25) 2017 Impressions


Just For Fun


Burmese Gathering ;-) 


 In the rehearsal room...always work to do!!!

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30) Sandaya - Burmese Piano

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Here I collected some interesting links of Burmese Piano players, which give an impressive insight into this style. I gain some inspiration out of this for my work as well at the end of the post.  In 2016 in Burma I bought two books with scores for  Sandaya, the Burmese piano.  The piano has quite a history in Myanmar.  It came with the colonial times. Soon the Burmese people integrated the piano into their music and developed an own style.  In the beginning they tuned the pianos to their traditional tunings. Which must have been a lot of work. But soon it changed and the Burmese started tuning their original instruments in a more or less well-tempered tuning. Imitating the piano. P ianist Sandaya Aung Win:  https://www.youtube.com/watchv=ZA6eRP7gQk One more video, where you can also find a form of musical notation, that for us is not understandable. It is a chinese notation system.  https://www.yo...
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33) Name For The Project: "Nyi Mya Kyin"

I was thinking to give the project a bandname. And I thought any English or German name would not fit my perspective towards this project. So I asked Thaung Htike to think about a name. He came up with the following idea: "Nyi Mya Kyin" It is the word for the mathematical sign "=", so to say "equal". It is not easy to say for Europeans.  Probably it is spoken more like: Nji Mja Dschin. But I like his idea! Since my concern was from the beginning to create equality in the collaboration between the two cultures that shaped us.
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32) Pad Waing - 21 Tones

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21 tones. The Pad Waing consists of 21 hanging drums in a circle around the player.  Thaung Htike put down two possible traditional tunings and sent me a photo of his possible range of tones.  Thaung Htike and his 21 drums.  Example 1) From below I see the following structure: Lowest octave: pentatonic mixolydian scale. 1/3/4/6/7 Octave above: the same structure. Octave above: G mixolydian then 3 more tones from G mixolydian. Example 2)  From below I see the following structure: Lowest octave: C major pentatonic starting on G. Octave above: the same structure. Octave above:  G mixolydian then 3 more tones from G mixolydian. It is possible to tune any of those tones to a neighbor tone, a half step above or below. In that way different tonalities can be played.  It is possible to generate different tonalities in the different octaves. It is a bit of brain work for the player then. 
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