Žabe i Babe. The Band and a Musical
Analysis of their song Sjaj Mjeseče
Paper for the Proseminar And then I wrote a song... - Popularmusikalische
Formen und Strukturen, held by Michael Hecht in the Winter Term 2009
Institut für Musikwissenschaft, Universität Wien
Timon Thalwitzer
Matrikel # 0103857
Studienkennzahl A 316
January 29, 2010
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
2
Contents
1 Introduction
3
2 The Artists
2.1 Žabe i Babe . . . . . . . . . . . . . . . . . .
2.1.1 Tim Eriksen (vocals, electric guitar) .
2.1.2 Mirjana Laušević (vocals, keyboard)
2.1.3 Tristra Newyear (vocals) . . . . . . .
2.1.4 Donno Kwon (vocals, percussion) . .
2.1.5 Other members of Žabe i Babe . . .
2.2 Ansambl Teodosijevski . . . . . . . . . . . .
2.2.1 Sami-Buco Zekirovski (clarinet) . . .
2.2.2 Simeon Atanasov (accordion) . . . .
2.2.3 Pero Teodosijev (keyboard) . . . . .
2.2.4 Eljam Rašidov (drums) . . . . . . . .
2.2.5 Zahir Ramadanov (trumpet) . . . . .
3 The
3.1
3.2
3.3
3.4
3.5
3.6
3.7
Recording
Lineup . . . . . . . . . . . . . .
Form . . . . . . . . . . . . . . .
Meter and Rhythm . . . . . . .
3.3.1 Terminological Remarks
3.3.2 Drum and Bass Patterns
Melodics . . . . . . . . . . . . .
Harmonics . . . . . . . . . . . .
Lyrics . . . . . . . . . . . . . .
3.6.1 Bosnian (original) . . . .
3.6.2 English (translation) . .
3.6.3 Remarks . . . . . . . . .
Summary Chart . . . . . . . . .
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4 Appendix
25
4.1 Sjaj Mjeseě - Lead Sheet . . . . . . . . . . . . . . . . . . . . . 26
4.2 Sjaj Mjeseče - Arrangement . . . . . . . . . . . . . . . . . . . 27
4.3 Sjaj Mjeseče - Bass . . . . . . . . . . . . . . . . . . . . . . . . 28
Bibliography
30
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
1
3
Introduction
I originally planned to solely conduct a musical analysis of a recording I
appreciate a lot: Sjaj Mjeseče, by the American Balkan/Folk/Pop Band
Žabe i Babe. But when I started to do some research on this band, I noticed
that not much material seemed to be available. The band is no longer active,
released one record only, and did not gain too much public attention outside
the northwest of the U.S.A. To my knowledge, there is no account of them in
music literature. Information on them is mainly to be found on the Internet
(in particular, Žabe i Babe’s website [4]), and since the Internet is such a
short-lived and elusive medium, I decided to use the opportunity of writing
this paper to collect and document the sparsely scattered information that
I found and to conserve the texts in written form, hopefully contributing to
preventing Žabe i Babe’s work from fading into oblivion too soon.
Also, I contacted Tim Eriksen and Donna Kwon1 (two former members
of Žabe i Babe), in order to find out a little more about the group’s history.
They were kind enough to take the time and answer many of my questions,
and so I had the chance to conduct a little interview via e-mail with them.
In Section 2, I want to outline the background and history of the artists
involved in the recording of Sjaj Mjeseče. Section 3 is the main part of
this paper, the one I originally had in mind writing. In it, I analytically
examine some of the features of the song. In Subsection 3.7, for reference, I
am summing up the data relevant to Sjaj Mjeseče in list/tabular form. In
the appendix, Section 4, I have included the transcriptions I have made from
the recording and which I used as a basis for the musical analysis.
2
The Artists
Two bands collaborated for the recording of the album Drumovi (1997), on
which Sjaj Mjeseče was released: Žabe i Babe (from the U.S.A.) and the
Ansambl Teodosijevski 2 (from Macedonia). These two groups are coming
form fairly different backgrounds, met by chance, and have worked together
this one time only.
1
At this point, I would like to express my great gratitude to them for their open-hearted
and encouraging helpfulness.
2
A few different spellings of this name can be found, e.g. Ansambl Teodosievski.
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
2.1
4
Žabe i Babe
Žabe i Babe was “[f]ormed in 1991 by Bosnian ethnomusicologist Mirjana
Lausevic and multi-genre performer Tim Eriksen (the band Cordelia’s Dad,
the film Cold Mountain) [18].” They were last active in 2000 [17]. During
that period (1991–2000), the band featured a few different lineups. The most
notable activities of the group were the following:
Live Performances According to Donna Kwon (another member of the
band), “[t]he concerts were mostly on the East Coast of the US”, and
the group “played anywhere from 1-7 shows per year while [they] were
active”. She also sent me a list of some of the band’s bigger shows [24]:
• apr 2000 Tufts University, Hillel Center, Boston, MA
• aug 1999 Harvard University, Kosovo Benefit, Sanders Theatre,
Boston, MA
• may 1999 Harvard University, Sanders Theatre, Boston, MA
• oct 1998 Dartmouth College, Hanover, NH
• sept 1998 Balch Institute, Philadelphia, PA
• sept 1998 Amherst College, Amherst, MA
• jul 1997 Trinity College, Hartford, CT
• oct 1995 Colgate University, Hamilton, NY
• oct 1995 Wesleyan University, Middletown, CT
Dona Kwon told me that the concerts typically consisted of two sets
with different types of songs: “There was usually an a capella set of
more traditional pieces and a electric set with the band. Many of the a
capella songs were for three female voices, although there were several
male and female solos and other ensemble vocal songs [24].”
Recording The band recorded one album, called Drumovi, together with
the Ansambl Teodosijevski, in 1997.
Television Program Žabe i Babe was featured in an episode of the PBS3
series Exploring worlds of music, which “was a pretty big deal—it aired
on our [the U.S., remark] public television quite a bit [24].” I suppose
that this is what exposed the music of Žabe i Babe to the greatest
number of recipients.
3
Public Broadcasting Service: a “private, nonprofit corporation, founded in 1969, whose
members are America’s public TV stations.” [7]
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
5
The band came from an academic context. The listing above already indicates that many of the concerts were held at universities, and—as Donna
Kwon told me—the group’s members knew each other from a university program:
Basically, most of the musicians were linked through the Wesleyan University world music program (Tim [Eriksen], Sarah,
Inge, Donna [Kwon], Minja [Laušević], Michael [Veal], Tristra
[Newyear] - undergrad) or were friends of people (Rani [Arbo],
Peter [Irvine]) in the program. [24]
Apart from the last two, these were all ethnomusicologists. I asked Donna
Kwon whether she thinks that it had any impact on the music of Žabe i
Babe that so may of its members were ethnomusicologists. Here is what she
answered:
Yes, I think so. Many of our shows were academic in nature and
the fact that we had those connections probably helped. On the
other hand, if [we] had nothing else to do but just perform, maybe
we would have been more active because most of us were trying
to juggle multiple projects at one time. [24]
On the official homepage of Žabe i Babe [4], as well as on the band’s MySpacewebpage [8], one can read the following text:
žabe i babe is an exuberant and eclectic band. Their style is all
their own, but they love, and are influenced by, Bosnian traditional and popular music. [. . . ] Formed by MINJA LAUSEVIC,
zabe i babe debuted at a Yale University symposium on music and
politics in Eastern Europe. Since then, zabe i babe has been well
received by audiences at festivals, clubs and Universities such as
Dartmouth, Wesleyan, Harvard, the Charter Oak Cultural Center, and the International Festival of Arts and Ideas.
In the booklet to the CD Drumovi, the band is described by Mirjana Laušević
as follows:
Žabe i Babe (literally meaning “frogs and grandmothers”) is the
Serbo-Croation equivalent of the phrase “apples and oranges”.
We chose the name to reflect the eclecticism which has been a
trademark of the band since it was formed in 1991. Most of our
songs are drawn from Bosnian traditional and popular sources,
but over time we have developed our own style, embracing all our
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
6
various musical and cultural backgrounds. When all is said and
done, the band is probably more American than anything else.
[25]
Now I want to introduce the members of Žabe i Babe, who were involved in
the recording of Sjaj Mjeseče in a little more detail. Thereafter, I will also
briefly say something about the remaining members, who were (at least at
some stage) part of the band.
2.1.1
Tim Eriksen (vocals, electric guitar)
The internationally probably best-known member of Žabe i Babe is Tim Eriksen. According to the Wikipedia-page on him, “Tim Eriksen is an American
musician, musicologist, and professor. He is the leader of the band Cordelia’s
Dad, a solo artist, and was a performer and consultant for the award-winning
soundtrack of the film Cold Mountain. [10]” The following, “official” text is
provided on Tim Eriksen’s MySpace-Webpage:
Fans of singer and multi-instrumentalist Tim Eriksen (Cordelia’s
Dad, ”Cold Mountain” soundtrack) know him for his hair-raising
voice and intense renditions of ancient American songs. Tim’s
hardcore Americana sound is a tightrope walk balancing tradition and innovation, as befits someone who has shared the stage
with both Doc Watson and Kurt Cobain, and recorded with both
Ralph Stanley and Jack White.
Tim combines raw vocals with savvy arrangements for fiddle,
banjo, guitar and bajo sexto, and alternates stripped-down story
songs with quirky originals. His new solo album ”Northern Roots
Live in Namest” (Indies Scope, 2009) highlights the power of New
England murder ballads, stark ”shape-note” tunes, love songs and
a dose of Irish and Southern Appalachian sounds. [11]
More information can be found on Tim Eriksen’s official website [18]. Besides
being a vocalist (in a range of different styles, sacred harp4 and others),
instruments he plays include violin, banjo, guitar, bass guitar, and Saraswati
veena, an Indian string instrument (see [10]).
There is also a snippet introducing him on the Žabe i Babe homepage:
4
sacred harp singing is a tradition of sacred choral music, performed a cappella, in the
U.S.A. It is a form of “shape note singing”, which uses a notation system differing slightly
from standard western musical notation.
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
7
TIM ERIKSEN and PETER IRVINE are both founding members
of Cordelia’s Dad, who have produced numerous recordings and
toured extensively throughout Europe and North America. In addition, ERIKSEN tours solo and with his vocal group Northampton Harmony. His formal training is in Carnatic (South Indian)
music, and he holds an MA in ethnomusicology from Wesleyan
University. [4]
2.1.2
Mirjana Laušević (vocals, keyboard)
Mirjana Laušević was born on April 3, 1966 in Sarajevo, Yugoslavia and
died on July 15, 2007 in Western Massachusetts, U.S.A., from cancer [24].
Apart from her work as a musician, she was researching and teaching as an
ethnomusicologist. She was married to Tim Eriksen. From Žabe i Babe’s
MySpace-Webpage, one learns that
[i]n her native Sarajevo, LAUSEVIC was a commentator on national Television, led Yu-Etno, a traditional Bosnian vocal group,
and taught at the Music Academy of the University of Sarajevo.
She has published numerous articles and radio interviews on various issues concerning music and politics in Bosnia. [8]
Here is a short “in Memoriam” article/curriculum vitae on her by Emily
Gold Boutilier, which I found on the website of the Amherst College, where
she was working:
Mirjana Minja Lausevic, visiting Valentine Professor of Music at
Amherst (2006–07) and associate professor at the University of
Minnesota in Minneapolis, died of a recurrent illness on July 15
in Western Massachusetts.
Born and raised in the multi-ethnic city of Sarajevo in the former
Yugoslavia, she received her bachelor’s degree in musicology and
ethnomusicology from Sarajevo University in 1988. Much of her
research examined how music helped to both unite and divide
ethnic groups in the Balkans.
After coming to the United States in 1991, Lausevic earned her
master’s degree and doctorate in ethnomusicology at Wesleyan
University. She published numerous articles based on her fieldwork in Bosnia, Serbia, Croatia and, more recently, the United
States. Her book, Balkan Fascination (Oxford University Press,
2007), explores the multiple roles and meanings Balkan music has
had in the United States over the past century.
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
8
Lausevic once led a traditional Bosnian vocal group named YuEtno. In New England, she sang and played keyboard with her
group Zabe i Babe, which recorded a CD titled Drumovi (Bison Publishing) and was featured on public televisions Exploring
Worlds of Music series. She was a regular member of shapenote/sacred harp singing communities in Northampton, Mass.,
and Minneapolis. Lausevic earlier taught at Dartmouth College.
She is survived by her husband, Tim Eriksen 88, also a visiting
Valentine Professor of Music; two children, Anja, 3, and Luka,
5; her mother; and her brother. A memorial service was held in
Northampton at the end of July. [13]
2.1.3
Tristra Newyear (vocals)
The lead vocalist on Sjaj Mjeseče, “Tristra [Newyear,] was in the band from
1994/95 until just after the time Drumovi was published so about 1997.
[. . . ] Tristra is not Native American, she is Caucasian [24].” She is also
working as an ethnomusicologist. Here is the text from the Omnium Records
homepage, which is (no longer) to be found on the Žabe i Babe homepage
(probably because when the band last worked together, she was not in the
group anymore):
TRISTRA NEWYEAR (not pictured) has applied her phenomenal voice to various folk traditions around the world including
those of Bosnia, Russia, Finland and India. [5]
2.1.4
Donno Kwon (vocals, percussion)
Donna Lee Kwon was “[b]orn in San Francisco, CA, [as a] second generation
Korean American [24].” She is an assistant professor for ethnomusicology
at the university of Kentucky in Lexington, Kentucky, U.S.A. Her main research interests include the music of Korea, East Asian, and Asian-American
popular musics (see [6]). As far as her role in Žabe i Babe is concerned, she
told me that she “pretty much only sang and played tambourine on Drumovi
but during [Žabe i Babe’s] performances (without the Teodosijevski ensemble) [she] also played keyboards and dumbek [24]. ” About her other work
as a musician, she says that
I have been active doing Korean traditional percussion (pungmul
and samulnori) and Asian American jazz or creative music in
the last decade. In this capacity I’ve played with Jeff Chan,
Tatsu Aoki, Francis Wong, Jon Jang, Miya Masaoka, Mark Izu,
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
9
Brenda Wong Aoki, Hafez Modirzadeh, John Carlos Perea and
others, mostly in the San Francisco Bay Area and Chicago. I
play most regularly with Jeff Chan and Tatsu Aoki these days
and I mostly play Korean percussion and sing. I did play in a
couple of other rock/pop bands but they were pretty temporary
affairs/experiments. [24]
Here is the text from the Žabe i Babe homepage about her:
DONNA KWON has performed as a vocalist/ percussionist at
such venues as the Metropolitan Museum of Art (NYC), San
Francisco’s Asian American Jazz Festival, Stanford, and recently
was a guest soloist with the Berkeley Symphony Orchestra. She
recently completed a Ph.D in ethnomusicology at UC Berkley. [4]
In the interview questions she answered for me, she gives an interesting account about her view on Southeastern European music and her time with
Žabe i Babe:
I would say that Zabe i Babe was one of the most meaningful
musical and social experiences I have had in my life, a once in
a lifetime thing. It was really an eye-opening and adventurous
time in my life that really challenged me to think about music and
vocalizing in a new way. There is so much about Southeastern
European music that I love and I am so grateful that I had this
opportunity to get to know it so intimately and in such a fun
setting. [24]
2.1.5
Other members of Žabe i Babe
The following are the members of Žabe i Babe who are not linked directly
to the track Sjaj Mjeseče:
Peter Irvine played drum set and sang on two of the tracks on Drumovi
and in the live performances. He is also playing in the band indie rock
Cordelia’s Dad with Tim Eriksen, sings Sacred Harp music (e.g. for the
soundtrack of the film Cold Mountain), and is working as an attorney
(specialized in the music industry). [2]
Rani Arbo Donna Kwon tells us that “Rani got involved in Zabe i Babe
through mutual friends. She went to college with Tim and we knew
her through the Wesleyan music scene [24].” On the Žabe i Babe
homepage, we are informed that “RANI ARBO is a songwriter, singer
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
10
and instrumentalist best known for her work as a founding member
of the bluegrass/swing band Salamander Crossing [4].” She currently
(2010) plays fiddle and lead vocals in the band Rani Arbo & Daisy
Mayhem [3].
Apart from these two, Donna Kwon said that “[t]there were other vocalists and other members of the band prior to 1994 or 95, plus Michael Veal
(another ethnomusicologist/performer) played bass at one point as well. The
two other vocalists’ names were Inge and Sarah but I don’t know how to spell
their last names [24].”
2.2
Ansambl Teodosijevski
The Ansambl Teodosijevski is probably best known for its work as the regular
backing band of Esma Redžepova. Different incarnations of the group have
supported the latter during more or less her whole career, from 1957 up to
the present (2010).
Esma Redžepova Teodosievska is a Romani singer from Macedonia and
generally regarded as being the best-known Romani singer in the world. One
of her most popular tunes, Čaje Šukarije, is perceived by some as the unofficial hymn of the Romani people. Apart from that, for her humanitarian work
she was nominated for the nobel peace price twice. Together with her husband Stevo Teodosijevski5 she adopted 47 (!) boys [1], many of whom went
on to be educated in the “School of Music by Esma and Stevo Teodosievski”
and become members of the Ansambl Teodosijevski.
In the booklet of the CD Drumovi, Mirjana Laušević tells us the following
about the Ansambl and how she met them:
Ansambl Teodosijevski, in their concerts and numerous recording, feature music from all over the former Yugoslavia, particularly from their own Macedonian Rom tradition. They grew up
together playing music and accompanying their adoptive parents
(Pero’s aunt and uncle) Esma Redžepova and Stevo Teodosijevski
as they toured the world performing for adoring crowds and heads
of state alike. Their songs were so popular in the former Yugoslavia that everybody thought they were folk songs. However,
don’t be surprised if they break into a Duke Ellington tune or the
5
Stevo Teodosijevski (April 16, 1924, Kočani–April 9, 1997, Skopje) was a Macedonian
musician and Esma Redžepova’s husband.
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
11
theme from from “Dobar, loš, zao” (“The Good, the Bad and the
Ugly”6 ).
Along with millions of others, I grew up watching Esma Režepova
and Ansambl Teodosijevski year after year on national television. Strangely enough, our paths intersected last summer at
a Balkan music camp in Mendocino, California. I cherish this
time spent with with Esma [Redžepova], Buco [Zekirovski], Zahir
[Ramadanov], Simeon [Atanasov], Eljam [Rašidov] and Pero [Teodosijev]. Their consummate musicianship and humanitarianism
is a true inspiration. [25]
On Žabe i Babe’s homepage, the following additional information is given:
ANSAMBL TEODOSIJEVSKI is an internationally acclaimed
group of Romani musicians from the Former Yugslav Republic of
Mecedonia. They have played in over 30 countries, produced over
20 albums, and won the 1st world Festival of Romani Music in
India. The Ansambl Teodosijevski tours with Esma Redzepova
commonly referred to as ”Queen of the Gypsies”. [4]
All of the following introductory texts on the members of the Ansambl
can be found on the same webpage [4], as well as on the website of Omnium
Records [5], where a subpage is dedicated to Žabe i Babe. Just the text
on Sami-Buco Zekirovski can be found on the latter one only. I suspect
that it might have been taken down from the Žabe i Babe homepage after
Zekirovski’s passing in November 2008.
2.2.1
Sami-Buco Zekirovski (clarinet)
SAMI/BUCO ZEKIROVSKI is of the first generation of Teodosievski’s school, having toured with Esma and Stevo since he
was a small child. His clarinet playing covers a tremendous expressive range, sometimes evoking the sound of the gaida (bagpipe), at others the sound of Benny Goodman. [5]
In an Issue of the Kef Times of the East European Folklife Center7 (published through their homepage [9]), I found an “In Memorian”-article on
Sami “Buco” Zekirovski. I reproduce a snippet from it here:
6
Il buono, il brutto, il cattivo is a 1966 Italian Western movie directed by Italian director
Sergio Leone. Ennio Morricone wrote the film score.
7
This is the American non-profit organization which regularly organises “Balkan
camps”, on one of which Mirjana Laušvić met the musicians of the Ansambl Teodosijevski
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
12
Sami “Buco” Zekirovski, a musician from the first generation of
Esma Redžepova and Stevo Teodosijev’s music school and member of Ansambl Teodosievski, who toured and recorded with Esma
and Stevo for many years, died in November 2008, of leukemia.
He taught at the EEFC’s Balkan Music & Dance Workshops in
19978 and 1998 and toured extensively in the U.S. and internationally with the group. [. . . ] His son Antonio currently [spring
2009] plays drums with Esma’s band. [16]
2.2.2
Simeon Atanasov (accordion)
Accordianist SIMEON ATANASOV, born in Kocani, eastern Macedonia, in 1976, is from the seventh generation of students of the
music-performance school of Stevo Teodosievski. He has participated in many tours throughout Europe, America, and Australia.
As a composer/arranger, he won a prize for his song ”Caje, Caje”
at Shutkafest 1993. He also participated in the two big European
tours organized by Magneten. Simeon is also an accomplished
player of tarabuka (Macedonian hand drum). [4], [5]
2.2.3
Pero Teodosijev (keyboard)
PETAR ”PERO” TEODOSIJEV, also born in Kocani, is of the
second generation of students of the music-performance school of
Stevo Teodosievski, beginning in the 1965/66 school year. He
has been on many of the Ensemble’s concert tours throughout
Europe, America. and Australia. He has composed over 40 pieces
for nearly 25 LP and single-play recordings—appearing on these
recordings on his true instrument, the accordian. [4], [5]
2.2.4
Eljam Rašidov (drums)
ELJAM RASHIDOV plays the tarabuka, tapan (Macedonian twoheaded bass drum), and drum set. Also born in Kocani, he joined
the Teodosievski school when he was nine years old. [4], [5]
2.2.5
Zahir Ramadanov (trumpet)
Trumpeter ZAHIR RAMADANOV, also born in Kocani, joined
the Teodosievski school when he was eight years old. Zahir has
8
I suppose that this is the one where Mirjana Laušević and the Ansambl Teodosievski
members first met.
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
13
been described by a New York teacher of trumpet as the best
trumpet player he has ever heard, including Wynton Marsalis.
[4], [5]
3
The Recording
Žabe i Babe’s song Sjaj Mjeseče was released on the CD Drumovi 9 [31] by
Žabe i Babe (with the Ansambl Teodosijevski) in 1997. Two years later,
it also appeared on the CD Balkans Without Border [32], which is a benefit
compilation CD for Doctors Without Borders released by the American label
Omnium Records10 .
Reflecting Žabe i Babe’s live performances, the record Drumovi consists
of two different kind of songs: there are seven songs (tracks 1–6 and 18 on the
CD) performed by a relatively large electric ensemble and eleven traditional
songs (7–17) performed a cappella by two or three singers.
According to the booklet of Drumovi, Šjaj Mjeseče was “recoded live with
a few overdubs by Norman Blaine” in “Moonstar Media at Guy Devito’s,
Shutesbury, MA11 ”, mixed by “Žabe i Babe with Norman Blaine”, mastered
by “Žabe i Babe with Jim Hemingway”, and produced by “Mirjana Laušević
and Tim Eriksen” [25]. About the recording process, Mirjana Laušević writes
the following:
We appreciate the expertise, patience and adventurous spirit of
engineers Norman Blaine (tracks 1–6 and 18) and Jim Hemingway (tracks 7–17). The big band songs were recorded in a party
atmosphere, everyone playing live in one room with little of the
customary studio isolation between microphones, and everyone
singing on parts of tracks 112 and 413 .
We are thrilled to have this record of a wild and philosophical
time with fast friends, old and new. We hope you enjoy listening
to it as much as we enjoyed making it! [25]
On Žabe i Babe’s website, the following text about Drumovi can be found:
In their stunning debut, DRUMOVI, žabe ibabe not only presents
their own mix of bracing Balkan vocals, Dance beats, and provocative rock textures, but it is enriched by the irresistable Romani
9
Bosnian: “Routes”
http://www.omniumrecords.com/
11
Massachusetts, U.S.A.
12
Djurdjevdan
13
Lipe Cvatu
10
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
14
rhythms and mesmerizing melodies of the Ansambl Teodosijevski.
[4]
3.1
Lineup
In the booklet of Drumovi, there are some credits of who played what on
which tracks, but not everything is listed in complete detail. From what Tim
Eriksen and Donna Kwon told me, I learned that Donna sang the second
voice on Sjaj Mjeseče and that Mirjana Laušević (probably) played the bass
line on the keyboard. I am still not a hundred percent sure who played the
tarabuka though. Her is what Donna Kwon said on the topic:
Eljam Rasidov played most of the percussion on Drumovi except
for Peter Irvine on Visoko Drvo and Zuta Baba I believe. I think
most of the time he is playing drumset believe it or not but I do
remember him playing tapan on maybe Bol. It’s possible that he
may have overdubbed the dumbek but I can’t remember clearly.
Minja played bass on keyboard for most of the record. Otherwise,
Tim played guitar and Minja on keyboards on all of the electric
songs along with the Teodosijevski ensemble. [24]
So here is a list of the instruments and people who can (most probably) be
heard on Šjaj Mjeseče:
Instrument
Player
Lead Vocals
Tristra Newyear
Backing Vocals
Donna Kwon
Clarinet
Sami-Buco Sekirovski
Trumpet
Zahir Ramadanov
Accordion
Simeon Atanasov
Bass (played on the keyboard)
Mirjana Laušević
Drum Set
Eljam Rašidov
Tarabuka
Eljam Rašidov (?)
3.2
Form
The recording has an easily perceptible and especially clear structure. A
sequence of three very distinct parts is repeated twice:
k : A, B, C : k,
or, in other words,
A1 , B1 , C1 , A2 , B2 , C2 .
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
15
Herein, the two repeats of each part (A1 and A2 , B1 and B2 , C1 and C2 ) are
almost identical, expect for
1. B1 and B2 having different lyrics,
2. some minor ornamental variations in the performance of all players,
3. the second voice doubling up the first one for B2 but not for B1 ,
4. the drums playing different fills for their brief solo-spot in the 12th bar
of C1 and C2 , and
5. C2 being one bar longer than C1 (all the instruments hold the final
chord/notes one bar longer, which creates some extra dramatic tension).
Each part is distinguished from the previous one by some new elements in
the arrangement and is preceded by a short but prominent tacet of the whole
ensemble. A lead sheet and an arrangement chart I transcribed are provided
on pages 27 and 28). Using pop terminology, one could say that part A
functions as an intro (actually part A1 as an intro and A2 as a re-intro), part
B as verse, and C as the chorus. In the arrangement chart on p. 28, if a
certain bar contains a horizontal line for some instrument, this indicates that
the respective instrument plays something in the respective bar, whereas a
blank likewise indicates a tacet.
Part A is instrumental and consists of 11 bars, subdivided (by the melodic
line and by the entry of the clarinet and the trumpet), into 4 + 3 + 2 + 2 bars.
Alternatively, one could think of it as a three bars being repeated (arranged
differently both times) with the 1st ending consisting of 1 bar and the 2nd
ending consisting of 4 bars (3 + 1 + 3 + 4).
Part B, in which the voice(s) enter, has 15 bars, subdivided (by the
melodic phrases) into groups of 3 bars each. A sequence of two melodic
phrases, each spanning over 3 bars, is repeated twice, followed by a third
3-bar phrase (k : 3 + 3 : k + 3). This last phrase consists of bars 2 and 3 of
the 1st phrase of B, followed by an ending. What I find interesting is that in
a very high percentage of Western Art and Pop music, the musical phrases
and the overall form is organized on the basis of groups having a duration
of 4 bars (or some multiple of 4 bars). In Southeastern Europe, this is true
only to a far lesser extent. For example, Alice Singer claims that “three and
five measure dances are the most common” ones in Macedonia [30].
Part C1 consists of a total of 22 bars. In the lead sheet on p. 27, I
have written the part as 6 (2+4) bars which are repeated with a 1st ending
consisting of 4 bars and a 2nd ending consisting of 6 bars (the same holds for
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
16
C2 , expect that the 2nd ending there has 7 bars). So C1 is subdivided into
2 + 4 + 4 (1st ending) +2 + 4 + 6 (2nd ending) bars.
3.3
Meter and Rhythm
The tempo of the song is very constantly =272. The meter is a clearly
marked 7/8, subdivided into 3+2+2 quavers:
7
8k
: ♩♩♩ : k
Herein, I would describe the 1st and 4th quaver as being the “heavy” (h)
beats, or downbeats, the 3rd and 6th quaver as “lighter” or “medium” (m)
beats, upbeats, or backbeats, and the remaining 2nd , 5th , and 7th quaver as
the “light” (l) or “lightest” beats, or offbeats:
7
8k
:hlmhlml:k
This basic meter is spelled out very explicitly by
1. the harmonic changes occurring almost exclusively at the beginnings
of the bars,
2. the drums and the bass accentuating the 1st and 4th quaver in each bar,
3. the bass playing the root note of the chords on the 1st quaver of each
bar almost throughout the piece, and
4. the rhythmic organization of the melodic phrases being closely linked
to the basic meter; very little syncopation occurs.
3.3.1
Terminological Remarks
This meter, or rhythm,14 is an instance of what was called Bulgarian Rhythm
by Béla Bartók (see e.g. [21]). This name is somewhat misleading of course,
as it neither limited to Bulgaria, but rather commonly used throughout the
Balkans, Turkey, and beyond, nor is there any evidence that it originated
from Bulgaria.
14
Unfortunately, these two terms are used in an unclear and unsystematic manner,
and are often interchanged randomly, by many authors. Quite frequently, “rhythm” is
used, where “meter” would probably more accurately express the author’s intention. For
discussions, see e.g. [27, chapter 4], [26, p. 278–279], or [23, p. 65–66]. However, in the
case of this recording, I would argue that the relation between the abstract meter of the
song and the rhythms actually played could be described in an almost one-to-one manner,
such that the difference between the two is relatively small.
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
17
A more neutral name found in the literature is aksak15 rhythm (compare e.g. [20], [21], [15]. Nice Fracile writes that “[w]hat makes the aksak
rhythm different from the classical/distributive rhythm is its fundamental
assymmetry reflected in the invariable use of two duration units—a long and
a short one—instead of one unit only [21, p. 198].” He distinguishes between
“a) a dactylic form [. . . ], in which the prolonged unit is at the beginning of
the rhythmic pattern b) the anapestic form , in which the prolonged unit
[is] at the end [21, p. 199]”. This would make the meter of Sjaj Mjeseče a
dactylic aksak rhythm. Concerning the question of the spread of the rhythm,
he claims that
[. . . ] it can be stated that the aksak rhythm, which originates
from folk dances, serves nowadays as convincing proof of the
vitality of music tradition and of strong cultural relations of a
number of peoples. It has been passed on from one generation
to another ever since the oldest times not only all over SouthEastern Europe, the Mediterranean and the Iranian regions, but
spreads much wider than that. The dactylic form of the aksak
rhythm is a fundamental and common thread in the folklore of
the Rumanians in Banat and Transylvania, Rumania, and of the
Rumanians in Yugoslavia who are of the Banat and Transylvanian origin. [20, p. 152]
However, Fracile also uses the term aksak in a less specific way, referring to
the collection of all additive, compound, complex or asymmetric meters (all
of which are yet other terms utilized by a number of authors) found in SouthEastern European music, such as meters comprising 5, 7, 9, 11,. . . crotchets,
quavers, or semiquavers (with different possibilities of how these are grouped,
i.e. of where the accents fall, and of how they are subdivided).
As a final example, Alice Singer calls the rhythm Lesnoto, and claims
that it is the “most common Macedonian rhythm” [30, p. 386]. There are
probably lots of other names used by different people.
3.3.2
Drum and Bass Patterns
The basic drum set pattern in Sjaj Mjeseče consists of continuous semiquavers (part A) or quavers (part B and C) played on the Hi-Hat (with accents
on the opened Hi-Hat on the 2nd and 5th (offbeat) quavers in parts B and
C), the bass drum accentuating the 1st and 4th quaver of each bar (the downbeats), and the snare drum playing pop-typical snare drum backbeats on the
15
Turkish: “lame”
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
18
3rd and 6th quaver of each bar (the upbeats). In Addition to that, there are
a couple of extra bass drum and snare drum notes and open Hi-Hat accents,
thrown in mainly for rhythmic variety. They are placed so irregularly (reminding me of a jazz-like playing style), that the feeling of constant change
arises.
The bass, in almost each bar throughout the song, plays the root note of
the respective harmony on the 1st quaver and the perfect fourth below (i.e.
the fifth of the harmony) on the 4th quaver. Often, it repeats the root note
on the 6th or 7th quaver (see p. 30). Still, just like the drum part, the bass
plays gets a lot of variations out of this basic pattern (mainly concerning
the last note in each bar, played on the 6th or 7th quaver, or being left
out altogether). These variations occur in an irregular, seemingly random
manner, which results in a constantly changing bass line.
In the sense that all the rhythms utilized in the different parts are intimately correlated to one basic meter, that few counter-rhythms and little syncopation are played, and that no major rhythmic changes occur, the
rhythmic complexity of the piece could probably arguably described as moderate. On the other hand, due to the relatively quick tempo, the many
semiquavers of the melody, the many subtle variations in all parts, and the
inherent asymmetry of the underlying meter, I still find the recording very
interesting in terms of rhythm. And, first and foremost, the performance
conveys a uplifting feeling of buoyancy and forward motion.
3.4
Melodics
The tonal center/tonic of the song is the note c. The notes used in the
recording are mainly the following. I present them ordered as a scale, first
the actual notes by their names, and then as abstract scale degrees:
c
1
d[ e
[2 3
f
4
g
5
a[
[6
b[
[7
There is a great number of different names used for this scale. As Tim
Eriksen’s puts it, “The mode [Sjaj Mjeseče]’s basically in is called various
things by various people—sometimes people call it Gypsy mode too”[17]. I
collected evidence of some of these names:
In Jazz context, this scale type is usually referred to as harmonic minor
5 (or HM 5 ), since it is the scale obtained when starting a harmonic minor
scale from the fifth scale degree (see, for instance, [14, p. 115], or [29, p. 55]),
or as mixolydian ([9/[13), since it is the scale obtained from mixolydian by
lowering the sixth and seventh scale degree by a half tone (see e.g. [29, p.
54–55]).
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
19
Similarly, one could call the scale phrygian (\3), which is uncommon,
probably because the (minor or major) third scale degree is usually regarded
as being an essential feature of scales, defining the scale’s “minority” or
“majority”. As such, phrygian is a minor scale, whereas the scale above is a
major scale. Nevertheless, a name found in the literature is major-phrygian
(e.g. [19, p. 62]).
In Flamenco context, the typical name for this scale is flamenco mode
(e.g., see [14, p. 115], or [19, p. 77]). Lola Fernández writes the following in
her textbook on Flamenco music theory:
When the Phrygian is harmonized for the instrumental accompaniment of a cante 16 , the raised or major III scale degree is
found in the tonic chord. This creates what is known as the Flamenco mode [. . . ]. Melodies that have an accompaniment based
on chords of the Flamenco mode are sung in Phrygian, since
the Flamenco mode stems from the Phrygian. However, these
melodies often include the same major third that is found in the
tonic chord of the Flamenco mode (Major-Phrygian). The third
degree of the scale is not always major, but alternates with the
minor third of the Phrygian mode, especially in melody lines that
descend to the tonic. [19, p. 68]
Another name utilized for this scale type is freygish 17 . For example, musician
Peter Michael Haas uses this name in an educational accordion textbook
about the music of Russians, Jews, and Roma in Eastern Europe ([22, p.
12]). He states that this scale type is widespread in Eastern/Southeastern
Europe.
I found even a few more names on Wikipedia: Spanish Gypsy scale, Phrygian dominant scale, Neapolitan minor scale, and Jewish scale 18 [12].
Characteristic for this scale is the (phrygian type) lowered second combined with the major third degree, as well as the augmented second between
these two scale degrees. This is a feature not found too often in Western Art
and Pop Music. There are a couple of related scales also sharing this feature:
among others the hidjaz scale type:
1
16
[2 3 4 5 [6 7
Spanish: “song”
Although I have found no evidence for this, I would assume that this term could be
etymologically related to phrygian, german: phrygisch (pronounced similarly to freygish).
18
The last name stemming from the fact that this scale type is also used a lot in Klezmer
music.
17
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
20
This is scaled is for example described by Bálint Sárosi in [28]. He claims
that the name “hidjaz” is of Arabic origin, that the scale is characteristic for
the genre of Andalusian cante flamenco, and that the scale is most common
in India, Persia, Turkey, the Balkans, and Hungary.
3.5
Harmonics
In the lead sheet on p. 27, I wrote out chord symbols which I found appropriate. None of the instruments explicitly states these chords, they are rather
meant to summarize the harmonic interplay of the bass with the melodic
lines of the two singers, the clarinet, the trumpet, and the accordion. In
other words, they represent the underlying harmonic progression that I think
is implied. This technique is what sometimes is called “macro analysis”.
To describe the function of each chord in the harmonic progression, I use
“T” for tonic, “D” for dominant, and “S” for Subdominant. These are the
chords occurring in the recording:
Chord Symbol
Scale Degree
Harmonic Function
C
I
T
D[ Fmin
[II IVmin
D
S
G[ B[min
[V [VIImin
S
S
All of these chords, except for the note g[ in the chord G[, belong to the
underlying scale, or mode, of the song and use only notes inherent to it.
To answer the question of the harmonic function of the various chords
is not a straight forward task. In my opinion, c is definitely heard as the
tonic, the tonal center, of the piece. But the scale is not a tonic scale but a
dominant scale, with a characteristic tritone between the [7 degree and the
3 degree, and without a guide tone. Some would argue that this adds a little
instability to the tonic function of c, and this is probably also the reason why
a harmonic analysis in the tradition of Hugo Riemann might be suitable only
to a limited extent. One possibility to overcome the difficulties would be to
assume f to be the underlying tonic and c to be the fifth scale degree.19
In traditional Western music theory, the chord D[ would be described
as a “Neapolitan chord”, stemming from a minor subdominant context and
having subdominant function (see [14, p. 84] for example). In fact, all of
the chords D[, Fmin, G[, and B[min, could probably be explained within a
minor subdominant framework.
19
For an account of how the fifth scale degree (which in our case would be c, with the
scale of c-harmonic minor 5) can, under certain circumstances, assume the function of the
actual tonic (which is a way of explaining the so-called “Andalusian cadence” I/VII/VI/V
in a minor mode, commonly used in flamenco), see [19, p. 81].
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
21
However, in jazz theory, D[ would rather be explained as the tritone
substitute of G, hence having dominant function (leading to C). Also, Lola
Fernández writes in her book on flamenco music theory:
The chord sequence II/I is called the resolution or the resolving
cadence [. . . ] Its harmonic function is the same as that of a
perfect authentic cadence in tonal music (V/I). [19, p. 84]
Concerning the function of the seventh chord B[min, the following remark
can be found in the same book:
The feeling of tension and release created by the progression II/I
can also occur between VII and I, giving this sequence the character of a plagal cadence. [19, p. 85]
In the table at the beginning of this section, I listed the basic functions of
the chords simply as how I hear them. In the end, there is definitely more
than one possibility of explaining harmonic progressions theoretically, and
classifying chords according to their function into the the categories of tonic,
dominant, and subdominant is not an entirely objective task.
What still can be done objectively describing the proximity of the various
triads used in the song in terms of common tones.20 Concluding the section
on harmony, I give such an overview in the following table:
G[
B[min
D[
Fmin
C
3.6
g[ b[ d[
b[ d[ f
d[ f
f
a[
a[ c
c
e
g
Lyrics
In the booklet of Drumovi, the lyrics of Sjaj Mjeseče are credited as “traditional/Lausevic” [25]. Tim Eriksen gave the following reply to my inquiry on
that topic: “The song is one we wrote based on an existing poem—mostly
written by Minja Lausevic with help from Tristra Newyear, myself and Donna
Kwon [17]”. Donna Kwon says that “[t]he lyrics are adapted from traditional
lyrics [24]”.
I have taken the lyrics to the song, as well as the English translation, from
the homepage of Omnium Records [5]. In the Bosnian version, the syllables
rhyming with each other are put in the same font, in italics, or underlined.
20
Although, being a formal procedure, it remains questionable what, if any, the musical
significance of such a description is.
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
3.6.1
Bosnian (original)
B1
Ono moje što po putušeče
Putem šeče, a plečima kreče
čini mi se, prevarit’ me neče
čini mi se,
prevarit’ me neče
C
Sjaj mjeseče,
sjaj mjeseče, obasjaj doveče,
il’ doveče ili drugo veče.
Sjaj mjeseče,
nek mi dragi noč as teško diše
sjaj mjeseče
snivajuči za mnom nek uzdiše.
B2
Svu noc sjala sjajna mjesečina
Dok mom dragom na um pade draga.
Gledam sada putem kako šeče.
Ej, putem šeče
a plečima kreče.
3.6.2
English (translation)
B1
That one of mine, strolling on the path
strolling on the path, swaying with his shoulders,
it seems to me, he will not deceive me
it seems to me,
he will not deceive me
C
Shine moon,
Shine moon, lit well tonight,
tonight, or another night.
Shine moon,
let my darling breathe heavily tonight,
Shine moon,
let him sigh after me in his sleep.
B2
All night long the glittering moonlight shined
22
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
23
until to my darling his darling came to mind.
Now I watch him strolling on the pathway.
Ey, strolling on the pathway,
swaying with his shoulders.
3.6.3
Remarks
Ear-, respectively eye-catching is the fact that almost all lines of the lyrics
rhyme on the same ending, namely -eče. This is facilitated by the fact that
a lot of the words in the Bosnian language end on that syllable.
I leave an interpretation of the lyrics to the more gifted literary theorist.
In the booklet to the CD Drumovi, Mirjana Laušević and Tim Eriksen give
a little introduction to, or synapsis of, Sjaj Mjeseče, that I want to cite as a
concluding remark of this survey:
“Shine Moon” is, like any good newly composed folk song, about
love. In this case a woman tells the moon to shine on her darling
to make him restless, sighing for her in his sleep. [25]
3.7
Summary Chart
Name Sjaj Mjeseče
Lyrics Bosnian; based on a traditional poem; written by Mirjana Laušević
with help from Tristra Newyear, Tim Eriksen, and Donna Kwon
Music written by Tristra Newyear, Mirjana Laušević, Donna Kwon, Tim
Eriksen
Arrangement written by Simeon Atanasov, Pero Teodosijev, Mirjana Laušević,
Tim Eriksen
Recorded 1997 by Norman Blaine in Moonstar Media at Guy Devito’s,
Shutesbury, MA
Produced 1997 by Mirjana Laušević and Tim Eriksen
Mixed 1997 by Žabe i Babe with Norman Blaine
Masterd 1997 by Žabe i Babe with Jim Hemingway
Published 1997 on the Žabe i Babe CD Drumovi, 1999 on the compilation
CD Balkans without Borders
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
24
Instrument
Person
voc
Tristra Newyear
back voc
Donna Kwon
clar
Sami-Buco Sekirovski
Instrumentation
tr
Zahir Ramadanov
acc
Simeon Atanasov
b (key)
Mirjana Laušević
dr
Eljam Rašidov
tar
Eljam Rašidov (?)
Duration 2:30
Tempo =272
Starting Bar
# of Bars
intro
verse
chorus
re-intro
verse
chorus
1
12
27
49
60
75
11
4+3+2+2
0:00 16sec.
15
3+3+3+3+3
0:16 24sec.
22 2+4+4+2+4+6 0:40 34sec.
11
4+3+2+2
1:14 16sec.
15
3+3+3+3+3
1:30 24sec.
23 2+4+4+2+4+7 1:54 36sec.
Duration
Function
A1
B1
C1
A2
B2
C2
Grouping
Part
Form
Starting Time
Meter 7/8, (3+2+2)/8, (Dactylic) Aksak Rhythm, Bulgarian Rhythm, Lesnoto,
additive meter, asymmetric meter, compund meter, complex meter
Scale/Mode c d [ e f g a[ b[ , 1 [2 3 4 5 [6 [7 , Harmonic Minor 5, HM 5, Mixolydian ([9/[13), Phrygian (\3), MajorPhrygian, Phrygian dominant scale, Flamenco Mode, Spanish Gypsy
scale, Gypsy mode, Freygish, Jewish scale, Neapolitan minor scale
Chord Symbol
Chords
Scale Degree
Harmonic Function
C
I
T
D[ Fmin
[II IVmin
D
S
G[ B[min
[V [VIImin
S
S
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
4
25
Appendix
On the following pages, I present a lead sheet, an arrangement chart, and
a transcription of the bass line, all of which I have transcribed from the
recording by ear. Hence, they are all subject to errors and mistakes.
As mentioned before, in the lead sheet I have added chord symbols that I
found appropriate. The melody is notated only approximately and meant as
a guideline. On the recording, there are lots of variations and ornaments, and
the two repeats are not exactly the same, for example, the two verses (B1
and B2) are differing due to the differences of the underlying lyrics. I have
also included rhythmic notation in a couple of places, pointing out important
rhythmic ensemble play.
In the arrangement chart, a horizontal line in some bar means that the
respective instrument/voice plays something in that bar, a blank indicates a
tacet of the respective instrument/voice. Regarding the time code and the
bar numbering, the two numbers before and after the slash are referring to
the two repetitions of the whole structure (A1/A2, B1/B2, C1/C2). Again,
for orientation I have included some rhythmic notation in key spots of the
arrangement.
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
ÿ
C
C
& 78 ’
’ ’
Û Û Û Û Û Û.
Db
ŸC
Lead Sheet
Db
’
œ
⁄
B b min
œ
F min N .C .
.. b b œœ œœ œœ œœ Œ . Ó
J
Db
1.
bœ
F min
j
œ œ
j
bœ bœ œ
2.
C (add b 9)
bœ.
fi Coda
˙. .
œ
œ
C
C
’
’
Œ
C (add b 9) C
B b min
C (add b 9)
C
.. œ œj œ
j
œ œ œ œ œ œ bœ. ˙
j
œ œ
B b min
’ ’
Û Û Û Û.
2.
F min
words trad./Lausevic
music Newyear/Lausevic/Kwon/Eriksen
arr. Atanasov/Teodosijev/Lausevic/Eriksen
transcr. Thalwitzer
Sjaj Mjesece
Folk-Rock
â=272
26
’
Db
2
«
’
1.
’
’
C (add b 9) C
j œ Œ œj œ œ œ
bœ.
bœ œ bœ
F m in
˙
C
.
œ
..
..
Œ
œ œ œ
bœ.
˙
B b min
C
j
b b œœ b œœ œœ œœ b œœ b œœ œœ œœ œœ .. œ .. œj œ .. Ó
œ œ œ
J
bœ
j
œ œ
œ.
œ bœ
˙
Û Û Û Û.
To Coda
Œ
œ
fi
C (add b 9) C
Db
bœ.
j
bœ œ
Û
F min
˙
œ
œ
Û
Û
C
.
œ œ œ œ
Gb
bœ œ
J
Û.
œ
Œ
Œ
..
bœ
D.C. al Coda
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
Sjaj Mjesece
ä=272
part ÿ
Arrangement Chart
time code 0:00/1:14
7
8
1
78
Vocals
2
Clarinet
Accordion
ÛÛÛÛÛÛ. Û Û Û Û. Œ ÛÛÛÛÛ Û. Û Û Û Û. Œ
7
8
ÛÛÛÛÛÛ. Û Û Û Û. Œ ÛÛÛÛÛ Û. Û Û Û Û. Œ
ÛÛÛÛÛÛ. Û Û Û Û. Œ ÛÛÛÛÛ Û. Û Û Û Û. Œ
Û . Û Û. Û . Û. Œ Û . Û Û. Û .
7
8
Bass
Tarabuka
ÛÛÛÛÛÛ. Û Û Û Û. Œ ÛÛÛÛÛ Û. Û Û Û Û. Œ
78
bar # 1/49
Ÿ
1
Voc.
2
Û Û Û Û. Œ
0:16/1:30
Û Û Û Û. Œ
2nd time only
Û Û Û Û. Œ
Cl.
Û Û Û Û. Œ
Tr.
Û Û Û Û. Œ
Acc.
Û . Û. Œ
B.
Û Û Û Û. >Û
Dr.
Tar.
⁄
Û. Œ
ÛÛÛÛÛÛ. Û Û Û Û. Œ ÛÛÛÛÛ Û. Û Û Û Û. Œ
78
Drum-Set
arr. Atanasov/Teodosijev/
Lausevic/Eriksen
transcr. Timon Thalwitzer
7
8
78
Trumpet
27
Û Û Û Û. Œ
12/60
0:40/1:54
1
ÛÛÛÛ.Œ
0:55/2:09
ÛÛÛÛ.Œ
Voc.
2
1
ÛÛÛÛ.Œ
Cl.
1
ÛÛÛÛ.Œ
Tr.
1
ÛÛÛÛ.Œ
Acc.
B.
Œ . Œ. >Û
Dr.
Tar.
27/75
1
Û . Û.Œ
1
ÛÛÛÛ.>Û
ÛÛÛÛ.Œ
1
1
1
37/85
Û . Û.Œ ..
Û . Û.Œ ..
ÛÛÛÛ.Œ ..
ÛÛÛÛ.Œ ..
ÛÛÛÛ.Œ ..
Û . Û.Œ ..
ÛÛÛÛ.>Û ..
ÛÛÛÛ.Œ ..
2:30
2
2
2
2
2
2
2
2
ÛÛÛÛ.Œ
ÛÛÛÛ.Œ
ÛÛÛÛ.Œ
Û . Û.Œ
ÛÛÛÛ.Œ
ÛÛÛÛ.Œ
97
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
28
Sjaj Mjesece
performed by Tim Eriksen
transcribed by Timon Thalwitzer
Bass
{A1}
? 78 œ
5
‰
bœ
œ
œ
‰ bœ
‰ œ bœ
J
‰
‰ œj œ
œ
‰
Œ
œ
.
. .
œ ‰ œ œ b œ ‰ b œ ‰ œJ b œ ‰ œ Œ œ ‰ œ œ œ . Œ Œ œ ‰ œ œ œ . œ Œ
j
œ ‰ œ ‰ œ bœ ‰ bœ ‰ œ œ ‰ œ Œ bœ ‰ Œ bœ ‰ bœ ‰ œ œ ‰ œ Œ
J
œ
J
{B1}
12
.
œ ‰ œ œ bœ ‰ bœ ‰ œ œ ‰ œ Œ bœ ‰ Œ bœ ‰ bœ Œ œ ‰ œ œ
J
œ
18
œ
‰
24
œ
Œ
œ
.. b œ ‰ œ
Œ. Ó
œ
27
bœ
33
‰ bœ
œ ‰œ Œ
2
37
Œ
‰
.
œ
œ.
Œ
.
j
bœ ‰ œ Œ bœ ‰ œ ‰ œ œ ‰ œ Œ œ ‰ œ œ
{C1}
1
.
œ
.
œ
bœ
‰ bœ
œ.
bœ ‰ bœ Œ
œ. œ bœ
œ
‰
œ
bœ ‰ œ Œ
Œ
œ
.
‰ œ
Œ
.
œ ‰ œ Œ œ ‰. œ Œ
..
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
{A2}
43
?œ
‰
œ
œ
œ
‰ bœ
‰ bœ bœ
J
29
‰ bœ
‰ œ œ
J
‰
Œ
œ
.
. .
œ
œ
‰ bœ ‰ J bœ ‰ bœ Œ œ ‰ œ . Œ Œ œ ‰ œ . œ Œ
œ ‰œ œ
œ
œ
œ
œ
47
.
œ ‰ œ œ b œ ‰ b œ ‰ œJ œ ‰ œ Œ b œ ‰ œ Œ b œ ‰ b œ ‰ œJ œ ‰ œ ‰ œj
{B2}
54
j
œ ‰ œ ‰ œ bœ ‰ œ ‰ œ œ ‰ œ Œ bœ ‰ Œ bœ ‰ bœ Œ œ ‰ œ œ
J
œ
60
œ
66
‰
œ
‰ œJ
bœ ‰ œ œ Œ. Ó
bœ
75
79
85
‰ bœ
Œ
bœ ‰ œ œ Œ. Ó
‰ œ
Œ
‰ œ
œ
Œ
.
b œ ‰ œ ‰ b œj b œ ‰ œ œ œ ‰ œ Œ œ ‰ œ œ
{C2}
69
œ
bœ
‰ bœ
‰ œ œ
J
‰
œ
Œ
œ
.
‰ œ
Œ
j
b œ ‰ œ Œ b œ ‰ œ ‰ œ œ ‰ œ ‰ œj œ ‰ œ œ
œ ‰ œ Œ œ ‰ œ œ. b œ ‰ Œ
‰ ‰ b œj œ ‰ Œ
œ
bœ œ
œ
‘
.
Œ
œ. œ
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
30
References
[1] Webpage of Esma Redzepova-Teodosievska.
mk/. pages 10
http://www.esma.com.
[2] Webpage of Peter Irvine. http://www.peterirvinelaw.com/. pages 9
[3] Webpage of Rani Arbo & dasiy mayhem. http://www.raniarbo.com/.
pages 10
[4] Webpage of Žabe i Babe. http://www.zabeibabe.com/. pages 3, 5, 7,
9, 10, 11, 12, 13, 14
[5] Webpage with Information on Žabe i Babe on the website of Omnium
Records. http://omniumrecords.com/balkans/zabe.html. pages 8,
11, 12, 13, 21
[6] Work Website of Donna Kwon. http://www.uky.edu/FineArts/
Music/faculty/donna_lee_kwon/. pages 8
[7] Webpage of Public Broadcasting Service (PBS). http://www.pbs.org/,
1995–2010. pages 4
[8] MySpace-Webpage of Žabe i Babe.
zabeibabe, 2009. pages 5, 7
http://www.myspace.com/
[9] Webpage of the East European Folklife Center (EEFC). http://www.
eefc.org/, 2009. pages 11
[10] Wikipedia-page on Tim Eriksen.
Tim_Eriksen, 2009. pages 6
http://en.wikipedia.org/wiki/
[11] MySpace-Webpage of Tim Eriksen.
timeriksenmusic, 2010. pages 6
http://www.myspace.com/
[12] Wikipedia-page on the ”Gypsy-scale”.
wiki/Gypsy_scale, 2010. pages 19
http://en.wikipedia.org/
[13] Boutilier, E. G.
In Memoriam: Mirjana Lausevic.
published throught the website of the Amherst College:
https:
//www.amherst.edu/aboutamherst/magazine/issues/2007_summer/
college_row/memoriam. pages 8
[14] Burbat, W. Die Harmonik des Jazz, fourth ed. Deutscher Taschenbuchverlag/Bärenreiter Verlag, Kassel, Germany, 1994. pages 18, 19,
20
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
31
[15] Cler, J. Pour une theorie de l’aksak. Revue de Musicologie 80, 2
(1994), 1881–210. pages 16
[16] East Euopean Folklife Center. In Memorian: Sami “Buco”
Zekirovski. Kef Times 14, 1 (spring 2009). pages 12
[17] Eriksen, T. personal communication, jan 20, 2010. pages 4, 18, 21
[18] Eriksen, T.
Webpage of Tim Eriksen.
timeriksenmusic.com/, 2009. pages 4, 6
http://www.
[19] Fernández Marı́n, L. Flamenco Music Theory. Rhythm, Harmony,
Melody, Form. Instructional Series. Acordes Concert, Madrid, 2004.
pages 19, 20, 21
[20] Fracile, N. The Aksak Rythm as a Fundamental Mark of the Traditional Music of Rumanians in Vojvodina, Yugoslvia, and as a Common
Thread With the Rumanian Folklore in Rumania. In Echo der Vielfalt
- Echoes of Diversity. Traditionelle Musik von Minderheiten/ethnischen
Gruppen. Traditional Music of Ethnic Groups/Minorities, U. Hemetek,
Ed., first ed., no. 16 in Schriften zur Volksmusik. Böhlau Verlag, Wien,
1996, pp. 145–155. pages 16, 17
[21] Fracile, N. The ”aksak” rhythm, a distinctive feature of the balkan
folklore. Studia Musicologica Academiae Scientiarum Hungaricae T. 44,
Fasc. 1/2 (2003), 197–210. pages 16, 17
[22] Haas, M. P. Akkordenon Go East. Lieder und Tänze der Russen,
Juden und Roma. AMA Verlag GmbH, Brühl, Germany, 2007. pages 19
[23] Kvifte, T. Categories and Timing: On the Perception of Meter. Ethnomusicology 51, 1 (Winter 2007), 64–84. pages 16
[24] Kwon, D. personal communication, jan 25, 2010. pages 4, 5, 7, 8, 9,
10, 14, 21
[25] Laušević, M., and Eriksen, T. Drumovi/Routes. Liner notes for
the CD: Drumovi by Žabe i Babe (with the Ansambl Teodosijevski).
Bison Publishing: BP 110857, Belfast, Maine, U.S.A., 1997. pages 6,
11, 13, 21, 23
[26] London, J. Rhythm. In The New Grove Dictionary of Music and Musicians, S. Sadie, Ed., second ed., vol. Twenty-One (Recitative–Russian
Federation, §1). Macmillan Publisher Limited, London, 2001, pp. 277–
309. pages 16
Timon Thalwitzer: Žabe i Babe and Sjaj Mjeseče
32
[27] Pfleiderer, M. Rhythmus. Psychologische, theoretische und stilanalytische Aspekte populärer Musik. transcript Verlag, Bielefeld, Germany,
2006. pages 16
[28] Sárosi, B.
Zigeunermusik.
Zürich/Freiburg i.Br., 1977. pages 19
Atlantis
Musikbuch-Verlag,
[29] Sikora, F. Neue Jazz-Harmonielehre. Schott Proline. Schott Musik
International, Mainz, Germany, 2003. pages 18
[30] Singer, A. The Metrical Structure of Macedonian Dance. Ethnomusicology 18, 3 (sep 1974), 379–404. pages 15, 17
[31] Žabe i Babe (with the Ansambl Teodosijevski). Drumovi (CD).
Bison Publishing: BP 110857, 1997. pages 13
[32] Various Artists (Compilation). Balkans Without Borders (CD).
Omnium, 1999. pages 13