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"Breathing under water " - Coggle Diagram
"Breathing under water "
Harmony
'Bridge' section modulates to be centred around A, with Lydian inflections (#4 = D#)
Almost all chords have added notes, e.g. 7ths, 9ths, suspensions, diminished notes
Fairly complex, chords borrowed from jazz.
Tonal centre of Db major, though not totally defined key
Enharmonically shared with 'Burn' (C# tonal centre, minor inflections)
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"Breathing Under Water" is an extended introduction of the next track on the album "Sea Dreamer" featuring Sting. Therefore, it shares the same progression. Both tracks have an ambiguous sounding tonality.
Sonority
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Strings, Sitar, wordless vocals, keyboards
Sitar plays solo line
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Shankar played Sitar so perhaps wanted to fully showcase her instrument, by using a range of techniques and highlighting the full range
WL: Ravi Shankar, finale of symphony also uses a sitar solo, but develops into an antiphony and then homorhythmic texture with orchestra, Anoushka influenced by her father
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Samples, programmed rhythmic sounds
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Melody
AO3: Sitar embellishments commonly used (trills)
AO4: In Northern India, the Hinduism religion uses music for worshipping hence the ornaments resemble the pristine church
WL: 'Burn' by Anoushka Shankar frequently uses acciaccaturas in the sitar melody
AO3: Sitar and voice melodies mostly conjunct with anacrusis starts
AO4: Sitar and voice parts are largely improvised, this contrasts the futuristic percussive backdrop devised by Kale
WL: 'Sea Dreamer' by A.Shankar & K.Kale similarly uses stepwise melodies and anacrusis starts
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Rhythm
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In 4/4 for most of the piece, except for one bar at bar 37 where it changes to 2/4.
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However, there is use of syncopation and grace notes throughout, all in reference to the rhythm of Classical Indian music.
Although there is a sense of pulse in the accompaniment, there is use of anacrusis in the melodies of the sitar, and a 'sense' of free rhythm which makes the sitar melody feel very typically Indian.
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