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Added: Feb 13, 2012
From: Khaartoum
Duration: 6:3
Actress Anjuman 'Queen of the Punjab' was the most amazing juggernaught to hit Pakistan Cinema in the 1980s. She was 'The Queen' for 10 years and 'Queen' she was. She appeared in 106 films between 1973 and 2000. At the time Anjuman was 'The Ideal Punjabi Beauty' that many men dream of and desired in Pakistan. It is said that many local men burned their shops in distress on the day of Anjuman's wedding in the 1990s because they had missed their chance to marry 'Queen of the Punjab'... Anjuman 'sings' with the voice of Malika Tranum [Melody Queen] Madam Noor Jehan. The voice 'fit' Anjuman's face like it was her own voice. Noor Jehan, herself an ex-Punjabi actress, had a similar face to Anjuman, maybe that is why the voices and faces match so well. Sometimes Madam's voice didn't marry the actress' lips and looked odd, but Anjuman danced and sang like a bird with Tranum's voice adhered to her soul! ORCHESTRATION A musician in Lahore told me that the large groups of drummers took about 12 to 18 hours to learn the complex drum patterns from the Music Director for these Punjabi film songs. They performed them from memory in one take at the now closed EMI Studios on Mall Road in Lahore. The percussionists apparently did not write anything down but played and replayed their beats, rests and interactions with fellow musicians until they could just flow together like a machine. The playback recording has a large ENSEMBLE [group of insturments/vocalists]. The musical parts were often recorded after practice in one take. The singer apparently came in later to record the vocal. Musicians told me that Madam Noor Jehan would record the song three times, it would be mixed to three final master tapes and the most preferred vocal interpretation would be sent to the film studios for the actors to mime to. The PERCUSSION [instruments you hit] consists of a variety of traditional drums TABLA [floor drums tuned to (I)* & (V)**] and DHOLAKS [Punjabi double headed wedding drums tuned to (I)* & (V)**]. There is some DOUBLE-TRACKING [recording the same instrument on different tracks - on playback it sounds like there are twice as many players]. Stereo mixing came late to Pakistan, so the mixing was experimental. There is effective use of hand clapping to give variety and a 'countryside' feel to the track. The drum patterns are complex and take a lot of managing. A main galloping Punjabi rhythm is used with some varying patterns, use of silence and FILLS [rhythmic full stops] at the ends of sections. The drumming is breathtaking. The melodic instruments are a Western Guitar that plays some SYNCOPATED [off-beat] strums in tandem with the drums. There is some use of planned DISCORDANT [clashing] RABAB [Turkic Lute/Guitar from Pushto Music with two strings]. Western Violins play some racing and very awkard bridge parts and CADENCES [musical full stops] at the end of sections. The violin parts are not IDOMATIC [composed for the violin] - they are worked out under the fingers on the HARMONIUM [floor organ based on Western instrument] and tranposed to violins. The string parts don't 'sing' - that is, in human voice, the violin parts are very difficult to sing - 'singing' instrumental parts is a sign of good orchestration in Western Music. Pakistan has its own style and it is unique and amazing like this song! An ACCORDIAN [western bellowed hand organ - detuned sound] works along with an electronic keyboard. A lot of the orchestration is ANTIPHONAL [question and answer] between the parts and bouncing off the SYNCOPATION. A female chorus finishes the ENSEMBLE offering variety, colour and 'rural' impression. Noor Jehan's voice is unique. By the 1980s her voice had changed from the previous sweetness to a racuous explosion of Punjabi countryside expression. The voice has a strange combination of nasal and throaty RESONANCE [area where voice vibrates for amplification and tone colour]. The nasality of Pakistani singers may have linguistic origin in pronunication of Punjabi language. Noor Jehan's voice is startling - causing riots and rapture in cinemas! The FORM [sections over time] is variation on Western Pop Song: Intro 01 + Intro 02 ['ALAAP' vocal note on vowel] + Chorus (I)* + Chorus (I)* + Bridge 01 [long for dancing] + Verse (V)* + Verse (V)* + Chorus (I)* + Bridge 02 [long] + Verse (V)** + Verse (V)** + Chrous (I)* + Chorus (I)* + CODA [end section][ALAAP on chorus]. * TONIC 'doh' ** DOMINANT 'soh' Khaartoum Channel acts as an educational archive of rare commercial East-West artists plus a showcase for Khaartoum songs by my friends and I, or just myself, inspired by East-West media. The aim is to inspire composers with commercial forms in national styles. Khaartoum Channel Encourages People to SUPPORT THE ARTS and BUY THE ORIGINAL. No copyright infringement is intended presenting this video for educational purposes. All rights to SADAF VIDEO, PAKISTAN.
Channel: Music
Tags: pakistan qaidi punjabi song anjuman noor jehan pakistani cinema bhangra dance ethnomusicology music analysis orchestration media studies
Rating: ( ratings) Views: 875 Comments: 0
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