Breathing Underwater: Breathing Under Water- Anoushka Shankar- 2007

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  • Breathing Underwater- Anoushka Shankar- 2007
    • Structure
      • Make use of traditional western structures
      • Verse/chorus/instrumentals/introductions and codas
    • Tonality
      • Db major for the majority of the piece
      • Tertiary modulation to a lydian-inflected A major
      • Clear tonality but with modal inflections
        • The Duchess, Portman 2008
      • Little evidence of tonality being used to define structure
    • Texture
      • Wordless vocal line is used to link into the second main solo section
        • Then low down harmonic filler in the second section and as a high descant to a third section and as a final resolution
      • In the third section, the sitar drops to a lower register and the strings play in a higher register. this provides more interest
    • Melody
      • Fusion between the complex sitar lines of Indian music with the lead vocals which are more Western in nature
      • Sitar line is very ornate and quite complex, with many traditional figures
      • There is much use of stepwise movement and repeated anacrusis phrases
        • Allow the contours and phrases structure of the original song Sea Dreamer to shine through
    • Rhythm, Metre & Tempo
      • Sitar is rhythmically flexible with syncopations, triplets and quintuplets
        • Debussy, Pagodes, 1903
      • Each phrase has an anacrusis at the beginning
      • Accompaniment provides rhythmic support to allow the sitar to be free
    • Harmony
      • Added note extension chords used in every bar
      • Use of slash, major 7th and diminished chords
      • Plagal cadence variation used
        • IVm-I progression
        • Common in pop music
    • Sonority
      • Melodic line ornamented
        • Meend (slides)
        • Kan (Grace note)
        • Andolan (vibrato)
        • Gamak (mordents/trills)
    • Context
      • Ravi Shankar, famous sitar player as he father
      • Grew up in multiple countries, hence the fusion

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