Navarr music
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Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. | Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal chords for the relay of messages, cries of warning and the roar of a fear educing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation. | ||
Music | To achieve this sound look at music that fuses Celtic folk styles with African and South American tribal sounds. Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion, Amazonian and Amazigh music, to fuse with the sounds of the old culture. | ||
===Commonly known songs=== | ===Commonly known songs=== | ||
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====A musical tradition==== | ====A musical tradition==== | ||
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. | Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching. | ||
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===How to adapt your repertoire=== | ===How to adapt your repertoire=== | ||
* Western Folk tradition - If you can, keep the non-English. | * Western Folk tradition - If you can, keep the non-English. Try to pick folk songs that have a primal sound. Dirty them up by simplifying arrangements and then add tribal sounds. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture. | ||
* Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound. | |||
* Non-western traditions - Move songs into English. Try to lean melodies towards a more | * Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarri Look and Feel|feel] of primal otherworldliness. | ||
* Try to avoid | |||
===Our sources=== | ===Our sources=== | ||
Revision as of 12:51, 23 August 2012
Style summary
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Recent music has a practicality underlying it. Loud and high calling noises appear throughout the music in order to develop vocal chords for the relay of messages, cries of warning and the roar of a fear educing charge from hiding. Drumming is widely used for similar reasons. The sounds, in contrast to the melodic music of old culture, are often harsh which reflects the Navarr attitude towards nature - not one of harmony but of dominance. Much of the music of their lost cities has changed over time to include primal sounds, for example, fast fiddle and pipes or soft unison singing is joined by loud calling and percussion. Lyrics reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature are common but are dark and evocative rather than romantic. Work songs and cautionary tales are common as are the themes of travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than lamentation.
To achieve this sound look at music that fuses Celtic folk styles with African and South American tribal sounds. Music can draw on Scottish, Irish, Greek, Galician, and Basque/French folk tunes as well Tolkienesque fantasy for lyrics, with added African-style percussion, Amazonian and Amazigh music, to fuse with the sounds of the old culture.
Commonly known songs
Pick a few examples from the list below to specifically promote as well-known within that nation. Provide lyrics and score/chords. Preferably in a range of difficulties.
A musical tradition
Music has a practical use in Navarr society. Music plays a prominent part to create social harmony and to invoke the powers from beyond. It is used for work songs and for teaching.
Social rituals are often performed to music, such as courtship rituals where a male lead, supported by a male chorus, makes his case, and the female lead, supported by a female chorus, questions him.
Blood Rituals often rely on percussion support to evoke the feel of the pumping hear and helps focus the arts of the Vates.
One for the kids
Further examples
Songs
- I Come and Stand at Every Door - sad song about the fall of Navarri cities, easy.
- All the Pretty Ponies - lullaby remembering extinct horses, very easy.
- Ten Thousand Miles - song of love/travelling, medium.
Instrumentation and tunes
Strings, whistles, chanters, djembes, bodhráns and voices. Pretty much any instrument works well in Navarr.
Other performance traditions
- Storytelling is discussed in Navarri Culture and Customs
- Dance
- Poetry e.g. Stopping By Woods on a Snowy Evening by Robert Frost.
How to adapt your repertoire
- Western Folk tradition - If you can, keep the non-English. Try to pick folk songs that have a primal sound. Dirty them up by simplifying arrangements and then add tribal sounds. This will lend the sense that the old culture has been a little forgotten over time and will give added poignancy to the occasional song performed with a pure 'Celtic' sound. Maybe keep one or two songs unchanged and perform them unaccompanied as a powerful reminder of the old culture.
- Non-western traditions - Move songs into English. Try to lean melodies towards a more 'Celtic' sound.
- Try to avoid frenzied drumming circles - the Navarr are an urban culture turned traveller, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the [[Navarri Look and Feel|feel] of primal otherworldliness.
Our sources
- Modern Gaelic artists, modern pipers e.g. Finlay MacDonald, Scottish-influenced Canadian songs and tunes e.g. Ashley MacIsaac, Great Big Sea (although less poppy), the instrumental stuff by Shooglenifty e.g. Arms Dealer's Daughter (CD), Michael McGoldrick (e.g. Wired), Irish folk, Greek folk tunes and dances.
- Travel-themed songs and poems by Tolkien could provide inspiration e.g. http://allpoetry.com/poem/8500011-I_Sit_And_Think-by-J_R_R_Tolkien and the Misty Mountain song is spot on for the Navarr sound.
Here is a youtube playlist of appropriate or inspiring music.