celtic/indian fusion

Formerly North-Indian Global-Zombie-Trance Jazz, Barbershop-Darbhanga Fusion, Rai-Ska Outlaw Country Operetta , Neurofunk Madrigal Throat Singing, Freestyle Acid House Flamenco, Twelve Tone Boy Groups, Dark Ambient Ragtime Fusion, Klezmer Surf Trance; Gregorian Chant/Bluegrass; Andean-Reggae Black Metal for Lapsed Lutherans; Chinese Opera-Mississippi Delta Blues; Alpine Yodeling-Samba Fusion; and Mariachi-Polka Waltz-Punk Forum
User avatar
talasiga
Posts: 5199
Joined: Sun Feb 08, 2004 12:33 am
antispam: No
Location: Eastern Australia

Re: fusion

Post by talasiga »

............
For instance, if I were fusing Raag Malkauns, a pentatonic raaga with notes tonic+minor 3rd+4th+minor 6th+minor 7th, I would do so with a B tonic and fuse it with a celtic piece in G major pentatonic. This would make both pentatonics relative. But the FEELING of Malkauns is particularly problematical for fusion with Celtic IMO. A better relative pentatonic would be Raag Durga (Bilaawal's Durga) with D tonic both in feeling and the mutuality of resolution (ie in this particular case: Celtic G tonic with the Indic D tonic - power chord relationship/primary harmonic).

...


actually a viable modal relative approach with Raag Malkauns is with Raag Dhani. The Former is the 3rd pentatonic and the latter the 5th pentonic mode in the major pentatonic scale.

So if we play "Bonnie White Horseman" with E tonic we have the scale of Raag Dhani and using that scales 5th (the B) as a tonic we will get the scale of Raag Malkauns. Both are minor gapped modes.

It really works quite fantastically.
qui jure suo utitur neminem laedit
Post Reply