Khalid_Salé
Oud Maniac
Posts: 82
Registered: 9-14-2010
Location: Morocco
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Sama'i Thaqil
Hi there all, new oudophile here. Thanks for making it easier for me to begin with this fantastic site and forum!
Anyway, to cut a long question short: Is this sama'i thaqil 10/8 time signature going to get any easier? At the moment I find it absolutely impossible
to follow the rhythm from one bar to the next. I learned 'Lamma badaa', but I can only play it exactly as learned without any improv, because if I
stray even one note I immediately lose the rhythm. Did anyone else have trouble with this when they started out?
Any advice would be much appreciated!
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DoggerelPundit
Oud Junkie
Posts: 141
Registered: 7-28-2010
Location: Pacific Northwest
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Welcome Khalid_ Sale!
My 2 cents. Everything gets easier the more you play with it. Some Semais are heavily syncopated against the rhythm, and some are not. The ones that
are not are, one might say, more "square" and thus easier to learn. Lama Bada fits this idea. Shemps al Ghouroub, on the other hand, is a bit more
syncopated.
All in all, learning more and various pieces will help you begin to feel the underlying rhythm. Think of that as a "floor" on which you can learn to
dance around, once you can feel where it is. When stepping out from the score, playing the natural extended endings of the maqam line are a good place
to begin.
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Greg
Administrator
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Welcome Khalid,
I have attached a two-bar loop at 100 bpm. It has a very clear dum on the first, sixth and seventh beat of each bar. I suggest you add it a few times
to a track in an audio program (such as Audacity) and keep listening to it until you 'feel the pulse' and it becomes part of you.
Good luck.
Greg
Attachment: loop.wav (517kB)
This file has been downloaded 223 times
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Danielo
Oud Junkie
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Registered: 7-17-2008
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Hi Khalid and welcome !
you received very good advice from DoggerelPundit and Greg !
I had the same problem as you had when I started the oud. I made also my own loop of rythm, made from a sample (about 6 minutes long) :
http://www.4shared.com/audio/ywJEbe56/samai_thaqil.html
Then I selected few Samai's that I liked, an wrote over the sheet music precisely the location of all the dums and taks. For several months I
played again and again the same pieces, with the loop running in the background, looking carefully at the score in order to be on time on all the
rhythmic accents, spot on.
After this training you'll first be able to play those pieces with the rhythm, without looking at the sheet. And shortly after you'll be able to play
new Samai's correctly straight away, as, as Greg said, this rythm would become part of you 
Dan
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Khalid_Salé
Oud Maniac
Posts: 82
Registered: 9-14-2010
Location: Morocco
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Thanks to all of you for your advice and help, Barak Allahu fikum.
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martino2010
Oud Lover
Posts: 18
Registered: 9-14-2010
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Hi, I am pleased to see how almost everyone in the forum is trying to help a newcomer, Khalid, being a newcomer myself, personaly iIhave no problem at
all with "lamabada" or the rythm 10/8. I mastered "lamabada" without thinking about the rythm, I relied on my ears, later I found out with masters
that I played it properly, so, khalid, I recommend that you simply play and sing, and let the passing time deal with the rest...Good luck.
I am personaly trying to find the music sheet or at least the "notes" for the introduction of" ini fi intizarek" by Oum kaltsoum, if anyone can help,
thanks to all, and warm regards, Martino
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DaveH
Oud Junkie
Posts: 526
Registered: 12-23-2005
Location: Birmingham, UK
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Hi Khalid and welcome to the forums. I think what you're doing is great practice for training your mind away from simple 2,3 and 4 beat western
rhythms. It's something I'm still finding difficult.
I agree, greg's loop is the best way to go. Endless repetition is the only way to internalise it!
I also think different people respond better to different ways of thinking about these more complex rhythms. As well as trying to keep track of the
dums and the taks within each 10 beat bar, it can also help to break it down into three separate measures, ie [1,2,3 l 1,2,3,4 l 1,2,3] with the
second and third measures starting on taks.
Another, slightly different way of thinking about it is [1,2,3 l 1,2,3, and l 1,2,3].
I'd also say, once you've got Lamma Bada, where each musical phrase goes across one measure only, start looking at samais proper. Here phrases will
usually go across one two or three measures and it's much easier to get lost. It's good practice to try to recognise the two and three measure phrases
as you listen (over and over!), and you'll eventually get a feel for their patterns - there aren't actually that many once you start to become more
familiar with them.
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