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The Creation of the „Naus-Mouth“: Incorporating North Indian rhythm in Vocal Jazz (last edited: 2017)

V.A.J. Naus
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In this research I investigate how to apply Indian rhythm in modern jazz compositions as well as in the improvisation on these compositions and traditional jazz standards. The first phase of my research focuses on using rhythmical patterns from Indian music in my improvisation in jazz. I therefore transcribed tihais from santoor1-player Shiv Kumar Sharma and tabla2-player Zakir Hussain and practiced them in jazz standards. This enriched my rhythmical language in improvisation. I then shifted my focus towards composing in irregular time signatures with the help of Indian rhythm. I used a basic groove and its subdivisions from Indian music to - together with its rhythmical layers and existing rhythmical compositions - gain more freedom in the approach of an irregular time signature. In the final phase of my research I combine both steps mentioned before, which leads to improvisation in my own composition. I chose one of my compositions and worked on improvising on its solo scheme. In the end, my improvisations contain rhythmical patterns from the first phase and show more rhythmical freedom and variety. This last phase was set up as an experiment, where I recorded my progress during the practicing sessions. During my research I received valuable feedback from experts like Niti Ranjan Biswas, Henri Tournier, Shai Maestro, Oded Tzur, Oene van Geel, Jarmo Hoogendijk and Sebastiaan van Bavel
typeresearch exposition
date08/12/2017
last modified08/12/2017
statusin progress
share statuspublic
affiliationCodarts, University of the Arts
licenseAll rights reserved
urlhttps://www.researchcatalogue.net/view/412559/412560
external linkwww.codarts.nl


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