Which jazz instrument cannot produce microtones

I wanted to study jazz because it was, like Indian classical music, steeped in improvisation. In , I started taking evening lessons under the Argentine pianist Germann Lema. I was also attending the weekly jam sessions under Tommy Halfert, head of the jazz department at the Newpark Music Centre, an affiliate of the Berklee College of Music in Boston.

I was also awarded a world music scholarship in June to attend a five-week performance programme in jazz at Berklee, which was a great learning experience. Later, I became part of a jazz quartet and we would gig regularly. What did you gain from your jazz education? Jazz gave me an understanding of harmony and the role it has in improvising. I feel that to pursue any musical collaboration, grounding in jazz is very essential, since it is the passport to understanding other types of music.

My Western classical training allows me to have dexterity and technical control over the instrument, and that helps me with my expressions and improvisations in raga renditions. I try to fuel all of my learning into the expression of a raga. You only perform Hindustani classical in concerts.

It is the music of my roots, and one that I am most inspired by and closest to. You were also part of an indie rock band, Little Green Cars. It was a super experience for me and I was a founder member during my school days. Little Green Cars is now extremely well known and their first single has been top of the charts in Ireland, Australia. I am so happy for them.

I found it refreshingly different and fun to be a part of the band, and a huge learning experience to play in a band and write music collectively. Do you see differences in the way audiences in the West perceive you? Western audiences love the slow alaap sections of a raga and I feel very relaxed and free to explore the raga with no time restrictions. They love to know more about it, so I also explain a bit before a rendition. Indian audiences are so knowledgeable, involved, and give so much vocal appreciation during a performance that one is always inspired to experiment and play with the rhythm and focus on the layakari rhythmic manipulations.

It is a challenge since the piano is not a traditional Indian classical instrument. The biggest stumbling block in playing ragas on the piano is the meend—the stretching of notes that is practised in Indian classical music by all musicians—and also the shrutis or micro-tones, which are not possible on the piano.

That is why people have stayed away from using the piano for Indian classical music. However, rather than take the piano to ragas, I try to bring the raga closer to the piano. I use the advantages of the piano to adorn the ragas and use its strengths to beautify the rendition. It may not offer meends, but the piano offers innumerable possibilities to explore other ornamentations and is one of the most expressive and versatile instruments.

I fuel all of my learning, so that I can communicate the essence of the raga in its pure form. When I play the piano, I try to get it to sing exactly what my mind is singing. The instrument is only a tool. I believe there is a piano designed to cover these limitations, allowing players to alter the tuning of notes either before or during a performance.

The Fluid Piano is a pretty incredible achievement. It is a fantastic instrument developed by Geoff Smith a Brighton-based composer and performer.

It can be groundbreaking not only for the music I play, but also for other styles of music which use micro-tones, like Arabic music or Iranian music. Never miss a story! Stay connected and informed with Mint. Q07 Q07 Q07 Ornette Coleman upheld the principle that jazz should be accessible to the ordinary listener. Q08 Q08 Q08 Jazz and rock both come from the same roots. Q09 Q09 Q09 Which bass player and composer significantly impacted jazz,eliminating a full score while still encouraging a framework for creativity?

Q10 Q10 Q10 Collective improvisation relies on. Q11 Q11 Q11 Which jazz instrument cannot produce microtones,and was thus eliminated from some ensembles that explored non-Western tonality? Q12 Q12 Q12 Which of the following is a jazz-rock fusion artist? Q13 Q13 Q13 Which best describes jazz collectives?

Q14 Q14 Q14 Which of the following explored the relationship between jazz composition and improvisation more than any of the others? Q15 Q15 Q15 Which jazz style has no familiar chord changes,no references to popular songs,and no steady beat? Q17 Q17 Q17 The term "third stream" was introduced by. Q18 Q18 Q18 A crossover musician is one who.

Q19 Q19 Q19 Which of the following combines rock rhythms with collective improvisation,extreme ranges in volume,and rapid shifts in tempo and mood? Q20 Q20 Q20 Which decade experienced a comeback for swing and bebop,but also turned toward inclusion of world music? Q22 Q22 Q22 When jazz ensemble members improvise while an orchestra simultaneously performs a Baroque fugue,this is referred to as. Q23 Q23 Q23 In which way is fusion least like rock?

Q24 Q24 Q24 How did the availability of electricity change jazz after the mid-twentieth century? Q25 Q25 Q25 Ornette Coleman compared his music to abstract art. Can you justify this assertion? Policies Privacy Policy.