ORCHESTRATING the Pushto Film Song in a UNIQUE and COLOURFUL style can be difficult as the Pushto music media has limiting conventions of REPETITION and narrow TESSITURA [span of notes to make a melody]. However, Pushto Music Director Fazal Rabi Pardesi has produced this outstandingly ORCHEST... More
ORCHESTRATING the Pushto Film Song in a UNIQUE and COLOURFUL style can be difficult as the Pushto music media has limiting conventions of REPETITION and narrow TESSITURA [span of notes to make a melody].
However, Pushto Music Director Fazal Rabi Pardesi has produced this outstandingly ORCHESTRATED Pushto Song 'Khat Janana De' with a wide variety of TIMBRE [tones that identify particular instruments] and REGISTER [high and low sounds] in clever rotation to thrill the international as well as local audience.
The actress Nadira Mumtaz mimes to the unique Puktoon playback singer Gulnar Begum [1935-1995] - She was 'The Other Malika Tarnum [Queen of Melody]' than Punjabi Diva Noor Jehan. Gulnar Begum was a talented singer and original singer with the throaty nasal voice traditional of northern Indian culture. Begum was proud of Pathan culture, is said to have always worn the burkha in public and refused to sing for films in any other language but Pushto. She worked until the 1980s before eye pain and liver disease forced her to retire.
Biography and Radio Interview of Gulnar Begum at this link:
=GqzOHo8dN9E ORCHESTRATION The most striking thing about this song is the rotation ORCHESTRAL TIMBRES - This rotation of sounds and combinations are the key to making this piece a success to keeping audiences interested. The ENSEMBLE is large: PERCUSSION [instruments you hit]: Traditional TABLA [tuned large hand floor drums][+ playing sides of metal drum with finger nails]; 12+ WESTERN VIOLINS; RABAB [Traditional two string LUTE of Turkic, not Indian, origin]; SANTOOR [strings over a sound box played with sticks]; FLUTES; WESTERN CLARINET; SHENAI [Traditional OBOE];CHOIR. The FORM [sections over time]: INTRO: PERCUSSION: TABLA fifth (V) DOMINANT ['doh'/'sa'] note to first (I) TONIC note quaver rhythm of (V)-(I) CADENCE [musical full stop] start. A four note OSTINATO [repeated pattern] starts in a typcial Pushto style. The SANTOOR plays static on-beat OSTINATO layered on top. A SYNCOPATED [off-beat] rhythm pattern typcial of Pathan Music which stresses beat 2 and 4 of the bar starts under the OSTINATO begins. The CLARINET plays a snatch of the VERSE. IMITATED [copied] in SHEHNAIand low VIOLINS. CHORUS: Gulnar Begum sings the main hook line against drums. The melody rhythm is SYNCOPATED so it never hits the beat. CHOIR works in ANTIPHONY [question and answers] with another line line for VARIETY. Soloist sings a further line. This is repeated but the second time the whole CHORUS is IMITATED [copies in another voice for VARIETY and UNITY]. BRIDGE 01: VIOLINS rush up a SCALE [set of notes to make the tune] to 'lift' the song after a lot of repetition and to mark the end of CHORUS section with a CADENCE. A short tune on the STRINGS is answered by the (V)-(I) figure from the INTRO TABLA offering further CADENCE and UNITY by repetition. WOODWIND and VIOLINS combine to play quite harsh phrases which moves down in SEQUENCE each repetition with SANTOOR playing in ANTIPHONY as CADENCE. facilitate dancing on screen. VERSE: This starts on the (V) note area for VARIETY and MODULATION. The soloists line is CADENCED by the CHOIR - this is unexpected and adds VARIETY. CHORUS: A clever device is used here - The TABLAS play a heavy ON-BEAT note. This counter-acts the SYNCOPATION and also adds LOW REGISTER to the track to refresh the listener from the MIDDLE REGISTERS. BRIDGE 02: This moves through the same patterns but without the VIOLIN SCALE run. Metal parts of drums are hit with fingernails offering HIGH REGISTER relief for listener and adding 'countryside' effect. A solo FLUTE in HIGH REGISTER offers another VARIETY. The CLARINET then plays a mellow MIDDLE REGISTER to relieve the HIGH REGISTERS and harsh TIMBRES with VIOLIN ANTIPHONY. VERSE and CHORUS: Soloist sings line but the CANDENCING is played on SANTOOR instead of CHOIR. Nice open gentle texture. LOW REGISTER TABLA again thunders with SANTOOR in ANTIPHONY. [The RABAB generally continues intermittent OSTINATO or sometimes playing snatches of what vocalists are singing]. BRIDGE 01 - as before. VERSE & CHORUS as before CODA [End section]: WOODWIND play BRIDGE material. The METRE speeds up, the RABAB and SANTOOR play OSTINATO resembling an 'excited beating heart in love' - PROGRAMMATIC MUSIC - music not music but underlining drama in the text. SHEHNAI plays a 'Clarion Call' around note (I) to signal the end is near, plus to add a PROGAMMATIC note of maybe 'sadness' or 'impossible love' ontop of the 'beating heart' OSTINATO. This is a really skillfull clever piece of arranging using a wide variety of ORCHESTATING ideas to entrall the audience. Khaartoum Channel Encourages People to SUPPORT THE ARTS and BUY THE ORIGINAL. No copyright infringement is intended presenting this video for educational purposes. All rights to SABAH VIDEO, PESHAWAR, PAKISTAN. Less
Added Mar 17, 2012
Duration 5:38 | views 3797