bugaga - 12-7-2016 at 12:14 PM
Hi,
I'm trying to figure out ways how you can tella sirto from a longa by comparing them. Just the problem is that both forms seem so alike to me. Both
are having a relatively fast tempo, small rhythmical cycles, in both sometimes we find extensive use of triplets, variable forms (ABCBA or ABCDEF or
rondo or whatever)... Did anyone get further than me? Of course, historical we can see that the longa form came from the Balkans and sirto from the
aegean regions, and both are for dances I think. That could be a hint. But I'm asking more for musical differences.
adamgood - 12-7-2016 at 08:12 PM
It's a really good question and I think it has to do with usul (the rhythm) being consistent through the two forms.
here are some of the associations I have with the two:
1. Longa
fast 2/4
Dum tek | dum tek | dum tek | dum tek
/ / | / / | / / | / / |
1 2 | 1 2 | 1 2 | 1 2 |
(over and over until the cows come home)
Like a cimbalom player would play 2/4 in Romania
the 2/4 can be easily transposed to 6/8 such as the melody is in Kurdilihicazkar Longa from Kemani Sebuh. Not a problem, it's still 2/4. Bulgarian
Pravo rhythms can do this, modulate back and forth as can Romanian 2/4 dance rhythms whatever those are called (honga??)
2. Sirto
slower 2/4 and swung, a bar is broken up into eighth notes like 3 3 2
Duum tek tek | duum tek tek | duum tek tek
3 3 2 | 3 3 2 | 3 3 2 |
Like a greek laouto would play rhythm for an island sirto.
This rhythm can't be transposed to 6/8
Ok right there's the "Sultaniyegah Sirto" from Sadi Isaly but I call BS, it should be a longa
stos - 12-8-2016 at 10:51 AM
what can be confusing is also the way of playing it : some would accompany a longa with a maksum rythm