The Mediterranean Experience Cassandra Allen’s Musical Adventure in Spain Introduction § A little about Me § Sense being at Berklee Valencia, This campus, it’s students and the faculty , have inspired me to dig deeper into my musical ability. The faculty has pushed me beyond what I thought I was capable of doing and expanded my knowledge of music and the limitless possibilities there are when it comes to cultivating your musical goals. About The Project § In this project, I will be focusing on music for cape Verde, and specifically music performed by Cesaria Evora. I will be doing a 5 piece collection of songs in memory of the late great Cesaria Evora. I will also be discussing Cape Verde, and it’s main musical. In addition, I will share the link between African and Latin styles. § At the end of my informational portion of the presentation. I will discuss each piece I recorded , and the recording process. Then play it for the viewing committee. Exploration Sense my arrival at Berklee Valencia and being exposed to many different genres it has inspired me dig deep into the mediterranean culture, my heritage, and explore the possibility of singing different styles of music. Cape Verde Morna § Morna is noted as one of the most popular genre of Cape Verdean music and is the national music of Cape Verde. § Morna goes back about a 150 years, and is complex hybrid of African and European cultures § Some musicologists trace the genre back to a genre called the lundum (or lundu), from Africa, most likely Angola. It is a dance-song from the Bantu tribe, which spread through various regions of Africa. Morna’s Instrumentation § Guitar, popularly called “violão” in Cape Verde and Voice § A medium-sized band may have a guitar, and instrument called the cavaquinho , Ten or twelve string guitar and a Percussion instrument. § A bigger band may what is above stated and a acoustic bass, more than one solo instrument (violin, clarinet, trumpet, etc.) and several percussion instruments (shaker, güiro, bongos, etc.). § Morna can also be performed on a piano, with the left hand providing the bass and the right hand providing the accompaniment and the melody. Morna’s Structure Harmonic Structure § Morna obeys to a circle of fifths. The harmonic progression starts in I, V , I , V7 § The structure has been developed with passing chords as of more recent composers have changed the basic structure. Melodic Structure § The melodic line of the morna varies a lot through the song, with ascending and descending note sequences, and within a bar the notes generally do not have the same length. One frequent characteristic of the morna is the syncopation. § There are several models of the form Morna uses for example: ABABAB, ABCBABCB, ACBACB, AABCCB. § The ABABAB form is what you will here an example of later in the presentation. Morna and the Blues § Morna is often compared to the blues; there is little research on the relationship between the genres, though there are interesting similarities and significant cultural connections between Cape Verde and the United States. § The music is characterized by a slow tempo. The main instrument is a guitar Interesting Facts about Morna & Cape Verdeans In the U.S § Paul Gonsalves, a Cape Verdean from New Bedford, was one of Duke Ellington’s greatest tenor saxophonist players, He is most well known for being the instigator of one of the great stories of jazz history, when he blew a legendary 27chorus solo at the 1956 Newport Jazz Festival that threw the audience into fits § Bebop pianist Horace Silver was actually Horace Silva, son of a Cape Verdean father and an Irish-African mother. He didn’t foray too deeply into Cape Verdean musical territory, but did make some island references on two of his most famous compositions: “The Cape Verdean Blues” and the bossa “Song for my Father.” Morna’s Platform Star § Cape Verde and its national music morna has a tremendous history and with it’s influence it has produced an international superstar named Cesária Évora. § Now we will take a look at a rare interview with who they called the bare foot diva. Cesaria Evora Interview My Mediterranean Recordings Sodade (Translation) § Ess caminho Pa Sao Tomé § Sodade sodade Sodade Dess nha terra Sao Nicolau § Si bo 'screve' me 'M ta 'screve be Si bo 'squece me 'M ta 'squece be Até dia Qui bo voltà § Sodade sodade Sodade Dess nha terra Sao Nicolau § Who showed you... this distant way? Who showed you... this distant way? This way ... to Sao Nicolau Longing, longing,... Longing,... For this land of mine, Sao Nicolau § If you write me letter,... I will write you back If you forget me,... I will forget you... Until the day... You come back This is the Original piece sung by Ceasaria Evora Why? Sodade u I decided to recording Sodade because, when I first heard the piece it gave me chills and I knew the moment I heard the piece, I wanted to explore the origins of this music. u What is different about my arrangement than the original? v I used mid-eastern percussion (Baca, Cajon, Shakers) Instruments as well as traditional cape Verde instruments along with multiple vocal overdubs using major 2nd and 3rd , minor 2nd and 3rd, and Perfect 4th harmonies. Angola (Translation) Ess vida sabe qu'nhôs ta vivê Parodia dia e note manché Sem maca ma cu sabura Angola angola Oi qu'povo sabe Ami nhos ca ta matá-me 'M bem cu hora pa'me ba nha caminho Ess convivência dess nhôs vivência Paciência dum consequência Resistência dum estravagância This joyful life that you lead Party night and day Without harm but full of joy Angola Angola Such joyful people You won't kill me I came with my return's time set This experience of your living's style Paciencia of a consequence Resistence of an extravagance This is the Original piece sung by Ceasaria Evora Why? Angola u I decided to record and Angola because allot of the music from Cape Verde is directly linked to Angola. The music from and Angola and its people have influenced the world of music and I thought it was important to include a piece dedicated to the country. u What is different about my arrangement than the original? v I decided to use Congas, multiple voice overdubs using major 2nd and 3rd , minor 2nd and 3rd, and Perfect 4th harmonies. Besame Mucho (Translation) § Bésame, bésame mucho Como si fuera esta noche La última vez § Bésame, bésame mucho Que tengo miedo a tenerte Y perderte otra vez § Quiero tenerte muy cerca Mirarme en tus ojos Verte junto a mi Piensa que tal vez mañana Yo ya estaré lejos Muy lejos de ti § Kiss me, kiss me a lot For I am afraid of having you And losing you all over again. § I want to have you close to me To see myself in your eyes To see you next to me Think that perhaps tomorrow I will be far So far away from you § Kiss me, kiss me a lot As if tonight were The last time § Kiss me, kiss me a lot For I am afraid of having you And losing you all over again. This is the Original piece sung by Ceasaria Evora Why? Besame Mucho u Besame Mucho is a piece I’ve always loved and is one of the first pieces, I had the chance to record and engineer.. I was able to receive a new perspective on the recording process and became better equip with my ability to engineer. u What is different about my arrangement than the original? v This piece stays fairly close to the classic way of performing this piece ( Voice and Guitar) I added different harmonies by overdubbing my voice and adding variations of malizma’s throughout the piece. I decided I wanted this piece to keep close to the classic style because it embodied the classic morna sound using only guitar and voice. The Recording Process Professional Package CassandraAllenOfficialpage.com THANK YOU! § HAVE A GREAT DAY! Sources § http://lyricstranslate.com/en/besame-mucho-kiss-me § http://en.wikipedia.org/wiki/Morna_(music) http://blues.gr/profiles/blogs/morna-blues-with-salty-taste § http://blues.gr/profiles/blogs/morna-blues-with-salty-taste § http://lyricstranslate.com/en/angola-angola.html § Www.wix.com