World, Asian, India, Middle East, Japan AND Jazz Fusion.
Song Info
Track Files
MP3
MP3 2.6 MB • 128 kbps • 2:50
Story behind the song
The tune Vajrapani has a drone of a Major 2nd. The interval of a M2 has the ratio of 7:8. The first (A) section is in 8/8. The second section (we will call the B section) is in 7/8 time. They both repeat then in the C section where I superimpose/stretch the 7/8 rhythm to fit over the 8/8 rhythm and play them simultaneously, effectively expressing the interval of a M2 in the rhythm which is actually what your ear hears but at a much faster tempo when two different notes a M2 apart are beating against each other.
The drone is on C and D while the scale/melody that contains no D plays over itl. I chose a Japanese scale C Eb F Gb G B which has several changing tones expanding its chromatic possibilities.
That scales intervallic design of m3, M2, m2, m2, M3 can also create a rhythm in 12/8 ( l.. l.l ll. ..l). I need to be in 8/8 to express the abstraction of the M2 drone to the rhythm so I put the matrix for a measure of 8/8 underneath the chart for the rhythm in 12/8 and I put the rhythms in the 8/8 matrix on the rhythmic events nearest to the positions for rhythmic events that are occurring in the 12/8 pattern to get (l..l l ll ..l).
I play the rhythm on the Korean Changu drum, only I dont have a Korean changu drum so I used found sounds; a five gal plastic water bottle, a small white paint can and a small black one played with a real marimba mallet and a bamboo whip youre supposed to use, but its one I handmade. In Japanese Zen theater Noh, the form was appropriated from something that already existed so I feel O.K. in using whats at hand.
Also, in the Japanese Zen tea ceremony, they value pottery cups and other tools for the ceremony which are made in Korea because of their rustic simplicity. Although the master craftsman can make ceramics using more modern methods he purposely fires the cups to have imperfections in shape, texture, glazes because the look, feel and sound of the cups appeal to the mind. It reminds us of a more simple, uncomplicated life of a dweller in the countryside. I took the Japanese preference for Korean pottery and applied it to instrumentation.
The drone is played on a reed mouth organ I McGuyvered from a Kontakt 4 samplers instrument sample. Its called the Sho in China and its cousin is also used in Japanese Gagaku music: the longest continuously existing ensemble tradition. When going to the B section, the drone modulates up a M2, changing the key to reflect the M2 in the drone which has given me the reason to change key.
In order to express my identity, I like to include low rumbling since it sounds like a lion or a dragon. Im a Leo/Dragon. The samples I used sounded more like the echo of thunder so I enhanced that with a lightening strike played at the beginning of the rumble by slapping all the strings of the Santoor/Hammered Dulcimer simultaneously after tuning it to the chosen scale. I was struck by lightening when camping and feel lightening chose me to be my totem element.
I studied Korean changu drumming in Korea and learned the rhythm syllables for each stroke that the teacher says to inform you which strokes to play. In Buddhism, nonsense words are used in Dharanis which are spoken before a ritual because they are believed to protect the rite from evil spirits. Not proper to Zen but exists in it anyway.
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