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African Music Vol 4 no 3(Seb)

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Since the third player's job is to duplicate this inherent note pattern two octaves up on the top two keys (amakoone^i), each muho has a different third part (okukoonera). I found the akadinda tuning model as a whole slightly higher than the amadinda. THE MELODICAL CONNECTION OF THE BASIC PARTS The fundamental problem in this section is the closeness of the two basic parts.

The third part (okukoonera) performed by the third player on the two upper reeds (amakoone^t) is a duplication of the inherent bass melody perceptible to the attentive listener rising from the two lower keys (enfenge^i) as a result of the combination of the two basic parts. They are, in the broader sense of the word, only interpreters, for almost the entire repertoire of amadinda music is historical. Then you see that in the overall pattern (the combination of the two basic parts) there are many runs of Kiganda seconds (or Kiganda sevenths) as well as repetitions of the same note.

This statistical study of the microstructure has produced a number of characteristics in the technique of composing an amadinda melody. Below I would like to outline the main characteristics of the two basic parts in amadinda music based on my own observations in the field. The melody always changes from one to the other in the unfolding of the composition, pre.

Composition rules can be understood primarily from the point of view of the overall pattern.

Fig. 5  (b) III.  Preferred combinations.
Fig. 5 (b) III. Preferred combinations.

PART II

An important feature of amadinda music is the existence of a shift between tonal steps, evident both in the overall pattern and the individual parts. An important difference between akadinda and amadinda music lies in the structure of the core pattern. In the Kiganda band, the real "bass" is the Empunyi drum, which plays a series of regular beats coinciding with every second note in the core pattern.

The beats of the Empunyi drum in the Kiganda orchestra usually coincide with the guide note in the 8- and 16-note patterns, which emphasizes its importance. There are a few exceptions to this rule in the present collection, which are of significant importance (eg this pattern in the song "Akakuba-mpanga n'enkoko sanda mangu" (no. 100) and a similar version in the song no.

This extraordinary okwawula occurs in the song "Kawutayeggalidde" (No. 101), the most unusual composition in the Akadinda repertoire. This means that in okwawula it must be duplicated by the left hand tone while the right hand tone must follow with a Kiganda four up (nuclear harmonization). We can easily see that the left note in okwawula is identical to the guide note and the right note is the top Kiganda four to it.

It is used in the same way as with 8-note and 16-note patterns (see below). Here, the rule for finding the okwawula is that the first note after the first melodic pause in the okunaga section should be taken as the directional note and harmonized accordingly. The second particle of "Katongole" must be added, which gives the full pattern 14.35 in the example above.

Usually in the present collection such patterns without guide-note are harmonized with the "Basubira-malayika" pattern. But here an important difference seems to arise: the note to copy the guide note is in the right hand of the okwawula, while the left hand plays a lower Kiganda fifth to it. In the present examples, the pattern is inserted so that its starting point immediately follows the first note of the nuclear pattern.

If there is no leading note and no other way to determine the entry into okwawula, check that the end note of a given okwawula pattern is the same as the starting note (so in the "kulya-kulya" pattern and the rising fourth pattern). The entry point and level of okwawula depends on the guide and at what interval it appears, not on the form number of the okunaga work.

PART III

In disruptive patterns like "Nanta^a Lubanje" it is also the right hand that is in unison with some key points of the okunaga melody. I would like to show the structural connection between the parts amadinda and akadinda of the same title first with an example where it is evident; the song "Ganga alula" (no. 19 and 76). The close identity of the total models amadinda and akadinda with the same title is a facsimile. the national aspect of the Kiganda music system.

Here we must not overlook the most important concept in the Kiganda xylophone music: mikol It is insufficient to compare the akadinda version with only one muko of the amaditida version. At first glance, I think very few readers will detect any similarity at all between the akadinda version and any of the five miko in the amadinda version. We must remember that it is one of the primary goals of Kiganda instrumental music that the vocal part is contained within the structure. the instrumental version.

Incidentally in European dodecaphony it is also the "melody" of the tone line that is preserved, with the individual notes being deliberately "stretched out" either by repetition or extended duration. The total patterns of the two instrumental versions coincide, though not necessarily. sarily in every single note, and of course, in just one muho. This causes a slight difference in the tempo of the vocal melody in each of the two versions.

When a musician plays ebisoko, he is not improvising in the strict sense of the word, that is, coming up with patterns ad libitum, but he is playing fixed patterns of melodic variants, as he has often played in other performances. Yet one evening in the summer of 1962, Mr. Muyinda explained to me what he considered the miko of the akadinda. It is usually one of the top players that has the right to vary, but the. other players need not necessarily follow him in the lower octaves.

I have arranged the transcripts according to the number of notes in the core pattern, while the akadinda transcripts are given in the order of the different okwawula patterns. Like that of the okukoonera, marked with an asterisk, this should be taken as a suggestion. Those pieces of apparently recent date are marked with the letter M, after the translation of the title.

Ed. Note: The star, which indicates the beginning of the okukoonera part, follows the figure to which it refers). Melodic variations in both parts should be used every other repetition of the 25-note pattern.

Group I

Ekintu ky'ennyama Ok. 68) Munyoro atunda ebyennyanja bya nandere.

Group III (92) Nakulabudde (I warned you)

I would like to take this opportunity to express my gratitude to the following people in Uganda who have been interested in this work and have helped me in my research. The Blind Musicians of Selam a, for their interest and appreciation for playing me in their band in 1959/60 and 1961/63, even in public performances. Ephraim Bisase, Superintendent and Field Officer at Salama, for his friendly hospitality and help in registering the Salama blinds, and great help in translating songs, titles and terms into English.

Suleman Wa ida (blind), all for valuable information on techniques and nomenclature in akadinda music and other music from Uganda. Elvan ia Nam u kw a ya Zirimu, for considerable help with the translation of Luganda song titles and spelling, and for her hospitality. The translation of the song titles in this article was mainly done by Ms. Zirimu in collaboration with Mr. Muyinda).

Charles Sekinto, Curator of the Uganda Museum, for his great interest and hospitality and great help in the translation and interpretation of the Luganda nomenclature. The musicians at the Uganda Museum for being interested in practicing amadinde and harp music with me. M., 1949: African Music in Northern Rhodesia and Some Other Places, Rhodes-Livingstone Museum, Livingstone, Northern Rhodesia.

Figure

table  circumstances  in  Nigeria  which  tied  up  all  my  Uganda  notes  for  six  years
Fig. 5  (b) III.  Preferred combinations.

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