well, before his years in the Goulog and his infamous performance at "Euthanasia Count Valdrem's Concervatory" (in Berlioz, i can draw some parallels. I find the piece as an entirety reminds me of a recounted tale from Snorri, an early Icelandic mythographer, specifically the piece he transcribed written for Thojtholf of Hvin (in honor of the Yngling ancestors of King Harald's father line). It has the same compositional feel as an ancient Icelandic hoop dance, or jig.
most definitely man! i just have never heard such philanthropic notions within the parameters of a traditional song you know?! the aetherial, almost out-of-worldly compounding of systematic harmonic reverberations (which i'm sure has to do with the recording to some extent) can't help me to think that there must have been some, well, extra-terrestrial influence....i mean look at their traditional tokens of offerings
oh! i totally didn't hear that! wow, that means that it's like a combination of a waltz and a south-american shamanistic rhythm....true fusion! the harmonies though are certainly a unique development incorporating the complexities often expressed in only modern compositions, astounding
i just love the way the koto and zither players used extended breath techniques to inhance the timbre of the aedicule sections, providing a malasian "renaissance" feel. i also noticed that the quarter notes of the bass were arranged in sickle cells.
yeah, reducing to roughly 9.3 on the clave, and 6.45 on the guitar's subinterval punctuation of the downbeat (9/6) the clave itself though would have to be on the & of the 2, e of the 4, & of the 5, and a of the 7 in order for your idea to be true, as it does obviously fall on the intervalic pattern of 3, 5, 7 it alludes to the idea of a "golden section" (from European ethnography)thus pointedly opposite of traditional counterpoint. It seems to me most obviously a matter of polyrhythmic layering
touche. however, you are missing one crucial key. the use of romanesque seismic performance evaluation on every facade in the lower wing of the last two beats
hmmm....i can see where you are getting that from, especially in the 23-27 systems, but i think that metric modulation is more present in the opening "free-time" segment (an ideology from probably the tribal music of Africa). 15/8, does work, but skeletally the tune calls for a more transolopically complex rhythmic system, a 181 bar form transitioning from 3, 9, 6/7 with an layering of 3
i believe that this piece features an early form of the south american clave(it has its origins in african rhythms). instead of the typical 2-3 though, this features an order of 8-17-5.5-17-2.3-17-8-8-8 with every fourth touple shuffled according to the glissandos of the guitar, which in itself comes in a pattern of 4/4-4/4-4-4-2-2-4/4-4/4 with the last measuere sped up, similar to Andre 3000's hit song "Hey Ya"
well, it sounds to me like there is a waltz feel, probably from the early French influence of Madagascar --- probably a 6, or 3 combination with syncopation on the 9 it sounds like
Sa rapelle Madagascar ♥
LaMalgashe87 1 month ago
souvenirs ...
LoveChrisMarais 2 months ago
Tiako éé ♥
adrianadu87 7 months ago
Vive " Freddy Ranarison !"
Tsaroako tsara e...!
Mahafinaritra e !
Misaotra , mankasitraka e .....!♥♥♥
sylvoalias 7 months ago
Hafa ihany ny mozika gasy e!zany ny avy any aminay
hjymalala 8 months ago
à tous les malgaches !!!!!!!!!!!!!!!!!
madadu29 1 year ago
tsy mahay teny gasy ma olo aby reto? mampalahelo
mtp34mada 1 year ago
nice song! <3 ;)
supermajestic23 1 year ago
tsy hainay zany é!mdddr lol an revk B
0l1pk 1 year ago
I've been trying to figure out the time signature myself for ages. At one point I was going to try to score this piece for piano but gave up.
I love this song - the dance is a lot of fun too. Madagascar just kicks ass all around.
lemurbaby 2 years ago
It's just 12/8 a Malagasy Quadrille -HK
scini2009 2 years ago
misaotra e!
kentia767 2 years ago
well, before his years in the Goulog and his infamous performance at "Euthanasia Count Valdrem's Concervatory" (in Berlioz, i can draw some parallels. I find the piece as an entirety reminds me of a recounted tale from Snorri, an early Icelandic mythographer, specifically the piece he transcribed written for Thojtholf of Hvin (in honor of the Yngling ancestors of King Harald's father line). It has the same compositional feel as an ancient Icelandic hoop dance, or jig.
willmunroe 3 years ago
actually, it might just be in 3 or 6. nevermind.
ezk2517 3 years ago
most definitely man! i just have never heard such philanthropic notions within the parameters of a traditional song you know?! the aetherial, almost out-of-worldly compounding of systematic harmonic reverberations (which i'm sure has to do with the recording to some extent) can't help me to think that there must have been some, well, extra-terrestrial influence....i mean look at their traditional tokens of offerings
willmunroe 3 years ago
the playing style reminds me a lot of the great dillon chi, don't you think?
ezk2517 3 years ago
oh! i totally didn't hear that! wow, that means that it's like a combination of a waltz and a south-american shamanistic rhythm....true fusion! the harmonies though are certainly a unique development incorporating the complexities often expressed in only modern compositions, astounding
willmunroe 3 years ago
i just love the way the koto and zither players used extended breath techniques to inhance the timbre of the aedicule sections, providing a malasian "renaissance" feel. i also noticed that the quarter notes of the bass were arranged in sickle cells.
ezk2517 3 years ago
yeah, reducing to roughly 9.3 on the clave, and 6.45 on the guitar's subinterval punctuation of the downbeat (9/6) the clave itself though would have to be on the & of the 2, e of the 4, & of the 5, and a of the 7 in order for your idea to be true, as it does obviously fall on the intervalic pattern of 3, 5, 7 it alludes to the idea of a "golden section" (from European ethnography)thus pointedly opposite of traditional counterpoint. It seems to me most obviously a matter of polyrhythmic layering
willmunroe 3 years ago
touche. however, you are missing one crucial key. the use of romanesque seismic performance evaluation on every facade in the lower wing of the last two beats
ezk2517 3 years ago
hmmm....i can see where you are getting that from, especially in the 23-27 systems, but i think that metric modulation is more present in the opening "free-time" segment (an ideology from probably the tribal music of Africa). 15/8, does work, but skeletally the tune calls for a more transolopically complex rhythmic system, a 181 bar form transitioning from 3, 9, 6/7 with an layering of 3
willmunroe 3 years ago
i believe that this piece features an early form of the south american clave(it has its origins in african rhythms). instead of the typical 2-3 though, this features an order of 8-17-5.5-17-2.3-17-8-8-8 with every fourth touple shuffled according to the glissandos of the guitar, which in itself comes in a pattern of 4/4-4/4-4-4-2-2-4/4-4/4 with the last measuere sped up, similar to Andre 3000's hit song "Hey Ya"
ezk2517 3 years ago
well, it sounds to me like there is a waltz feel, probably from the early French influence of Madagascar --- probably a 6, or 3 combination with syncopation on the 9 it sounds like
willmunroe 3 years ago
the drums suggest a hemiola ultimatly fugueing into a highly syncoptated (3/2)*(5/4)=15/8-fold tempo increase.
the other instruments suggest a nineteenth century triplet feel that is slightly slowing down and speeding up every seventh measure
ezk2517 3 years ago
this is insane! what time signature is that in?
willmunroe 3 years ago
sounds to me like a 5 against 7 with an arpeggiated crescendo in 5/3 with a triplet feel in 16ths that is.
ezk2517 3 years ago