breathing underwater (Shankar)

when did the album come out

Album from 2007- written as a collaboration

how can the piece be described as a fusion piece

Fusion of sitar and other Indian instruments, traditional vocal styles, electronic drums, synthesised sounds and electric guitar and piano

what instruments are used in Burn

Strings, sitar and vocals. Sarangi introduced at b.46-53

what are some additional orchestra instruments used in Burn

Orchestral additions included brass (b.94), harp (b.102), flute (b.104) and cello (b.107)

what are the percussive instruments that appear in Burn

Percussion instruments include bass drum (b.14), manjira (hand cymbals) (b.22), drum kit (b.22) and ride cymbal (b.29)

what is an electronic instrument used in Burn

Ethereal synth pad (b.30)

what are the dynamics of Burn

Loudest point (ff) occurs at b.98. Elsewhere dynamics are relatively soft with a few crescendos into the start of new sections

what is the tempo of Burn

80 crotchets per minute without variation in pulse

what is the metre of burn (including the difference between the start and the rest of the piece)

Quadruple metre remains constant, but the opening (b.1-21) has a very slow, freely improvised quality

what rhythms characterise the sitar parts in Burn

Sitar characterised by dotted rhythms (b.3-5), triplets (b.6/ b.10-11), syncopation (b.23) and quintuplets (b.57)

what rhythms characterise the vocal parts in Burn

Vocal line has a tighter, more regular rhythmic pattern, although still features triplets and syncopations

what rhythms characterise the percussion of Burn

Percussion ostinato (from b.22) is a characteristic of western music as it has more limited rhythmic repetitions.

what percussive rhythms appear in the verses in Burn

Strong rhythmic drive set up in drums and manjira (snare backbeat- stresses beats 2 and 4- this type of drumming would have been recommended by Karsh Kale) in verse

what percussive rhythms appear in the choruses of Burn

demisemiquaver hi-hat in chorus

what is a jazzier aspect of the rhythm in Burn

Anticipations and lombardic rhythms (dotted rhythm where 2nd beat is longer)

what is the range of the sitar in Burn

Sitar has a wide range (3-4 octaves)

what are the melodic elements of the sitar in Burn

Begins in lower register and explores the notes of the scale, passage of thirds, rising sixth figure, trills, slides

what key is the sitar melody of Burn in

The sitar’s melody is in C\# minor (wth some B\#s- sharp 7th, similar to a rag). Opens with a defined descending line (b.5)

what are some examples of the way the melody is extended in Burn

Ornamentation- microtonal slides, acciaccaturas and mordents

what is the vocal range of Burn

Vocal range limited to a 6th. Vocal melody based on loose sequencing

what type of melody do the strings play in Burn (including the range and the anticipation and counter of the vocal melodies)

Strings initially only have a range of a 5th, but extends to a 6th at b.18. The line starting at b.18 seems to anticipate the vocal line at b.30-31. There is also a syncopated string idea developed into 1-bar countermelody in the final chorus.

what is the main melodic feature of the verse melody in Burn

Verse features a descending sequential idea.

what effect is the harmony in Burn

Static harmony effect

how does the harmony of Burn differ from western music

Avoidance of cadential harmony (Although (through many sus chords) there is a near perfect cadence at b.73-74)

what type of harmonic rhythm is found in Burn

Slow harmonic rhythm

How does the harmony sound in Burn

Often slightly dissonant

what are some examples of chords used in Burn

Some root position chords (b.87), Sus chords, Slash chords (results in some inversions- eg. 2nd inversion b.9), Added note chords (b.6), extension chords, 4 note chords

what type of chord progression appears and what harmony highlights the tonal centre in Burn

Relatively frequent A7-C\# progression. C\# is also present throughout, but at b.22 it takes the form of a tonic pedal

how does the raga style effect the harmony of Burn

Unconventionally prepared and resolved dissonances, raga-like effect with all notes heard against drone, strong feeling of imperfect cadences but not in Western classical sense.

what is the texture of Burn

Basic texture is melody dominated homophony (sitar accompanied by chords in the opening)

how is the texture of Burn extended

Chords vary in density as the piece develops and additional melodic content appears in the strings (b.14-21)

what is the texture of the strings in Burn

Octaves in strings (b.14)

how does the pedal texture differ in Burn

Lively synth bass figure at b.22. Here a percussion ostinato appears. Differs from tonic pedal

how does the texture of the vocal line change in Burn

Vocal part at b.30 is initially a single line, but late (b.54) it is doubled a 3rd below

where does the texture decline in Burn

B.86- texture thinned down to two parts

what happens to the texture at the climax in Burn

Densest textures occur at the climax, starting at b.98. textures become more polyphonic, contrapuntal, dialogue

what type of tonal system does Burn follow

Asian–inflected (modal) form of non-functional tonality

what is the tonality of Burn

Resembles C♯ minor, with strong bass line anchoring key.

what is the tonality of the coda of Burn

Coda moves through A minor and F major chords to finish on an open D5 chord.

how does the pedal relate to indian music in Burn

Constant C\#s could be likened to the tanpura-like drone of traditional classical Indian music

what is the general structure of Burn

Loosely follows verse chorus form with intro, instrumentals and coda

how could the intro of Burn be described

B.1-29- intro- alap, leading to rhythmically stricter jhala (b.22)

what instrument plays in the bridge of Burn

B.46-53- bridge- sarangi solo

what happens to the vocals in verse 2 of Burn

B.54-65- verse 2- vocals doubled in 3rds

how does the second bridge in Burn differ from the first

B.66-77- bridge- extended through interpolation (rerecording past melody instead of sampling) of instrumental motif from the introduction (b.14) at b.66 and reintroduction of strings from b.18 at b.70

what happens in the last chorus in Burn

B.98-104- chorus, climax

what happens in the coda of Burn

B.105-110- coda- new timbres (flute and cello) and a close out of key on open 5ths D

what instruments are used in breathing underwater

Sitar solo, string accompaniment (sometimes reinforced with woodwinds, horns and additional double bass), female vocals, flute, cello, tabla (b.27)

what dynamics are used in breathing underwater

mp/p on sitar and strings at the start and pp for female voice

what is the tempo of breathing underwater

120 crotchets per minute

how is the feeling of the tempo differed by the strings in breathing underwater

Slow, spacious impression created with long held string chords

what is the metre of breathing underwater

Simple quadruple (4/4) throughout except for b.37- 2/4

what is the rhythm of the harmony in breathing underwater

Characterised by slow-moving, long-sustained chords

what rhythms are used in the sitar in breathing underwater

Sitar part is free and varied: scotch snaps (b.2), triplets (b.6), quintuplets (b.12) and syncopation (b.5-6)

how do the melodies relate to the track after breathing underwater (Sea Dreamer)

Some anacrusis/ syncopation

what key is the sitar melody based on in breathing underwater

Sitar melody is notated within the scales of Db major and C\# aeolian

how is the melody extended in breathing underwater

Apart from microtonal slides, chromatic notes occur (eg, Cb- b.7-8) and Fb (b.17)

what is the range of the sitar in breathing underwater

Sitar melody lies in a generally higher tessitura than burn (bass clef only applied in b.61-67). Overall sitar range is two octaves and a third

how does the melody in breathing underwater relate to Shankar’s other works

The sitar line is a melodic paraphrase of ‘Sea Dreamer’ by Sting

what is the sitar melody in breathing underwater

Overall improvisatory but there are a few repetitions

what ornamentation is used in breathing underwater

Ornamentation: mordents, acciaccaturas, glissandi (microtonal slides)- seen in the sitar line, plainer melodies in the vocals

what is the vocal melody of breathing underwater

Vocals- notated in C\# minor but has major mode inflections. The first vocal melody is characterised by a conjunct descending line spanning a 6th (b.35-37), then a few bars later only a 4th (b.42-45). A contrasting conjunct line is heard in Db major (b.55). Appoggiatura in the last bar.

what is the string melody of breathing underwater

Strings- minims throughout, mostly stepwise, becomes more prominent at b.54-67

what type of harmonic rhythm is found in breathing underwater

Slow harmonic rhythm

how does the harmony differ from western music in breathing underwater

Absence of cadential harmony, apart from final plagal cadence

what types of chords are used in breathing underwater

Root position chords (eg. b.2-3), Sus chord (b.4), Added note chords (eg. b.7- added 9th), slash chords, maj 7th chords, diminished chords

what type of chordal movement is heard in breathing underwater

Some parallelism (b.27-28)

how do the vocals appear texturally in breathing underwater

monophony (female voice) b.35-36

what is the main texture of breathing underwater

Two part (voice and sitar) b.36-37

how does the texture of breathing underwater become more polyphonic

B.54- more distinct melodic strand can be heard in upper strings over which the sitar and vocal can be heard in free counterpoint

Polyphonic dialogue

how can the texture be described as homophonic in breathing underwater

sitar plays melody and underneath are homophonic chords in the strings and keys.

what is the texture towards the end of breathing underwater

Sitar melody and vocal countermelody and at the end the strings have a slightly more melodic part

how do the rhythms and texture relate in breathing underwater

Homorhythm

what is the tonality of breathing underwater

Db tonality but starts in Bb minor. The Db tonality is also veiled at b.16 by a Db sus4 chord with Fb in the sitar, giving a minor mode inflection

how does the key differ from the key signature in breathing underwater

From b.18-37, the key signature indicates a tonic major, though tonality here is vague and in fact this section ends on a A minor chord

what key does breathing underwater end in

B.38-77 returns to the region of Db

what is the overall structure of breathing underwater

almost like an extended instrumental introduction for the next track. Verse chorus with an extended bridge between chorus 1 and verse 2 and an outro after chorus 3

what are the structural features of bars 1-18 of breathing underwater

B.1-18- (Db) feeling of balanced 4-bar phrases

what are the structural features of B.18-35 of breathing underwater

B.18-35- (C\#)- 4 bar phrasing continues in accompanying parts, but the sitar’s 4 parts are out of synch with the accompaniment (1 bar out)

what are the structural features of B.35-53 of breathing underwater

B.35-53- (Db)- variation of the opening section, co-ordinated with voice

what are the structural features of B.53-70 of breathing underwater

B.53-70- further elaboration of sitar’s earlier material, combined with vocals and a most effective slow-moving melody in strings

what are the structural features of the coda of breathing underwater

B.71-77- coda- chromatic line in cello solo at b.75. Plagal cadence

what is the instrumentation of Easy

Most western sounding; scored for piano, electric guitar, warm pad, sitar, vocals (up to 3 parts), synth bass, percussion (electric drums, shaker, manjira- hand cymbals)

what are the dynamics of Easy

Relatively low dynamics with few indications: p at the start, crescendo at b.21 and mp at b.25. Accent marks are used at b.43

what is the tempo of Easy

84 crotchet beats per minute, without variation

what is the metre of Easy

Simple quadruple (4/4) throughout except for b.31 in ¾

what are the rhythmic features of the sitar in Easy

Sitar rhythms are similarly virtuosic and complex like the other pieces but there is also a septuplet in b.20

what are the rhythmic features of the accompaniment in Easy

Accompaniment marked by syncopation and rhythmic ostinato (b.2- dotted rhythms and notes tied over the beat)

what are the rhythmic features of the vocals in Easy

Vocals are marked by syncopation, scotch snaps, 1½ beat anacrusis

what are the melodic features of the sitar line in Easy

Has a heavily ornamented line, noted thorough in Gb without chromaticism

how does the melody open in Easy

Ornate sitar lines with relaxed vocal style. Sitar opens with a four-bar descending melody, repeated with slight variations.

what are the melodic features of the vocals in Easy

Restricted vocal range with major 2nds, pentatonic shapes, minor 3rds.

how do the verses impact the vocals of Easy

The range of the lead vocal is relatively narrow (6th) in the first verse, though in the second verse a melisma extends down from Db to Ab (b.13) and the middle 8 rises from a Bb to a Cb (b.46)

what are the intervals of the vocal line like in Easy

Vocal lines are frequently conjunct, with leaps form the most part restricted to 3drs and 4ths. There is an octave at b.44

what is the word setting of Easy

Underlay is a mixture of syllabic, slurred pairs of notes and melisma

what is the chord progression based on in Easy

Based on 3 sus chords (Db sus4, Gb sus2/Bb, Cb sus2). This creates a stepwise rising bass line (Bb-Cb-Db)

what does the harmony avoid in Easy

Harmony avoids primary chord progressions and cadences.

what type of chords are used in Easy

Inversions, flattened leading note chord (♭VII) acts as a substitute dominant.

what is the impact of the sustained chords in Easy

Dissonant sus4 chords with 3rds at the same time.

what chord does the song end on in Easy

The song ends on an unresolved D♭sus4 chord.