The Fifth International Symposium on Traditional Polyphony ...
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The Fifth International Symposium on Traditional Polyphony ...

The Fifth International Symposium on Traditional Polyphony ... The Fifth International Symposium on Traditional Polyphony ...

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06.05.2013 Views

542 Nona Lomidze 1. glissando-like melismas (ex. 3 a); 2. Melismas winding around a principal note, ending with a second down (ex. 3 b); 3. sequence-like melismas (ex. 3 c); 4. appoggiatura-like (trill-like) melismas (ex. 3 d). What struck me when transcribing the songs was that melismas simultaneously occurring in two parts sung in parallel thirds are never executed at the same time. I have also noticed that six-tone melismas in the upper part are accompanied by four or five-tone melismas in the bottom part. Moreover, I have discovered those melismas which can only be found with the help of computer analysis. Shashvi-Kakabi (audio ex. 2; ex. 4) I got in touch with Levan Abaschidze, leader of the Tsinandali ensemble; here is what he had to say: “Rehearsing the melismas, the so-called curls, and deciding what kind of “curls” to practise, was very exhausting. With two-part melismas, the melismas are not sung simultaneously, but the parts follow each other chain-like (one part begins while the other ends). Since in such cases no parallel thirds are created, the singing becomes more interesting. If the melismas were executed in parallel thirds, the song would lose much of its charm. In a few melismas the second part is producing ornaments, while the first part is holding a tone and only afterwards combines with the ornaments of the second part. This is what Kakhetian singing should be like”. 2. Vibrato Together with the melismas also the vibrato was analysed with the help of the computer. ong>Theong> vibrato can be frequently found in Kakhetian songs. We can distinguish between (Mgzavruli, fig. 2 c, see also other spectrograms): 1. a tone without vibrato (a simple tone) 2. a sustained tone without vibrato 3. a tone with vibrato 4. a sustained tone with vibrato Conclusion 1) Melismas are an important part of singing. ong>Theong>y are frequently used by singers in order to bridge the transitions from tone to tone, notated as half notes or quarter notes. a) Some melismas are clearly audible; b) Some melismas are so fast that they contain five to six tones within a very short period of time. This and the exact pitch level are calculated by the computer; c) Melismas accompanied by an asterisk (*) can only be decoded with the help of the computer; 2) Vibrato is an important part of Kakhetian songs, often found in connection with the melisma. Before the melisma has been completed and changed into a sustained tone, a vibrato tone (instead of the melisma) is inserted. ong>Theong> singers learn a “skeleton”: melismas and ornaments are largely subject to their improvisation. As the singers point out: “ong>Theong>se songs have come down to us through oral tradition. ong>Theong>n we interpreted them and transformed them trough our own style of performance”. And it is this individual style that distinguishes the singers from each other.

nona lomiZe. danarTi Nona Lomidze. APPENDIX magaliTi 1. mgzavruli (gaSifrulia nona lomiZis mier) Example 1. Mgzavruli (Deciphered by Nona Lomidze) 543

n<strong>on</strong>a lomiZe. danarTi<br />

N<strong>on</strong>a Lomidze. APPENDIX<br />

magaliTi 1. mgzavruli (gaSifrulia n<strong>on</strong>a lomiZis mier)<br />

Example 1. Mgzavruli (Deciphered by N<strong>on</strong>a Lomidze)<br />

543

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