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111 Cards in this Set
- Front
- Back
- 3rd side (hint)
And the Glory of the Lord: Key |
A Major |
It’s Major |
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And the Glory of the Lord: Time Signature |
3/4 |
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And the Glory of the Lord: Texture |
Switches between Homophonic and Contrapuntal |
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And the Glory of the Lord: Structure |
Ritornello Orchestral Introduction, no other Form |
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And the Glory of the Lord: Instrumentation |
4 Vocal Lines Accompanied by Violins, Violas and the Continuo |
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And the Glory of the Lord: Techniques |
Syllabic and Melismatic singing with Imitation between parts |
Vocal Techniques |
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And the Glory of the Lord: Melody |
Soprano, Alto, Tenor and Bass Vocals singing 4 main Motifs |
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And the Glory of the Lord: Harmony |
A Major Modulating to E Major (the Dominant) and B Major (the Supertonic). Ends with an A Major Plagal Cadence |
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And the Glory of the Lord: Rhythm/Tempo/Metre |
Fast tempo throughout with a General Pause before the ending in a slower Tempo. Hemiolas make some parts of the piece feel 2/4 not 3/4 |
Confusing metre |
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And the Glory of the Lord: Dynamics |
Little Dynamic change as the Continuo cannot change volume |
Think Continuo |
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And the Glory of the Lord: Context |
Baroque music is between 1600-1750. From 'Messiah' written in 1741. Bach, Purcell & Vivaldi are other Composers |
Era, Where it’s from, When it was written, other composers of this era |
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Mozart Symphony: Key |
G Minor |
It’s Minor |
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Mozart Symphony: Time Signature |
4/4 |
Pretty Basic |
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Mozart Symphony: Texture |
Homophonic |
Chordal |
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Mozart Symphony: Structure |
Sonata Form: Exposition, Development, Recapitulation |
3 Sections |
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Mozart Symphony: Instrumentation |
A Chamber Orchestra, made up of Strings, Woodwind and Horns |
Type of Orchestra |
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Mozart Symphony: Techniques |
Accents and Trills are played as well as falling Chromatic Patterns |
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Mozart Symphony: Melody |
Made up of 4 Balanced, Scalic, 4 or 8 bar Phrases in a ‘Question and Answer’ style |
Phrases |
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Mozart Symphony: Harmony |
Diatonic, based around Major and Minor Triads. There are also Chromatic Chords (such as Diminished), Pedal notes and a Circle of Fifths Progression. Modulates to the Relative Major (Bb) in the Second Subject in the Exposition. The Development begins in F♯ |
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Mozart Symphony: Rhythm/Tempo/Metre |
4/4 and Molto Allegro (very fast). The first Subject begins with an Anacrusis (An Upbeat) and other Rhythms such as Dotted Rhythms and Syncopation are used |
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Mozart Symphony: Dynamics |
Few Crescendos and Diminuendos as Dynamics are sudden |
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Mozart Symphony: Context |
Written in 1788 for performances in large rooms/halls. This the 1st Movements of 4 in the Symphony |
When it was written, Where it was performed, Where it is from |
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Chopin Prelude: Key |
Db Major |
It’s Major |
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Chopin Prelude: Time Signature |
Common Time or C or 4/4 |
Pretty Basic |
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Chopin Prelude: Texture |
Homophonic apart from last 2 bars (Monophonic) |
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Chopin Prelude: Structure |
Ternary (ABA) finishes with brief Coda |
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Chopin Prelude: Instrumentation |
Solo Piano |
Not Many Instruments |
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Chopin Prelude: Techniques |
Use of Sustain Pedal & middle/lower piano range |
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Chopin Prelude: Melody |
Acciaccaturas, Turns, Dotted Rhythms and Chromaticism are used to create a Lyrical Melody. Melody in Bass in Section B. Whole piece mainly in 4 or 8 bar Phrases |
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Chopin Prelude: Harmony |
Db Major Diatonic with occasional Chromaticism and Modulations to C♯ Minor (Enharmonic). Sections A and B end with an Imperfect Cadence and the Coda ends with a Perfect cadence & Double Sharps are used |
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Chopin Prelude: Rhythm/Tempo/Metre |
Common Time, Septuplets and Dectuplets used, Rubato (Flexible Tempo), Smorzando (Dying Away) and Slentando/Ritenuto (Slow Down) Markings are used |
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Chopin Prelude: Dynamics |
Crescendos and Diminuendos are frequently used alongside a wide range of Dynamics (pp to ff). Section B is louder (two ff Climaxes) |
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Chopin Prelude: Context |
Part of Op.28, a collection of 12 Preludes Composed in 1839, Part of the Romantic Period |
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Something’s Coming: Key |
D Major with C Major Sections |
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Something’s Coming: Time Signature |
Varies Between 3/4 and 2/4 |
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Something’s Coming: Texture |
Homophonic & Layered, 3 Main Ideas |
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Something’s Coming: Structure |
Intro, A1, B1, B2, A2, Outro - Alternated Ideas |
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Something’s Coming: Instrumentation |
Solo Tenor Voice Accompanied by a Soft Timbre Band of Woodwind, Brass, Percussion and Strings |
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Something’s Coming: Techniques |
Harmonics (high notes), Tremolos, Syncopation and Syllabic Singing |
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Something’s Coming: Melody |
3 Alternated Main Ideas sung by the Tenor Vocalist Syllabically |
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Something’s Coming: Harmony |
Two Contrasting C Major sections, frequent use of the Tritone (sharpened 4th interval). The last note sung is a Flattened Seventh giving an Unresolved ending. Harmony is Tonal and Jazz Influenced |
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Something’s Coming: Rhythm/Tempo/Metre |
Fast Tempo with frequent Syncopation to add Excitement and Anticipation. Cross Rhythms created by on-beat Bass part and off-beat chords |
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Something’s Coming: Dynamics |
Quiet Dynamics to reduce overpowering of the Vocalist |
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Something’s Coming: Context |
Musical Style Piece With Jazz and Classical Influences. Written By Bernstein in 19 for West Side Story, a Broadway Musical Based on 'Romeo & Juliet' |
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Electric Counterpoint: Key |
G Major with short Eb Major sections |
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Electric Counterpoint: Time Signature |
3/2 with 12/8 in Section B in some parts |
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Electric Counterpoint: Texture |
Contrapuntal |
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Electric Counterpoint: Structure |
A B Coda |
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Electric Counterpoint: Instrumentation |
1 Live Guitar, 7 Pre-Recorded Guitars & 2 Pre-Recorded Bass Guitars |
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Electric Counterpoint: Techniques |
Phase Shifting and Layering of Ostinatos, Metamorphosis and Metrical Displacement |
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Electric Counterpoint: Melody |
One-bar Motif Phase-Shifted through Guitars. Metamorphosis process in parts & a Resultant Melody played by the Live Guitar |
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Electric Counterpoint: Harmony |
E Aeolian Mode, Hexatonic Scales, Diatonic and no Cadence due to double note Chord end. Key change at Section B & Coda |
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Electric Counterpoint: Rhythm/Tempo/Metre |
The Tempo is 192 bpm (very fast) and it is12 /8 & 3/2 Polymetre. There is little Rhythmic variety as most of the piece is Repeated Patterns of Quavers. Syncopation and Repeated Quaver Ostinatos make it sound out of time |
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Electric Counterpoint: Dynamics |
Constant throughout with parts fading out |
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Electric Counterpoint: Context |
By Steve Reich. It was 1st Performed in 1987. Minimalism Started in 1960s due to reaction against Modern Music (Other Composers: Adams & Glass) |
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All Blues: Key |
G Major 7th |
Major Chromatic Chord |
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All Blues: Time Signature |
6/4 |
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All Blues: Texture |
Mainly Homophonic with Polyphonic solos that make the Texture Thinner |
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All Blues: Structure |
12-Bar Blues Progression throughout. The piece is split into the Intro, Head 1, Solos, Head 2 and Coda |
5 Sections |
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All Blues: Instrumentation |
Trumpet, Alto and Tenor Saxophones, Piano, Bass and Drum Kit |
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All Blues: Techniques |
Improvisation by Solo Instruments (Trumpet, Alto, Tenor and Piano). The Drum Kit uses Wire Brushes, The Bass plays Pizzicato (Plucked), and the Piano begins with a Tremolo and then starts Comping (Chords and Melodic ideas) |
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All Blues: Melody |
The Head Melody is simple and in Rising 6ths, played by the Trumpet. Syncopated Motifs (Trumpet), Virtuosic Playing Styles (Saxes) and Parallel Chords (Piano), are used by the Soloists |
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All Blues: Harmony |
Modal Jazz in the Mixolydian Mode. The 12 Bar Blues Goes: G7 G7 G7 G7 Gm7 Gm7 G7 G7 D7 Eb7/D7 F/G F/ G7 |
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All Blues: Rhythm/Tempo/Metre |
6/4 but sounds in pairs of 3/4 so is described as a Jazz Waltz. Syncopation and Swing Quavers are used |
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All Blues: Dynamics |
No specific Dynamics in the piece |
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All Blues: Context |
Jazz originates from the Southern States of America in the early 20th Century. This is from Miles Davis album, Kind of Blue in 1959 |
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Grace: Key |
E Minor but often Ambiguous |
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Grace: Time Signature |
12/8 Compound Quadruple Metre |
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Grace: Texture |
Monophonic |
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Grace: Structure |
Intro/Verse 1/Chorus 1/Intro Repeat/Verse 2/ Chorus 2/Bridge/Intro Repeat/Verse 3/Coda |
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Grace: Instrumentation |
Vocals/Guitars/Bass Guitar/Drum Kit/Synthesizer/Strings |
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Grace: Techniques |
Guitars use Drop D Tuning to increase range, Distortion/Flanging to Intensify sound (in the Coda), and Over-Dubbing to create a thick Sound. The Synth uses Pitch Modulation and Buckley uses EQ to remove lower Vocal Pitches (Telephone Effect) |
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Grace: Melody |
Vocals, using falling Melismatic Phrases, Word Painting, Vocalisation (Wordless Singing) and Falsetto |
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Grace: Harmony |
E Minor but Ambiguous often due to focus on other Chords, Chromatic Movements, Parallel Motion and Dissonant Harmonies are also heard. Power Chords in Chorus 1 are used |
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Grace: Rhythm/Tempo/Metre |
Bass Drum and Snare Drum create a Back-Beat (1&3, 2&4). There is Syncopation of Vocal Melody and Cross Rhythms are created with Quavers |
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Grace: Dynamics |
Varied throughout with loud Melismatic Phrases and Improvisation near the end |
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Grace: Context |
It is a Folk Rock Ballad released in 1994 alongside Hallelujah and Lilac Wine in Buckley’s only album: Grace. The Folk Revival happened in the 50s leading to the Folk Rock Genre in the 60s |
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Skye Waulking Song: Key |
G Major |
It’s Major |
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Skye Waulking Song: Time Signature |
12/8 Compound Quadruple Metre |
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Skye Waulking Song: Texture |
Thick & Heterophonic |
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Skye Waulking Song: Structure |
Intro/Verse1/Verse 2 & Instrumental Break/Coda |
5 Sections |
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Skye Waulking Song: Instrumentation |
Vocals/Violin/Wurlitzer Piano/Ulieann Pipes (softtone bagpipes)/Bouzouki (a Greek Lute/Accordion/Synth/Bass Guitar/Drum Kit |
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Skye Waulking Song: Techniques |
Synth Pitch Modulation & ‘Call & Response’ in Vocals |
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Skye Waulking Song: Melody |
Call & Response by Vocals, 'Nonsense' Vocables in Response, 1 Bar Vocal Phrases and Instrumental Countermelodies create an unusual Melody |
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Skye Waulking Song: Harmony |
G Major Diatonic, G/Em/C Chords are used throughout, a Modal feel is made by avoiding the Dominant, D |
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Skye Waulking Song: Rhythm/Tempo/Metre |
Syncopation in vocals & countermelodies, the High Hat plays Cross Rhythms that change when band enters to emphasize Time Signature |
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Skye Waulking Song: Dynamics |
Large Band raises dynamics and Accompaniment fades out in the Coda |
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Skye Waulking Song: Context |
Played and Written by Capercaille, in the Folk Fusion Genre, originally from a Lament. Waulking is pounding tweed cloth, and it was sung by women for motivation and to keep in time with the cloth movement |
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Rag Desh 1: Structure |
Alap, Gat, Jhalla |
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Rag Desh 1: Instrumentation |
Sitar (& Main Strings and 12 Sympathetic Strings) and Tabla (Two Drums: Dayan and Bayan) |
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Rag Desh 1: Techniques |
Tihai in the Gat, a short rhythm repeated 3 times; Strummed sitar strings |
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Rag Desh 1: Harmony |
Uses Rag Desh |
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Rag Desh 1: Rhythm/Tempo/Metre |
Free pulse in the Alap, moderate tempo in Gat, fast tempo in Jhalla |
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Rag Desh 1: Tals |
Jhaptal (10 Beats) and Tintal (16 Beats) |
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Rag Desh 1: Context |
Played By Anoushka Shankar |
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Rag Desh 2: Structure |
Alap/Bhajan |
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Rag Desh 2: Instrumentation |
Sarod (Plucked String), Sarangi (Bowed String), Pakhawaj (Double ended drum), Tabla (Two drums), Pair of Small Cymbals and a Voice |
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Rag Desh 2: Techniques |
Melismas and Ornaments by the Tanwar |
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Rag Desh 2: Melody |
Voice sings rag notes in Alap and sings a verse in the Bhajan, Sarangi and Sarod have Solos in Bhajan |
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Rag Desh 2: Harmony |
Based on Rag Desh, Rag notes introduced by Vocalist |
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Rag Desh 2: Rhythm/Tempo/Metre |
Slow with no pulse in Alap, Tabla Plays in Bhajan, |
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Rag Desh 2: Tals |
Keherwa Tal (8 Beats) |
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Rag Desh 2: Context |
By Chiranhi Lal Tanwar, A Bhajan (Hindu Devotional Song) |
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Rag Desh 3: Structure |
Alap/Gat 1 in Rupak Tal/Gat 2 in Ektal |
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Rag Desh 3: Instrumentation |
Bansuri (Bamboo Flute), Esraj (Bowed String), Shruti Box (Electronic Drone), Swarmandel (Plucked String), Tabla (Two Drums) |
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Rag Desh 3: Techniques |
Improvisation & Drones (D & A) in the Alap, Tihai in Gat 1 and Gat 2 and Tans (Fast Scales) in Gat 2 |
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Rag Desh 3: Melody |
Tans (Fast Scales) |
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Rag Desh 3: Harmony |
Based on Rag Desh |
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Rag Desh 3: Rhythm/Tempo/Metre |
Slow with No Pulse in Alap, Slow Gat 1, Fast Gat 2 |
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Rag Desh 3: Tals |
Rupak Tal (7 Beats) and Ektal (12 Beats) |
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Rag Desh 3: Context |
By Americans Steve Gorn and Benjy Wertheimer |
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