00:00Today we are in for a treat. We have Kuali legend Rahat Fatih Ali Khan, who I know a little
00:06bit of,
00:07and one of the most revered voices in Sufi devotional music, Abida Parveen, who I don't know.
00:14Now this song has been sung for centuries and these are the voices trusted to carry it.
00:20Go to the gear to turn on captions in your language.
00:24And join me as we discover what these two legends weave together.
00:37. . . .
00:37. . . .
00:42. . . .
00:45. . . .
00:47. . .
00:48. . .
00:54. . .
00:59. . .
01:00. . .
01:02. . .
01:03. . .
01:33I think this could go.
01:35I think this could go.
02:05Wow, this is, it is, I can't even speak.
02:10The tone of her voice with that edge of grit, yet she's also creating such an intense sound.
02:18That comes from her understanding her resonance.
02:21You can see sometimes she really opens her mouth and creates a lot of space,
02:25and sometimes she really closes her mouth.
02:27This changes how direct or how soft the tone is or how big the tone is.
02:35You can also see that she's using her hands a lot, and this is not a mistake.
02:39You'll see it in all genres of music.
02:42Watch out for it, and we'll talk about it in the next section.
02:59So different.
03:28It's a good point.
03:56Why is his voice so different from hers?
03:59Why does it cut through so much?
04:01And they're both using a specific vocal tool but in different amounts and this is called
04:06twang.
04:07Now in our throat we actually have two tubes, one that goes down to our stomach for our
04:11food and one that goes down to our lungs and in there we have our vocal cords.
04:15When we eat food we don't want it to go down into our lungs so there's a little flap of
04:19tissue that sits above the vocal cords and that stops any food going down into your lungs.
04:25But when we sing you can also use it and that's what both of them are doing here.
04:29They're moving that epiglottis across a little bit and it's creating a slightly narrower
04:34space.
04:35When you make a narrower space, it's a bit brighter than if you make a big space.
04:41So that brightness really cuts through.
04:44He is definitely using a lot of this twangy sound and she's using a little bit less.
04:50We will talk about those gestures in a minute but for now let's listen to some more.
05:13I love the mix.
05:19With western instruments.
05:40Now the science of gestures and singing, actually this is used a lot in singing teaching because gestures can help
05:47us reach the notes in the way that we want to reach the notes in the way that we want
05:51to reach the notes.
05:51Pointing forward often helps us get a more direct sort of sound.
05:56Pointing out the way helps us open up and create a little bit more space.
06:01If you're moving your hand in an intricate way, it can help our minds get around by intricate phrases.
06:06Gestures and body movement can really, really help.
06:32There are some notes.
06:35Good things.
06:36All Apostles and body movement can really help us to warm things up from our cameling to grow up and
06:36teach many shoulders abattoyshets.
06:36We are seeing people constantly trying to reach many shoulders and especiallyhai hark!
06:43Parting behind cars can be filled withнутьgetsization of the face of the face of the face of the body где
06:44-tossians.
06:44Moore I love the 27th century of voice of the image of the image of the fabric where it appears.
07:01Breakthroughments are using a simple думouch operations.
07:29Oh, it's wacky there.
07:51You can see when he really wants that twang for those big expressive moments that he goes
07:57into this wide shape. Sometimes people call this a letterbox shaped mouth where it looks
08:02kind of almost like a rectangle.
08:07You can see that it really adds that drive to the sound. In western music, a lot of the time
08:13when
08:13we want something to sound a little bit more fancy, we'll add vibrato on. Which is a wobble
08:20that happens at the end of a note or throughout the notes dependent on the person. But here,
08:25there isn't so much vibrato. There is little moments. But generally, instead of that to add
08:30intricacy, there is something way more complex. Gamakas. Which is fast moving phrases and scales.
08:37It's kind of a cross between vibrato and riffs and runs which you'll hear in R&B a lot. But
08:43it is super
08:43intricate.
08:53It's kind of a chorus.
09:11a little bit of grit on the edge.
09:13a little bit of grit.
09:25a little bit of grit.
09:45That is so precise.
09:56Even she's like, holy moly.
10:03Can we just look back at that moment?
10:05Because that was incredible how he rose up through his range.
10:08You can see that he's not getting tighter and tighter.
10:11Nothing is squeezing up.
10:12He's releasing up into it.
10:14It looks as if he's almost allowing himself to relax in between each step of the scale as he moves
10:21up.
10:31Oh, that moment is so good.
10:35And I love her look.
10:36She's just like, ugh, yeah, that's good.
10:51Love it.
10:53She's laughing.
10:54I know.
11:07Love it.
11:26What is beautiful as well is that both of them are singing in a way that is collaborative,
11:31that they hand off the baton to each other and it's there to serve the song and the emotion
11:37and the feeling. It's not there to show off, although it automatically feels very flashy
11:42because they're just so blooming good. But it's not about that. It's not about showing
11:47off. It's about that expression.
11:57I love my tone so much.
12:16She gives me so much hope. It's a voice of hope.
12:27I think I want to be here when I grow up. I want to like sit on the floor and
12:31sing songs
12:32of hope and just, oh, she's so cool.
12:57I want to be here when I grow up.
13:05Oh!
13:05Bal bal jayye mohye susha kane ki niye
13:16Mosei nayna-hamila hi koeye
13:21Chhaap dilak sab chhiyeye
13:27Mosei nayna-hamila hi koeye
13:32Na-na, na-na-na
13:41Na-na-na-na
13:44Na-na, na-na-na
13:49Na-na-na
13:52Na-na-na
13:55Na-na-na
13:58Oh.
13:59Oh, why have I put this off so long?
14:03Oh, so good.
14:06What moves me most about this performance
14:08is no one's really trying to dominate.
14:11All the voices, every pause,
14:14is listening as much as speaking.
14:16They're sharing responsibility for the story
14:19and that's what makes it powerful.
14:20But they're also bloomin' amazing,
14:23technically and emotionally.
14:25If you like this,
14:27then you might like some of these analysis.
14:29Thank you for watching
14:30and I will see you in the next one.
14:32Bye.
14:33Arr.
Comments