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Kosta Tszyu

from Yakiya by Tripataka

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about

Kosta Tszyu is a Korean/Russian-Australian boxer who was a two-time light welterweight world champion. He fought 34 bouts in his professional career, winning 25 by knockout and losing only twice.

One day while I was exploring intervals, I discovered a resonance between Kosta Tszyu’s qualities of drive and intensity and quality of parallel tenths in Messiaen’s 3rd mode of limited transposition. Another focus of this piece, which developed from this material, was to explore ways of transforming compositional principles that I had discovered in the music of my teacher Karaikudi R. Mani into other musical forms.

The overall melodic structure of the piece is built from the 3rd rotation of the 3rd mode of Messian’s modes of limited transposition. The melodic theme is a nine note row which expresses the nine notes of the mode using three different triadic qualities (major, minor and augmented).

The rhythmic structure of the piece’s opening structure is built from a 96 pulse original korvai composition. The structure is expressed in three tempos contained within an eight beat rhythmic cycle (tala); (8x3) x 4 cycles , (8x4) x 3 cycles and (8x6) x 2 cycles. Initially the group recites the structure as a three part kotekan (Balinese interlocking rhythmic figurations) using konnakol (South Indian percussion syllables). We then perform the same structure in the reverse order of tempos on bass trombone, bass and drums. As part of this retrograde section, the melodic theme is introduced against the second and third tempos. A second original korvai structure, which weaves between multiple tempos, is used to transition into each of the solo sections of the piece.

Each solo section finishes with a reprise of the opening rhythmic structure where the accompanists alternately metrically modulate the rhythmic structure free of the constraints of the 8 beat cycle, reversing the traditional formal relationship to allow the content rather the form to create unity. This technique of developing form through the transposition of material, free from the constraints of meter (key), is a pitch-rhythm transformational approach to Ornette Coleman’s Harmolodic theory, using a korvai form as an analogue for a set of chord changes.

The last portion of the piece which features the morsing (South Indian classical jaw harp) is an orchestration of a series of interlinked rhythmic compositions by Karaikudi R. Mani in six divisions per pulse within an eight beat rhythmic cycle. Adrian Sherriff and Adam King were taught these pieces by Guru Mani while touring India with him in 2012. Our debut performance of these pieces was with Guru Mani at The Music Academy in Chennai as part of a series of concerts for the The Hindu Friday Review November Fest and Oz Fest.

credits

from Yakiya, released August 13, 2017
Composed by Adrian Sherriff

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Tripataka Melbourne, Australia

Tripataka performs original compositions by the band members that blend jazz with music from different cultural traditions, such as the music of India, Bali, Brazil, and Cuba. Trained in these intercultural forms as well as jazz and European classical music, the breadth of their combined experience and instrumental resources surpasses that of a typical jazz trio. ... more

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