Yanni: Within attraction

‘Within attraction’ is a composition that shows (human) being in attraction state with other beings in general and with another being in particular.

The rythm is 7/8 with distribution 2+2+2+1. These ‘unregular’ rythms, unlike 2/4, 3/4 and 4/4 in western world are probably more interesting, although harder to grasp for the untrained ear. Anyway, the composition is simple and can be listened independently from that.

(Artikullin origjinal shqip mund ta gjeni këtu)

It is an active composition with frequent breaks of rythm and also with an active bass.

Harmonies are very simple (base chords are all with three tones only). A simple composition, easy to grasp, light for ear, inspite the virtuosity needed in interpretation.

The melody is ‘western’, ‘classical’. There are trilers here and there, however, that give an ‘eastern’ color to it.

A part with a Greek instrument is performed from Yanni himself. He feels it so much that with his right hand does the performing, while the fingers of the left hand move themselves in air. And generally Yanni is captivated from the performing of the complete orchestra, from beginning to end.

Song continues spontaneusly with a percussion performance. Performers are weared like for ‘party’, each of them in their own style. The drummer looks like in tuxedo with tie, but his tie is drawn (because normally it would hinder him in performing). Already ‘within attraction’ has begun. In the end of this part it is obvious that  musicians enjoyed the part and they love and respect each-other.

The music calms down. It returns to the basic theme.

The first female-violinist unties her hair. She gets up from the chair in a spectacular way to perform standing. A virtuosic intro in the part of ‘attraction with another being’. The male-violinist enters with an oriental line, obviously ‘impressed’. Then follows a game between both female and male violines of reciprocal challenges. A line in dim maybe shows that the female has started to ‘get impressed’ too. Male culminates with virtuose line. The female surprisingly changes the tone of ‘chat’ with pizzicatto. The male returns it in the same manner. The female again in dim, ‘impressed’. The competitive game continues. Performes enjoy it. The female bends back with her body, while the male stands stable ‘like a man’. The melody culminates with a joint line of them supported by the complete orchestra.

After finishing the audience gives frantic applause and we see mutual respect between performers. It is obvious that this six-minute melody is a full composition and the space for improvisations is quite small. Yanni must have worked in particular with percussionists and main violinists to adjust the line of melody to the nature of their ethnos. I have seen the same composition performed differently from other instrumentists—also adjusted for the nature of the main performers.


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