00:00I've heard that this singer can bend the notes in between the notes. Sounds wild, it is. He was
00:06invited to the 2014 Nobel Peace Prize concert, the one that Malala won her award, and he improvised
00:12the entire thing. This is the first time I have reacted to Kuali. Let's see if my ears can keep
00:17up.
00:28The guitarist can bend the notes in between the notes too. I've never seen that unguitar before. That's cool.
01:01Oh, I love the fratso.
01:03Oh, I love the fratso.
01:05Oh, I love the fratso.
01:22Wow, that's so high.
01:37Those high mixed belts are incredible. It's so direct and so full. It has twang. It has a little bit
01:44of
01:44nasality in there. In western scales, we have our 12 notes that we can go up and down, but there
01:50are
01:50many, many other frequencies in between all of these notes, and many other cultures use these frequencies,
01:57including, of course, in Pakistan. This scale is called a raga. There's lots and lots of different
02:02types of ragas. There are references to them in texts that are over 2000 years old. Needless to say,
02:08you have to be very, very good at pitch because the difference between frequencies is so, so small.
02:16And this guy. He's one of the best.
02:23And he's got like a rock vibrato.
02:30The jazz piano as well.
02:38The jazz piano.
02:38The piano is interesting.
02:45The saxophone?
02:51I don't think it's a saxophone.
03:16The piano is so interesting because the piano is completely stuck
03:20into that 12 note scale because it's a percussion instrument. It's little hammers hitting on a string.
03:28We have these instruments that are bound to western scales. Then we have the guitar
03:33and the vocals that can move out of that because with a guitar, you have the strings. So you can
03:39go
03:39through all the different frequencies in between the notes as well.
04:00The saxophone do you need to be able to press the subscribe button?
04:07The track comes down.
04:08The power shortems in between the highlighting and the
04:09dars because it kid hurts the Pierre Lara.
04:16So you hear how he's doing these super quick runs?
04:19These are called tans and they're almost like super super super speedy riffs.
04:27He is sitting down here and people often say don't sit down when you sing and that's because
04:32we often tend to slouch when we sit down like this but he is kind of able to keep relaxed
04:38and keep his ribcage in a good position.
04:40I quite like getting my students to sit down when they sing because sometimes when they
04:44stand up they get a bit tense and sitting down sometimes gets people into their relaxation.
04:48So who is this guy and why was he chosen?
04:51I'll tell you about that in a moment.
05:05This bit can't be improvised can it?
05:08Because they all know what they're singing.
05:10They'd be pressured.
05:11I can't think I will.
05:16Oh
06:07I don't know if you heard that but you're hearing these little trills in between
06:11some of these big wild town runs
06:18That moment there is something called murky and they're like a two or three note run
06:24It's faster than a classical mordant. He is doing hundreds of these. They're so small
06:29But they happen again and again and again and again while he's building this really long crescendo throughout the song
07:06This posture is different than I would expect actually
07:29So he comes from a lineage of
07:34Kuali singers. The main one is very very famous Nasrud Fatih Ali Khan
07:39You might know him for singing with Jeff Buckley or you might just know him for being awesomely him
07:44And he was the king of Kuali and this is his nephew
07:48And Kuali is a Sufi style of music. It's very beautiful
08:04We have to talk about the posture in the moment. It's so interesting
08:06Is there a time to get more there for such a couple of my hacerlo?
08:27I don't know...
08:34It's so fast with his confidence.
08:46If you heard this in blues music you might call it a scoop or a slide but here it's called
08:50meand.
08:51Meand is like, imagine rolling down a hill rather than taking the steps down.
08:56So a riff would be taking the steps down.
08:58His sitting posture is actually interesting, it isn't as upright as I initially said.
09:02There's a lot to be said for posture as it allows efficient movement of the ribcage
09:07but it depends how you've practiced.
09:09There's actually a lot of ribcage movement at the back of your body.
09:13In fact our heart is at the front so it takes up a lot of the lung space at the
09:17front.
09:17We often think we have to be upright, we have to breathe up here but actually if you breathe
09:22low and deep and let those ribs flare out you should be able to fill up and probably by
09:28being this little bit further forward I can imagine he's able to think about breathing
09:33into his back, into the back of his lungs there and allowing his ribcage to extend backwards
09:38as well as sideways.
09:46Ticcato and shorts.
09:57Maybe this is Saiga because it is with the tabula maybe that was like a bit of a mess.
10:16Yeah, this is Saiga.
10:20Yeah, this is Saiga.
10:49It is so rhythmically accurate, it is so pitch accurate, the frequencies are tiny, they're
10:55not even a full note on the piano.
10:57And every phrase is something that is technically impressive but it's not just that, it is emotional
11:03as well.
11:04It's taking us on a journey.
11:17This must take so much practice.
11:21And talent.
11:22Absolutely.
11:36This is wild.
11:40I can't read something else.
11:50Imagine seeing this live.
11:54She doesn't seem human.
12:06The instrument he's playing is a harmonium or sometimes people call it a reed organ.
12:10It makes sound by pumping it and blowing air through reeds that are inside it.
12:15That's why he's playing at the same time as singing very, very accurately.
12:19When people are performing, when they're really, really good,
12:22they don't really need to concentrate because it's in their muscle memory
12:26and then they can just enjoy and trust themselves and go for it.
12:39Jazzy saxophone. Oh, a tiny saxophone.
12:45Piccolo.
12:57The chorus are amazing as well. They match so well with each other.
13:01No one can do it.
13:12Oh
13:17Oh
13:18Oh
13:40Oh
13:41His breath
13:42Poor
13:48His resonance on those notes
13:51They're so strong and full and he can sing right up through his range
13:55It seems the most impossible amount of control and I always am unsure about using the word control
14:02Because actually he isn't controlling anything
14:05He's worked it so much into his body he can completely release into it
14:09Woo
14:09Skill
14:20Oh, tablo as well
14:26And a performer
14:46I love all the mix of styles in this as well, it's so cool
14:51Woo
14:52Woo
15:04So much joy
15:09Woo
15:12Incredible
15:13Wow
15:14There are not many people that exist on the planet who have that amount of vocal skill
15:23It's incredible
15:24Wow
15:25We are
15:25Talking about the power
15:25Everything is very good
15:25That's a good one
15:25Where
15:25To
15:25To
15:25To
15:25To
15:25To
15:25To
15:26You
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