The Uhadi from South Africa

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Rhythm In Africa

Rhythm In Africa

Күн бұрын

Пікірлер: 7
@ChrisMusicRSA
@ChrisMusicRSA Жыл бұрын
I am super impressed with you channel my man, keep up the great work!! 🔥🔥🔥🙌🏻
@RhythmInAfrica
@RhythmInAfrica Жыл бұрын
Thanks for the power Chris!
@Qasral-Nil
@Qasral-Nil Жыл бұрын
Hello BiG Bro - Your Channel is very important. I'm a huge fan of your content much love from 🇿🇦 South Africa.
@RhythmInAfrica
@RhythmInAfrica Жыл бұрын
Thanks a lot brother!
@YotamPiano
@YotamPiano Жыл бұрын
Hey man, thanks a lot for the video. One thing I didn't understand, why did Udahi music has to be in a Lydian scale doesn't it follow the same harmonic series like guitar piano trumpet or any other instrument except Bells and Drums? because for guitar etc. you can play in all the modes . The harmonic series on common instruments always yields overtone frequncies of a dominant seven chord (e.g if you play a Do > (above are:) Do, Sol, Do, Mi, Sol, Si bemol - essentially a C7 chord with the Bb slighlty detuned) so why is the Uhadi different from common western instruments? is the Kalabash effect the reason? Thanks again!
@RhythmInAfrica
@RhythmInAfrica Жыл бұрын
The harmonic series also yields overtones of the mi on top of the Bb (ta). That mi forces any note (chord if we include the overtones) that's played on the Uhadi to be a major Chord since there's the mi. So remember re is supposed to be a minor chord but if you play it on uhadi it'd be a major chord. When we make Re a major chord instead of minor, that forces the scale that should be used to be Lydian. Lemme know if that's not clear so that I found another way to explain.
@YotamPiano
@YotamPiano Жыл бұрын
@@RhythmInAfrica Yeah but Lydian is just another mode with 5 wholetones and 2 semitones like any ionian scale and equal temperament as a whole is highly detuned "compromise" and contains dissonances among any interval. Overtones collide harshly in any mode or scale unless you use "pure temperament" and you're limited to 1 key and can't transpose. So in other words what makes the Uhadi "fail" in the Major scale where guitar, Banjo, Lute etc. succeed to sound good? After all the same harmonic series applies to the latter three (IDK about the Uhadi though) thank you for the explanation sir
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