Task 1 - Simple rhythmic and melodic structures

Introduction

This web page deals with basic elements of musical construction. It contains two workshop exercises and a task to consolidate the work. The first exercise deals with the construction of a rhythmic pattern shared between two groups of drums. The second introduces the modes found in the music of kabuki.

Much of the music for kabuki is made up from patterns both rhythmic and melodic and despite the impression of an improvised music, little is the result of spontaneous performance. Harmony or contrapuntal movement as we understand it in the West is rare, and the instrumentation tends to change only with the introduction of a new section of music. Aural reinforcement as the action progresses can be provided by the musicians of the geza. The following tasks and exercises are intended to create a sound world based upon kabuki principles.

The sound files are quite large. It is suggested that you download them for future ease of access.

Exercises - Rhythmic development

Supply a moderately paced beat a little faster than 1 beat per second (1/8th note=72) and invite each student to add a simple rhythm without dotted rhythms based upon their own name within a four beat phrase (1 2 3 4) e.g.

The final stage is to split each group of four into two and perform their pattern with one half taking the high note (di) and the other taking the low note (da). Compare this with a passage performed by o-tsuzumi, ko-tsuzumi and shamisen.

Tsuzumi rhythms tend to work in phrases of 8 bars in a 2/4 metre, each of which is often made from smaller fragment patterns. The two groups of o-tsuzumi and ko-tsuzumi performers must know the whole rhythmic structure as they divide the notes between the two drums and they learn these using a system of mnemonics, the principal sounds being "tsu" and "pon". These could be substituted for the "di" and "da" above. more

The example above is quite dense in rhythmic activity. This is not always the case and the density can be quite sparse. Often in this case kakegoe are used to mark a new section or to maintain the rhythmic stability

Listen to the combination of o-tsuzumi and ko-tsuzumi integrated with the kakegoe.

For the purposes of this project the important element is the way in which the drums alternate in patterns that both sets of drum players will know. Whilst kabuki musicians will recognise a great many different patterns, each of which will have a name, it would be impractical to create too many rhythmic patterns in the time available, therefore repetition is acceptable as long as the alternation in the drums is maintained.

Exercises - Formation of melodies

Two scales are important to the construction of a melody these are the minyou onkai, and the miyako bushi onkai. It is important for the participants to understand the sounds of these scales, particularly the latter, from an early stage. It can be seen from the examples in the "Scales" section that the simple form of the miyako bushi onkai can be made from two "tetrachords" identical in intervalic structure.

In a circle practice singing up and down the miyako bushi onkai several times until it starts to become secure.

Invent a short phrase that can be repeated and sung by the whole group, which drifts down to a sustained note held on the low kakuon (it may help to use a metalophone to establish the phrase). During the sustained note use this as an opportunity for one person to explore a few notes of the onkai much in the same way that a gospel singer would ornament a hymn. Draw the shape of the melodic line in the air with a finger simultaneously. Repeat this complete exercise around the circle until everyone has had a opportunity to try the onkai.

If possible incorporate instruments into the singing exercise

Whilst the melodic instruments in kabuki are restricted to shamisen, takebue or voice, for the purposes of the project any instrument capable of playing the miyako bushi onkai can be utilised. The notes on tuned percussion instruments are easy to rearrange to produce a fail-safe rendition! (Violins and violas when played pizzicato (plucked) are really effective because of their tuning. A Using the D and A strings and the first and third fingers the miyako bushi onkai can be produced relatively simply. If the G string is tuned up to an A it is possible to create a lower extension to the scale. Guitars can used by tuning strings 4, 3,and 2 (D G B) down to A D and A.)

Task

Construct a short stately "walking" piece (michiyuki) that could serve as a basis for Romeo's entry along the hanamichi. Use the principal of the arrangement of drum patterns outlined above and create an instrumental melody based upon the miyako bushi onkai which can be played in unison, and which will blend with the drum accompaniment.

The geza consists of a group of musicians out of site of the audience. Their purpose is to add further meaning and support to the action on stage and their contribution is linked into the text. Discuss how this could enhance the scene. It could hint at the status of Romeo, or possibly the majesty of the palace he is approaching. You may wish to emphasise the processional nature of his approach to the stage with subtle rhythmic interpolations..

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© Michael Spencer 1999

Email:mjs@creative-arts.net