson, thank you very much! Hope you are doing well and upload more videos like this one! The metaphor you used with one leg being shorter, reminded me of an old music teacher of mine at school, that described to us odd rythms like music that someone drunk would very easily dance.

I agree about most of what you said however, I do not agree that monophonic vs Polyphonic is somehow Arpeggios vs Chords Arpeggios suggest they come from harmony. In arabic music for instance most of the time we follow maqams tetrachords We do not really use the whole scale in one musical phrase (or rarely) so seldom you hear an arpeggios in a real traditional arabic music. We don t also really jump from tonic to fifth to seventh of the scale..This is probably the difference between a maqam and scale and why we need to use a distinct term.

Than you 🙏👍🏻

Седам година касније и још увек се вратим понекад да чујем ово. Супер свираш!

I think that mentioning the 'flamenco watch' is needed. Many flamenco 'palos' (ostinato patterns) are 12-based

Hi, I'm form Balkan but still have to watch this lesson to learn how to play and feel that crazy rhythms. Nice job man.

You’ve tried to explain it from a very understandable point of view, and which I think is pretty solid way to do so.

The musical theory of Europe uses the Divisive method, arising from the dance bar, where we evaluate rhythm from the cycle always subdivided into pairs (which may contain odds internally). Africans use the Additive method, where rhythm is thought of constantly and uninterruptedly, that is, musical time is a 1/1 bar that repeats itself to infinity with cycles overlapping on this constant imaginary pulse... And Indians have Konnakol (the rhythm science of carnatic music) that thinks rhythm through subdivisions, making it much easier to think of compound rhythms. They mainly use the letters T and K to teach rhythmic vocalization, because they are the letters pronounceable faster. Making it possible to sing complicated subdivisions. Knowing the 3 methods is liberating!

Great video!

Would love to hear more about similarities between Eastern maqam and Western bebop/jazz!

The thing with both western and eastern music scales is, they are not as solid as they are presented in theory books. For example minor scale is actually different in ascending form (with M6 and M7 intervals) and descending form (with m6 and m7 intervals), similar to an approximation of the in between (quarter) tones you are playing middle eastern music on the guitar. The first point where far eastern and middle eastern music began to differentiate is when folks began adding ornamentation, passing notes, and embellishment tones on top of the pentatonic scales. The intervals of these new added tones were personal and local, but for building standard fretted instruments, they were formalized and standardized differently in different regions. The imperial states of Turkestan, India, Persia, Egypt, Islamic, Roman, Byzantine and later Catholic Roman Empires had different takes and different theories for what makes a good scale and good scale intervals. And latest, western church restricted the use of all scales except the seven church modes used in western music today. Tempered tuning standardization came much later after the piano was invented. My idea is that music is just ornamentation on pentatonic scales, western or eastern doesn't matter. One can derive and also use all scales of west and east using this principle. And the quarter tones you may use or not does not change the effect of this kind of music because they are either passing notes or embellishments on the solid pentatonic scale tones, that historically all music on this world derived from. And yet anther fact is, players of non-fretted instruments and vocalists in both west and east play or sing different notes than what theory says they play. For example a violin player will play different micro tones for a sharp F or flat G, which in theory is the same tone (on the piano at least). Also, a violinist will play sharper if the note is the M7 (leading tone) in a major scale. Eastern musicians also play different comma tones (microtones), that can be analyzed on different musicians playing or singers singing the same scale melody. So the solid foundation for me is the pentatonic scales, and building other scales (actually combined scales) on top of the pentatonic scales, but the stable tones (where notes tend to rest more frequently) will be the pentatonic scale tones. And I would build chords mostly from those stable tones/intervals from the pentatonic scale, I would call any other note in a chord as extension notes (melodic intervals) as the 6th, 7th, 9th is called in todays western music theory, but in a more general meaning (any non-pentatonic scale tone), not the 6th, 7th and 9th exactly. And finally I will add that western music has a lot of third leaps in melodies whereas middle eastern music has mostly 2nd, 4th and 5th interval leaps in melodies. And there is limited chord structures built with these 2nd, 4th, and 5th intervals in traditional instruments like baglama/saz and kemence. And there is actually a formalized harmonic theory developed by Kemal Ilerici, that utilized stacked 4ths (which result in these 2nd, 4th and 5th intervals), that is used a lot by Turkish classical music composers whose influence is Turkish folk or traditional middle eastern music (for example Muammer Sun used this theory for most of his works).

Beautiful ...divine dance...beyond words..❤️🙏🙏😇

This is so divine ❤️

❤️❤️❤️❤️❤️❤️❤️