This blog is dedicated to the amateur or beginner musician with music written in a simple and easy to read Alpha Notes format and with Chords for the left hand. This is to assist those with little or hardly at all note reading skills. This is a blog that shows all the chords in Alpha Notes format too which you can find the notes for the chords in one of the blogs. Please feel free to leave a comment or any suggestions would be greatly appreciated. Enjoy!
Showing posts with label malay folk song. Show all posts
Showing posts with label malay folk song. Show all posts
O Nina Noiis one of
the areas that has been officially recognized as a song originating fromEast Nusa Tenggara . This song can broadly
describe the characteristics and customs of the local population. Through this
song, you are at least able to understand that Indonesia has various ethnic
groups, cultures and languages that are very unique. Because every region in
Indonesia has differences both in terms of the character of the people, way of
life and of course the culture itself, including this song that comes from East
Nusa Tenggara. Therefore it is important for you to understand the lyrics of
the song O Nina Noi.
To download the easy alphanotes and chords sheet music, look here. Enjoy!
Lyrics:
O nina noi na nina noi O nina noi na nina noi Au a Au ana teto mese nina noi Uskol uskola bin esempe nina noi Uskol uskola bi esempe nina noi O nina noi na nina noi O nina noi na nina noi Au a Au ana teto mese nina noi Uskol uskola bin esempe nina noi Uskol uskola bi esempe nina noi
Sayang Kane is the title of a song from the Maluku region, the name of the creator is unknown. If you want to know the meaning of this song, please read the lyrics. By reading the lyrics you will probably get an idea.
Maluku has many famous regional songs both nationally and locally, including songs: Tanase, Waktu Hujan Sore Sore, and Ayo Mama.
For those of you who need the score of the song Sayang Kane, please write on the contact form. I will send it by email as soon as possible.
To download the easy alphanotes and chords sheet music, look here. Enjoy!
Lyrics:
Sayang kene rasa sayang kene, lihat dari jauh rasa sayang kene Ombak putih-putih ombak datang dari laut kipas lenso putih tanah Ambon sudah jauh Ole sioh sioh sayange lah rasa sayange Sayang dilale apa tempo tuan balik ya nona ole sioh sayange La gelange la gelange la mari topu topu gelange Sengaja topu tangan topu tangan rame-rame, rame-rame gelange la balenggang lombose
English Translation:
Love here love here, see from afar the affection here The white waves came from the sea Ambon's white lenso fan is far away Ole sioh sioh unfortunately is a pity Unfortunately, I forgot what you saw when you returned, yes, miss La gelange la gelange la mari topu topu gelange Deliberately handcuffs handcuffs crowded, rame-rame gelange la balenggang lombose
Ramba Diais a folk song from Tapanuli , North Sumatra, Indonesia. This song tells the typical way of greeting the Tapanuli people to immigrant communities. The Batak people will ask the origin and clan of the newcomer. If they have the same surname, then the relationship will be well established.
To download the easy alphanotes and chords sheet music, look here. Enjoy!
Tari Piring (Plate Dance) is a traditionalMinangkabauplatedanceoriginated fromWest Sumatra,Indonesia. The dance might be performed by a group of women, men or couples, each of them holds plates in each hands, and vigorously rotate or half rotate them in various formations and fast movements.
The dance demonstrates the skill of the dancers that manage balance and to move the ceramics plate swiftly without dropping or breaking the plates. Sometimes candles are lit on the plate, and this variant is called tari lilin (candle dance). Dancers hold the bottom of plates in the palm of their hands and swing them wildly using the inertia to keep the plate from falling. Dancers tap their plates with a ring on one of their fingers to animate their movement with sonic accompaniment.
This dance is usually performed as a ceremonial welcoming dance to honor the guests and elders to a traditional ceremony. Next to randai, saman, pendet and jaipongan, the dance is also one of popular Indonesian traditional dances performed in festivals abroad to promote Indonesian culture and tourism.
To download the easy alphanotes and chords sheet music, look here. Enjoy!
Lyrics:
Mari kawan
Mari kawan beriring
Mari kita beriring
Ayo handai tolan yo
kawan mari kita beriring
keliling beriring sama sama piring
ditangan bercincin diatas piring terpasang lilin
Ditangan piring ditangan bercincin
diatas piring terpasang lilin.
English Translation:
Come on friends Let's go friends Let's ring Ayo handai tolan yo Dude, let's go in a row circling around the same plate in a ringed hand on a plate with a candle attached In the hand of a plate in the hand of a ring on a plate is a candle.
"Enjit-Enjit Semut is a traditional children song that comes from the area of Batanghari, Jambi Province in Sumatra, Indonesia. Traditional songs from Jambi usually resemble poems." -Lin
The chorus is sometimes chanted alone as part of a game.
Game Instructions:
Two or more people play in a circle. Each person puts a hand on top of the hand of the player next to them while pinching the hand beneath theirs until all of the hands are stacked one on top of the other. It sort of looks like ants on top of each other. Then they start chanting the chorus over and over. After each line, the hand on the bottom goes up to the top.
To download the easy alphanotes and chords sheet music, look here. Enjoy!
Lyrics:
enjit enjit semut
siapa sakit naik atas enjit enjit semut siapa sakit naik atas
enjit enjit semut siapa sakit naik atas enjit enjit semut siapa sakit naik atas
dualah tiga kucing berlari mana nak sama si kucing belang dualah tiga bolehku cari mana nak sama dik oii abang seorang
pisanglah emas dibawa belayar
masak sebiji di atas peti
hutanglah emas boleh dibayar hutang lah budi dik oii di bawa mati
enjit enjit semut siapa sakit naik atas enjit enjit semut siapa sakit naik atas
enjit enjit semut
siapa sakit naik atas enjit enjit semut siapa sakit naik atas
dualah tiga kucing berlari mana nak sama si kucing belang dualah tiga bolehku cari mana nak sama dik oii abang seorang
pisanglah emas dibawa belayar masak sebiji di atas peti hutanglah emas boleh dibayar hutang lah budi dik oii di bawa mati
English Translation
enjit enjit semutwho is sick of going upstairs enjit enjit semut who is sick of going upstairsenjit enjit semut who is sick of going upstairs enjit enjit semut who is sick of going upstairsTwo or three cats ran Where do you want the striped cat Two or three I can find where do you want the same dik oii a brothergolden bananas are brought to sailcook one on a crategold debt can be paid Debt is your kindness taken to deathenjit enjit semut who is sick of going upstairs enjit enjit semut who is sick of going upstairsenjit enjit semutwho is sick of going upstairs enjit enjit semut who is sick of going upstairsTwo or three cats ran Where do you want the striped cat Two or three I can find where do you want the same dik oii a brothergolden bananas are brought to sail cook one on a crate gold debt can be paid Debt is your kindness taken to death
"Kapur Sirih" is a malay folk song. Malay folklorerefers to a series of knowledge, traditions and taboos that have been passed down through many generations in oral, written and symbolic forms among the indigenous populations ofMaritime Southeast Asia(Nusantara). They include among others, themes and subject matter related to the indigenous knowledge of theethnic Malaysand related ethnic groups within the region.
The stories within this system of lore often incorporate supernatural entities and magical creatures which form parts of the Malay mythology. Others relate to creation myths and place naming legends that are often inter-twined with historical figures and events. Ancient rituals for healing and traditional medicine as well as complex philosophies regarding health and disease can also be found.
The oral forms of this lore are transmitted primarily through nursery rhymes, folksongs, theatrical exhibitions, and stories that are commonly told from parent to child. Nomadic storytellers that would roam the temples, marketplaces and palace courts also play a large part in the insemination of the oral traditions throughout the populace, often accompanied by music as well through forms of composed poetry and prose. The oral traditions are often integrated with moral values and some may also include stories of talking animals.
Of all the types of oral transmission, those in the form of music appear to be most prevalent in Malay society. Songs and melodies from times of old are sung and resung on a regular basis during festivities such as weddings, celebrations of motherhood and childbirth, rites of passage, and at cultural or religious celebrations. They are also utilized in the occasional ceremonial functions in royal weddings, in rites of ascension (or coronation) and royal birthday celebrations; in the form of the more refined court music.
Every region or each of the states may employ different versions of oral transmission but the most popular is in the form of folk-singing or lagu rakyat. The Middle Eastern-influenced ghazal can be heard in the southern Malaysian state of Johor especially in the district of Muar. Poets and singers consisting of often females and sometimes males vocalize popular love poems and riddles in the form of pantun to the accompaniment of composition and of music made for a six-stringed Arabian lute (see oud), Indian tablas, Western violins, accordion and marracas.
Forms of nursery rhymes and lullabies are also sung at weddings and cultural festivals in the state of Melaka by Malays and the Malay-speaking Peranakan communities. The contents of the songs are mostly to do with advice on love, life, and marriage and are affectionately known in Malay as dondang sayang meaning "song of love".
Within each of these folk-songs, messages and stories are told, a kind of informal handing down of wisdom from the old to the young in the form of poetry which may include any of these:
Pantun – a poem with four stanzas, two of each rhyme with each other
Syair – a poem also with four stanzas, with all ends rhyming together
Seloka – a poem, similar to pantun
Madah – a kind of rhyming speech, a discourse through poetry
The Malay oral tradition includes a large collection of folksongs. Many of these songs are in the form of stories weaved into poetry or simple rhyme. These folksongs continue to be sung and a sizable number of them are included in the albums of modern-day singers, often with improvisations in terms of melody and more complex musical arrangements to suit a larger accompaniment of musicians as well as singers.
A number of these folksongs originally belong to a certain region within Southeast Asia and are sung by the populations within the area. However, due to the nature of inter-mingling and mutual co-migrations within these areas, the folksongs may also be heard in places far from their original geographic origins.
Stories of love and romance of princes and princesses, kings and queens, and heroes and their damsels in distress (and often, damsels and their heroes in distress) have long filled the imaginations of ethnic Malays. The fact that numerous royal courts existed and still exist in Southeast Asia supplied the basis of the stories. Although many of these tales are replete with additions (or reductions) and may contain a certain measure of exaggeration as well as the expected variations that existed from one story teller to another, the value and the wisdom behind each story cannot be ignored.
These stories are often told by professional story tellers called penglipur lara, which roughly translates to reliever of sorrows. The few penglipur lara that exist today are often farmers or at least rural villagers. In the past, travelling penglipur lara would carry the stories from one kampung (village) to another, making the occasional stops at marketplaces, village squares as well as royal courts. The essence of the stories remain the same but sometimes, adjustments are made according to the individual story-teller's preference. For example, the penglipur lara version of the Ramayana changes many of the names and settings and casts Laksmana as a pawang or Malay shaman, as opposed to the literary Hikayat Seri Rama or the theatrical Hikayat Maharaja Wana which remained closer to the original Indian epic.
Many of these stories are also condensed and made into poetic songs. A fixed melody is set for each story to the extent that if a melody is played or sung in the absence of its wordings, a Malay would be able to instantly recall the title of the story or at least the name of the characters in the story.
Animal fables are often used to explain certain natural phenomena. Other times, they are simple moral tales. In almost all instances, the animals in these stories possess the ability to speak, reason and think like humans, similar to Aesop's Fables.
The kancil or mouse-deer serves as the main character in a number of the stories. The Malays regard this humble animal in the highest esteem due to its ability to overcome obstacles and defeat adversaries despite of its rather small and benign appearance. The mouse-deer appears in the state herald of Melaka and even plays a part in the legend of Malacca's founding.
Below are listed some of the common fables as well as their approximate title translations. (Note that the word sang, an Old Malay honorific meaning "revered", appears in all instances preceding the name kancil to indicate respect).
Malays, as with other Southeast Asians, have always taken great interest in stories of ghosts and spirits. It must be stressed that due to the animistic root of Malay folklore, these ghosts are seen as sharing the plane of existence with humans and are not always considered evil. However, when the delicate line that separates the boundaries of existence is crossed, or a transgression of living spaces occurs, a conflict ensues that may result in disturbances such as possessions.
The Malay word for ghost is hantu. However, this word also covers all sorts of demons, goblins and undead creatures and are thought to have real physical bodies, instead of just apparitions or spectres. The most famous of these is the pontianak or matianak, the ghost of a female stillborn child which lures men in the form of a beautiful woman.
Malay folklore that appear as written traditions are often called hikayat, kisah or dongeng. The oldest of them were written in Old Malay using the prevailing scripts of the time, such as Sanskrit, Pallava or Kawi. From around the 14th century onward, they were written in Classical Malay using Jawi script which prevailed ever since the arrival of Islam until the colonial era. During this time, the Malay royal courts became the centre for learning where scribes record the genealogy of kings and queens as well as historical events.
The hikayat or epics are collections of stories and legends of heroism that often involve mythological and historical figures in a setting usually engaging the role of protagonists and antagonists. The Hikayat Hang Tuah and the story of Hang Jebat are among the most well known hikayat which are often told and retold in various forms such children's books, films, theatre plays and musical productions. The choice of who were to be portrayed as the protagonists and who were to be portrayed as the antagonists usually lies with the alignment of the storyteller, although most commonly, bards tend to maintain a stance of neutrality and dispassion in their story telling. In the stories of Hang Tuah and Hang Jebat for example, the lawful Hang Tuah may be portrayed as the hero, while sometimes, the non-lawful Hang Jebat may assume that role.
Kisah dongeng are a loose collection of bedtime stories, fables and myths that involves human or non-human characters, often with superhuman powers along with talking animals, and an unearthly setting.
In this category, the story of Puteri Gunung Ledang, Bawang Putih Bawang Merah and Batu Belah Batu Bertangkup is well known by the Malays. All three have been made into movies, albeit with differing interpretations and settings.
Characters with human-likeness abound in these stories. They are collectively referred to as orang halus meaning the "refined folk" or "soft folk" (often erroneously translated as "elves"). Most are invisible to the average human.
Apart from the stories and songs, Malay folklore also includes traditions, rituals and taboos related to the physical as well as the more metaphysical realms of the Malay world view. Such knowledge are usually presented in the forms of symbols and signs inscribed or built into temple walls, palaces, houses and often appear on stone inscriptions as well as grave markers. Natural symbolism are also important such as flowers, trees, animals, the sea as well as celestial objects such as the moon and stars. Malays also have knowledge of a series of constellations that are markedly different from the Indian system upon which it is based. Object symbolism such as wood carvings of animals, ancestral images, mythical beings and masks are also common in Malay society.
Symbolic forms of folklore are usually the domains of the spirits and are therefore sometimes employed by the traditional healers and shamans. The Malays have been known to employ supernatural forces for healing as well as in the aiding of child-birth, the curing of poisons and in the warding off of spirits. Due to the Islamization movement of recent decades, these practices are not very well-documented in Malay, but have been recorded in some Western sources.
To download the easy alphanotes and chords sheet music, look here. Enjoy!
