2:00 Shoor in G with Phrygian backing track in G. I should have used Phrygian in C since the melody had moved from Daramad shoor (phrygian in G) to Razavi (another shoor) in C
4:00 2-5-1 chord progression in Eastern music, Homayoun & Mokhalef as examples
10:00 Afshary
11:00 Abu Ata/Aeolian in E used with a Aeolian in E backing track
12:00 Leading tone in Western and Eastern music
14:30 I divide all modes in Persian music into 2 groups, 1) Home Key & Cadence on same note, 2) Cadence 1.75 tones under the home key
17:00 Harmonic Minor=Esfehan=Mokhalef come from atural minor=Aeolian=Nava
29:00 My conversation with composer Mr. Monfaredzadeh back in 1997 about polyphony in eastern music
4:00 2-5-1 chord progression in Eastern music, Homayoun & Mokhalef as examples
10:00 Afshary
11:00 Abu Ata/Aeolian in E used with a Aeolian in E backing track
12:00 Leading tone in Western and Eastern music
14:30 I divide all modes in Persian music into 2 groups, 1) Home Key & Cadence on same note, 2) Cadence 1.75 tones under the home key
17:00 Harmonic Minor=Esfehan=Mokhalef come from atural minor=Aeolian=Nava
29:00 My conversation with composer Mr. Monfaredzadeh back in 1997 about polyphony in eastern music
- دسته بندی
- موسیقی سنتی و نواحی
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