The Fifth International Symposium on Traditional Polyphony ...

268
Simha Arom, Polo Vallejo
51 Maglonia A - 5ªb I - 6/4* Lyric/love
67 Chela A - 2ª# I - 8 Lyric/love
68 Chela II A - 2ª# / 5ªb I - 8 Lyric/love
73 Kuchkhi A - 2ª# / 5ªb / 6# I - 5 Wedding
83 Utus Jari A - 2ª# / 5ªb I - 5/3 Rural
91 Chaguna A - ---- V - 8/5* Dramatic
Lyric/
95 Ojsa A - 5ªb I - 8
Rural
* <strong>The</strong> three parts begin simultaneously
We were surprised to observe that, contrary to the general practice of one part starting with a solo and the
other parts joining in, there are a relatively large number of songs in which the three parts start simultaneously:
1. E mode: 8 songs out of 19; 2. G mode; 4 songs out of 14; 3. A mode: 3 songs out of 27, one of which starts
with the two voices, middle and bass, at the same time.
Cadences
All of the songs in the mode of E end with the A-type cadence.
<strong>The</strong> semicadences and other rest points correspond to the first degree.
Songs in the mode of E tend to be with lyrical-love themes, lullabies and a single healing song.
Beginnings and endings
In the mode of E, the attraction towards the finalis is stronger than in the other modes due to the presence
of the half-step interval between the II and I degrees.
Most of the songs begin with the I or VI degrees. <strong>The</strong>re are only two songs that begin with the V and
VII degrees.
Occasional accidentals and shifts to neighboring modes
In the mode of E there are songs that go from start to finish with no accidentals.
In this mode, the accidentals only affect the 2nd degree in an ascending fashion and the 5th degree in
a descending fashion.
<strong>The</strong> ascending alteration of the 2nd degree suggests a shift to the mode of A.
<strong>The</strong> descending alteration of the 5th degree can be interpreted as a shift to the mode of B.
Movement of the bass part
<strong>The</strong> degrees found in the bass part of the songs in E are mainly: I -VI -VII.
<strong>The</strong> IV and V degrees occur only at certain moments during the development of the song.
Types of chords and harmonic syntax
<strong>The</strong> types of chords that appear in the E mode are highly varied:
On the degree (II and III degree do not appear in the harmonic syntax)
I 1 4/2 3 4/3 5/3 6/3 5/4 6/4 7/5
IV 5 7/5 8/6 9/6 (rarely 7 7/9)