Saba Maqam

Hi oud lovers,
Let's talk about Saba. Here are some questions:
1. What maqames will go with Saba, as modulations?
2. Is Saba a modulation from maqam Bayati?
3. I wonder why Riyad Sanbati in Alatlal song "yahabiban zorto yaoman..." used g# in the intro music, which is not usually used in Saba" while he used just regular Saba in the singing? It is very interesting see http://www.maqamworld.com/maqamat/saba.html for more info.
For Saba, I like (How Saheeh El hawa khlab) "Um Kolsom". What about you?

Zeyad.

Saba!!

Cool, slready started a newer thread?! I hope then u guys will give me some time to assimilate my notes then, then I can help for sure.
As for the modulation question, I do believe that Saba IS a variation of Bayat, but since it has variations to it, plus the fact that it is used more frequently than any other variation (with the exception of Huzam) they decided to use it as a seperate maqam (of course this is based on my belief). Besides, there are rules in Saba that don't apply for bayati, such as the change of the upper part of the scale to fit the hijaz part on F (if we're considering the saba from D). Anyways, I'll do my best to post soon with notes included. Peace!

Yours truly,
Basel

P.S. Zeyad, again u gave us a wonderful piece. Very calm and melancholic, I hope u don't feel the way u play, that is down or sad

Maqam saba is great. I hear it is not an easy maqam to do entire taqsims on, but it is a good maqam to modulate to. I think I remember Wael telling me Ajam and rast taqsims can flow nicely into saba and then back. And you know what, that is when we usually involuntarily say "Allah Allah" when the player does it!

Take care,
Mike

Modulation..

Mike u r right, Saba is one of the least (if not the least) popular maqam to be played in taksim by itself, but a very very common modulation for takasim on other maqams. As for the modulation process, Wael is right, this is based on the fact that the maqam's first variant (without lowering the high D) has Ajam in the section Bb-C-D, hence one can also continue Bb-C-D-Eb-F based on that fact, as well as modulating to rast Bb-C-D$-Eb-F. This modulation can also be taken from the point of view that in Hijaz u also modulate to Rast (Hijaz Do, Rast Fa) or change maqam to Hijaz's variant Zanjaran (Hijaz Do, Ajam Fa).
As for the first point discussed, i think it's time we become pioneers in takasim on Saba What do u think y'all? Peace!

Yours truly,
Basel

P.S. I still can't find adequate time to sit "3a rawa2" and type my notes, but hopefully I will soon.

Help on modulation.

Zeyad u always come up with good questions, which shows the true intent of learning and the extent of how much u absorb what is given. Ur questions actually help fill the gaps in any explanation I give, so if u have the slightest one do ask it, no matter how trivial u might think it is.
As for the modulation from Ajam to Saba, this happens in a more or less complicated way, it is not straight forward. First we shift to Zanjaran (Ajam's variant mixed with Hijaz) then based on the Hijaz part we fit the Saba. I'll try to make it simpler by showing the scale as it changes from modulation to another, based on Ajam's variant on F (called Jihar Kah). The changes happening successively are in bold so as u can note where exactly the change happens, thus where to concentrate the melody prior to changing:

1. F G A Bb C D E F (original ajam)
|
v
2. F G A Bb C Db E F (Zanjaran: Hijaz on C)
|
v
3. F G A B$ C Db E F (Saba on A)

As for breaking free from Saba back to Ajam, it is done simply by raising the lowered Db half a tone and the melody finds its way back Sounds a bit complicated, but I included a sound file to help understand the explanation. I had to cook it fast and I misplaced my god risha so I had to do with an older one which doesn't grant me control (too flexible and slippery) but what's important is the melody (don't mind technique). Listen to how I shifted from maqam to maqam according to the explanation above, and how i returned to Ajam (a bit tricky but achievable). As for rast, same rules apply, with more caution to appropriacy, since u can't easily change quartertones from a note to the adjacent: considering Rast from C, C D E$ F G A B$ C -> C D E$ F G Ab B C -> C D E F#$ G Ab B C (F sharp (diaz) quartertoned, not F quartertoned, imagine playing B$ but on D string instead of G). In this case the Rast Do changes to Saba E (which was quartertoned in the previous maqam before modulation), therefore in order to keep the melody appropriate several twists through other maqams can facilitate the transfer (one can try changing to nahawand then the Rast accordingly).
Hopefully what I said isn't discouraging rather than comprehensive. Any questions or requests of clarification I'll be more than happy Keep practicing. Peace!

Yours truly,
Basel

following Basel explanation

I tried to follow what Basel explained in his post. I started Rast , then switched to Saba from the G note "it became Saba on E", then from G I switched to Hijaz "Hijaz on G", Then from high C, i came back to Rast.. using Nahawand on the way down "Nahawand on G" I went back to the original Rast C. I would appreciate your feedback. So, tell me guys how i did. And thanks soooooooooooooooooo much to Basel "the great teacher, he is good at explaining things"
Zeyad

Zeyad

Man that was excellent, I'm very glad u got the concepts easily No need to thank me man, I'm just doing what I felt that I need to do in order to help all Oud beginners kick-off on their own. Keep up the good work man. Hope all the others share my opinion about you as a fast learner and a soon-to-be-great Oudist. I hope they as well participate soon, especially our dear friend Sydney who teased me by telling he has a taksim but didn't post it yet We await ur feedback Syd. Peace!

Yours truly,
Basel

P.S. TP ur silent nowadays. I hope u r preparing something, and u do't feel discouraged to post.

Yes... where are you, TP21??? busy with school? man.. it is Sat., post something . We are waiting...

I agree with you Basel... where are the fine people to participate?? maybe Saba is scary thing to talk about
Zeyad.

PS: Basel, I am glad the taqaseem and modulations were correct . It was short taqaseem, I thought the modulations would be odd... but you siad it was fine... so, i am happy