Navarr music
Markwilkin (talk | contribs) mNo edit summary |
Markwilkin (talk | contribs) mNo edit summary |
||
| Line 6: | Line 6: | ||
Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Much of the music of their lost cities has degenerated over time to include primal sounds. To achieve this sound look at music that fuses Western Folk styles with African and South American tribal sounds. Try to avoid frenzied drumming circles - the Navarr are an urban culture turned feral, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the feel [link to feel section] of primal otherworldliness. | Navarr music reflects a dichotomy of wistful remembrance for their old culture and the practicalities of survival in the wild. Much of the music of their lost cities has degenerated over time to include primal sounds. To achieve this sound look at music that fuses Western Folk styles with African and South American tribal sounds. Try to avoid frenzied drumming circles - the Navarr are an urban culture turned feral, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the feel [link to feel section] of primal otherworldliness. | ||
Music of the old culture can draw on Scottish, Irish, Greek, Galician, Basque/French folk tunes as well Tolkienesque fantasy - Fast fiddle and pipes alongside soft unison singing. However, most of the music should be feralised by ,for example, the inclusion of African percussion. 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, etc. sound. | Music of the old culture can draw on Scottish, Irish, Greek, Galician, Basque/French folk tunes as well Tolkienesque fantasy - Fast fiddle and pipes alongside soft unison singing. However, most of the music should be feralised by, for example, the inclusion of African percussion. 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, etc. sound. | ||
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. Amazonian and African Tribal music and Amazigh music chanting can be drawn on for this, but and where possible fused with the sounds of the old culture. | 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. Amazonian and African Tribal music and Amazigh music chanting can be drawn on for this, but and where possible fused with the sounds of the old culture. | ||
Revision as of 11:55, 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. Much of the music of their lost cities has degenerated over time to include primal sounds. To achieve this sound look at music that fuses Western Folk styles with African and South American tribal sounds. Try to avoid frenzied drumming circles - the Navarr are an urban culture turned feral, but wants to return to city life – and try to avoid the ceilidh vibe. Jigs and waltzes don't match the feel [link to feel section] of primal otherworldliness.
Music of the old culture can draw on Scottish, Irish, Greek, Galician, Basque/French folk tunes as well Tolkienesque fantasy - Fast fiddle and pipes alongside soft unison singing. However, most of the music should be feralised by, for example, the inclusion of African percussion. 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, etc. sound.
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. Amazonian and African Tribal music and Amazigh music chanting can be drawn on for this, but and where possible fused with the sounds of the old culture.
Lyrics should reflect the dichotomy of the memory of lost cities and the practicalities of life in the wild. References to nature should be dark, evocative and never romantic. Work songs and cautionary tales are common. Songs about travelling, fate, forests, and blood. Songs of the old culture; lost cities and sacrifice concentrate on remembrance rather than unhelpful lamentation – i.e avoid dirges.
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
Suggest how the music fits into the cultural behaviour in general (e.g. battle hakas, wassails).
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. Maybe keep one or two songs pure to use as a powerful reminder of the old culture.
- Non-western traditions - Move songs into English. Try to lean melodies towards a more celtic, etc.. sound
- Try to avoid going too far into jigs, waltzes, frenzied drumming circles and dirges (see above).
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.