marbishnaye
Oud Admirer
Posts: 6
Registered: 10-22-2010
Member Is Offline
|
|
2 different maqams, but same scale? why?how?
Hi all,
I am new to this forum, also new to the oud, thanks Mike's oud for the opportunity to ask and get answers.
I have a question related to the maqam theory. Why can two different maqams have the same scale but they are different and called different?
I mean what is transposition means in terms of maqam type?
For example, my oud is tuned C E A d g c, would playing a maqam on D and then playing it on the g... would it differ and how?
please can some of you answer in an easy way, so I can understand this theory.
thank you so much
|
|
|
David.B
Oud Junkie
Posts: 640
Registered: 9-5-2009
Location: France
Member Is Offline
Mood: Renaissance
|
|
Hi marbishnaye,
Unhappily no easy way... I already talked about that with myeyes2020 about Shadd `Araban vs. Hijaz Kar -> http://www.mikeouds.com/messageboard/viewthread.php?tid=9746&pa...
To me there's a conflict between the old theory and its melodic-types vs. the new theory and the one octave scale maqamat. This is why beginners who
learn with the last one are lost when experimented oudists use the old school names.
So it's up to you to make your own soup.
Personally I prefer to see each maqam associated with a "tonic" (the old theory says a finalis, this is the root position). When you transpose there
are two purposes : 1- to follow a singer's voice 2- to modulate. When you transpose this way you should keep the "spirit" (as closed as possible to
its development) of the maqam in the transposition.
But if you play, for example on Hijaz Kar, this means you have a particular way to develop it, different from the way to develop Shadd `Araban (Hijaz
Kar on GG).
To give to you two easy concrete examples about how a maqam must be developed:
1- Maqam Bayyati is supposed to start on D but if you start around the fourth (G) it's named `Ushaq al-Atrak in spite of the maqam has the same
"tonic"!
2- Maqam Hijaz is supposed to be centered on D (the "tonic") but if you centered it on G with a Eb+ and a F#- it's called Hijaz Gharib.
Now I can't tell you how different should be the development between Hijaz Kar and Shadd `Araban, Huzam and Rahat al-Arwah, Nawa Athar and Hisar,
etc.
If no one can share its own knowledge, you'll have to learn one after one by experience with recordings.
|
|
|
marbishnaye
Oud Admirer
Posts: 6
Registered: 10-22-2010
Member Is Offline
|
|
thanks for your help David.
"you have a particular way to develop it[...]"
then, is it cultural? I means this particular way would be different in Iraq, in Egypt, Syria and Turkey, wouldn't it be?
I mean playing Hijaz Kar on G or on D or on A or on C
what if I apply the particular way of development of Hijaz Kar and play it on D (D is usually for Shehnaz).. I mean what happens? would that be a
bomb?
there is obviously something I don't get.. I think some of us newbies also don't get.
Sam
|
|
|
David.B
Oud Junkie
Posts: 640
Registered: 9-5-2009
Location: France
Member Is Offline
Mood: Renaissance
|
|
Sam, what is your background? Western music?
Arab music is really different, it's more about experience than theory. After you learn by ear many phrase-types you get the essence of the maqam,
this is a way for the listener to follow you: For example if you start on F# then G on the scale GG AAb BB C D Eb F#
G Ab B c d this means you are on Shadd `Araban and not on Hijazayn, important to express right at the beginning for the auditory.
Shahnaz means c#, so I guess this note has its importance in the development of the maqam which belongs this name. Also Shahnaz and Hijaz Kar don't
have the same position for your fingers on the oud, I mean you can't do exactly the same ornaments for them both. So you won't create a bomb but just
a trap for your fingers if you want to develop Hijaz Kar with the scale of Shahnaz. (I like your idea of bomb, may terrorists read you and change
their methods  )
You try to generalize and this will make your head explode. Just focus on one maqam, and get what is reliable. For example maqam Bayyati -> http://www.maqamworld.com/modulation.html (at the end of the page). When you get some phrase-types and cadences you start to modulate, then
Bayyati will take its place into and onto "Nahawand, Ajam, Bayati Shuri, Hijaz, Husseini, Rast and Saba" (in Riad Al Sunbati's example). Then try to
learn about Nahawand and you already know about its connection with Bayyati now, and so on. At last you'll have you're own way. You'll take care of
Shadd `Araban, Rahat al-Arwah, Hisar... next. This is like building a house with Lego, many ways but just a few types of brick (jins or genre), you
just have to learn a few rules (modulation) to clip them! Your question "2 different maqams, but same scale? why?how? " is more a
question about knowledge than theory.
Quote: Originally posted by marbishnaye  | | then, is it cultural? I means this particular way would be different in Iraq, in Egypt, Syria and Turkey, wouldn't it be? |
I'm talking about the Levant school...
|
|
|
mrkmni
Oud Junkie
Posts: 393
Registered: 12-9-2007
Location: Ottawa/Canada
Member Is Offline
Mood: No Mood
|
|
marbishnaye :
You re absolutely right, we see same scales but there is slight difference, that could be in the starting of the maquam, or even few commas that we
can not write, or for simplification.....
if you want to be very accurate: rahat al arwah is not Huzzam...
I personally dont care about these things, because I am not studying music.
David: Félicitations, tu es devenu un expert et tu a dépassé les interessés..
btw, what do you mean by levant music?
tks
|
|
|
marbishnaye
Oud Admirer
Posts: 6
Registered: 10-22-2010
Member Is Offline
|
|
@David
I am from Canada, but born in a middle eastern family, so I guess I got the 2 genre in mind....
AHA, you said Levantine school!
so just to make this clear, is maqam regional? except for the scales which are vaguely the same for everyone from Iran to Morocco.
so I could be playing Shadd `Araban somewhere and it could be understood as hijazkar somewhere else?
so this topic is purely cultural. so for example when someone on the forum explains a taksim he made of a maqam, then he's gotta tell us first from
what school he went through? what is his background or you'd have to get it yourself, recognizing the style or the phrases he uses. right, am I?
Sunbati is amazing, indeed.
I think, the main of my global question on the subject is:
>>>>>"What are the non cultural difference in playing hijazkar on G? are there any scale
implications/consequences" <<<<<<
p.s. having in mind that hijazkar is normally played on D
|
|
|
marbishnaye
Oud Admirer
Posts: 6
Registered: 10-22-2010
Member Is Offline
|
|
@mrkmni
wait wait wait, there is something I don't get now,,, you are telling me that Rahat al Arwah is different from Huzam? and we're not talking about a
cultural difference (different phrases and introduction and and and, ...)
what are the differences? I mean if you know
|
|
|
mrkmni
Oud Junkie
Posts: 393
Registered: 12-9-2007
Location: Ottawa/Canada
Member Is Offline
Mood: No Mood
|
|
marbishnaye
of course they are different, but they belong to the same family SIKA because they start with: 3/4- 1-...
ok these things are culturally and historically ( it is a take-off of the existing)...when people became aware and wanted to classify the Arab music
for example; they went let us say to southern Iraq, they found traditional people sing Rahat AlArwah, of course without writing it in scale. Then,
they went to let us say to northern Tunisia, they found people singing similar maqam but a little higher, and with a little comma to the right....
When they wrote the two maqams; no choice, same scale ; Now would you say that they were the same maqams? of course not, the naghma is clearly
different.
Besides, two possible mistakes:
1- the comma that is missing in the scale.
2- the base note of the scale is not the same.
fortunately, people like to simplify things. But there are also people who are very attached to origins, iIn other words, what we call fundamentalists
or fanatics...
Now it depends on your goal; for me for example, I don’t care about a comma....however, if you are doing a PhD in traditional arab musicology,
well, in that case, you better go deeper...
Hope this helps.
|
|
|
mrkmni
Oud Junkie
Posts: 393
Registered: 12-9-2007
Location: Ottawa/Canada
Member Is Offline
Mood: No Mood
|
|
I would like to add somthing to put you in the confusion mood..
I assume you know bayati and rast, if not, dont read the rest.
the lowered E in both casesis not the same; when you play rast, shift your finger about 3 mm to the left; for the bayati, to the right.
I used to do the opposite for a long time, mistakenly of course. But who cares? who has the super ears?
|
|
|
londonoudi
Oud Maniac
Posts: 68
Registered: 1-1-2009
Member Is Offline
Mood: No Mood
|
|
| Quote: Originally posted by mrkmni | I would like to add somthing to put you in the confusion mood..
I assume you know bayati and rast, if not, dont read the rest.
the lowered E in both casesis not the same; when you play rast, shift your finger about 3 mm to the left; for the bayati, to the right.
I used to do the opposite for a long time, mistakenly of course. But who cares? who has the super ears? |
So 'mi' of rast is lower than the 'mi' of bayati?
Ok now regarding Rahat el arwa7, I was told that it is bascially huzam but in reverse order - so it basically starts on the upper jins of huzam. I am
not sure I completely understand this.
|
|
|
David.B
Oud Junkie
Posts: 640
Registered: 9-5-2009
Location: France
Member Is Offline
Mood: Renaissance
|
|
| Quote: Originally posted by marbishnaye | @David
I am from Canada, but born in a middle eastern family, so I guess I got the 2 genre in mind....
AHA, you said Levantine school!
so just to make this clear, is maqam regional? except for the scales which are vaguely the same for everyone from Iran to Morocco.
so I could be playing Shadd `Araban somewhere and it could be understood as hijazkar somewhere else?
so this topic is purely cultural. so for example when someone on the forum explains a taksim he made of a maqam, then he's gotta tell us first from
what school he went through? what is his background or you'd have to get it yourself, recognizing the style or the phrases he uses. right, am I?
Sunbati is amazing, indeed.
I think, the main of my global question on the subject is:
>>>>>"What are the non cultural difference in playing hijazkar on G? are there any scale
implications/consequences" <<<<<<
p.s. having in mind that hijazkar is normally played on D
|
About the Levantine oud school -> "Hi jenni,
I going to talk about oud, not arab music. The first school, al andalus, is from the Maghreb (it came to Morocco, Algeria, Tunisia, (Libya ?) from
Andalousia after the reconquista). The second school you're talking about is the Levant school: Egypt, Lebanon and Syria. The Third is the Iraqi
School. Also, you have the Turkish school and the Black African school (like in Sudan).
I guess there's a correlation between the growth of al andalus and the Omeyyades, the Levant school and the Fatimides, the Iraqi school and the
Abbasids and the Turkish school and the Seldjoukides. This is for the political and geographical point of view. For the artistic point of view I give
up as I'm studying the Levant School without so much points of comparison..." (http://www.mikeouds.com/messageboard/viewthread.php?tid=11271)
Also I'm going to talk about Shadd `Araban, this is the only one I treated seriously -> "
"§5. On variety in tunes, and their division into modes.
The difference between tunes is of four kinds. The first is in the key note. If you strike, for example, rest, then `arâk, then `ösheirân, and end
with yegâh, making it the key note, the sound differs from what it would be, if you struck dûgâh, then rest, then `arâk, and ended with
`ösheirân for the key note. And this difference does not arise from the height of dûgâh and `ösheirân, with which you begin and end the one,
above rest and yegâh the first and last notes of the other. For difference in height, were the intervals between all the notes the same, would
occasion no variety in tunes, and you might vary the key note, without varying the melody. But as it is, varying the key note varies the tune, because
the intervals are unequal, and a succession of them is passed over in the one case, differing from that passed over in the other. As in the example
above adduced in the first strain, the first two intervals are or three quarters each, and the third of four ; while in the second strain, the first
interval is of four quarters and the other two of three quarters each. Thus appears the first kind of difference between tunes. In consequence of it,
tunes are divided into modes according to their key notes, and are named from them ; one being called rest, another dûgâh, &c.
The second difference arises from two circumstances independent of the key note, which may remain unchanged. One is a difference of execution in
passing from note to note, which is not to be described in words, and which the Arabs have no notation, as the Greeks and the Franks have, to express.
The other is a difference in the notes with which different tunes begin. The two tunes dûgâh, and suba, for example, are both keyed on dûgâh, but
the first begins with rest, and the other with jehârgâh ; as we shall see when we come to the description of particular tunes.
The third difference arises from a change of some notes, by substituting certain quarters for them. For example, in the tune called hejâz, the note
jehârgâh is not used ; but in ascending and descending it is passed over, and the quarter hejâz is struck in its place. So in the tune beyâty, the
quarter `ajem is used in the place of the note auj.
The fourth difference arises from the tunes being double ; the first or second cause of difference being united with the third. In this case, the
voice passes over more than seven notes, striking notes in two octaves, which are the responses and bases to each other. For example, the tune
muhaiyar is tune dûgâh repeated ; dûgâh being first sung on an octave dûgâh, and then the voice descending to the base of that, which is the
octave to which dûgâh itself belongs. So the tune shed-`arabân, is made up of two hejâzes, on two different octaves. And `ösheirân is almost
beyâty, sung from above huseiny, and then ending in beyâty on `ösheirân.
6. On Transposition, or the performing of a tune on another than its natural scale.
Musicians are sometimes obliged to perform tunes on other than their proper key notes. For example, dûgâh and hejâz, whose proper key note is
dûgâh, are usually performed on nawa, in order, by a higher pitch, to give more pleasure to the hearer. This change is sometimes necessary. As, when
a double tune, which takes in more than one octave, is keyed on a high note. Shed-`arabân, for example, whose key note is dûgâh, requires the voice
to ascend to the response to huseiny, which is extremely difficult for most performers, and even if accomplished, produces an unpleasant effect upon
the hearer. Hence this tune is generally performed on yegâh or `ösheirân. The same key notes, also, are generally adopted for the tune muhaiyar. A
similar necessity likewise exists, when you wish to play on two instruments together, one of which, as a large kânôn for example, is made for very
low notes, and will not bear tuning for high ones, and the other, as a short kerift, is pitched very high. Then the performance on the two will not
agree, unless one or the performers transposes the tune so as to play it on such a key note as shall accord with the key note on which the other
performs. Hence the professors of the art of music, have found it necessary to be exceedingly careful in the composition of tunes, to define and
observe the exact number of quarters which compose the intervals between the different votes. For it is only in consequence of this exactness, that
the musician is able to transpose a tune by changing its key note.
For illustration of what has been said above, take two examples. First ; suppose it be desired to transpose a tune keyed on dûgâh, so as to perform
it on nawa. Then is will necessary to change two notes, huseiny and auj, by striking instead of them, the quarters tek-hisâr and `ajem, next below
them. This being done, the succession of intervals in the transposed tune, will be the same as in the original, as may be seen in Table IV., below.
Second ; suppose it be desired to transpose a tune on rest so that it can be performed on nawa. Inasmuch as nawa is a fifth above rest, the first five
notes will require no change, for reasons explained in section 4. But the next two notes do not correspond, and it bocomes necessary to raise buzereh
and mâhûrân each one quarter, by using the quarters response to bûselîk and response to nîm-hejâz, instead of them, in order to preserve the
intervals of the original tune, as may be seen in Table V." -> A treatise on Arabic music chiefly from a work by Mikhâil Meshâkah of Damascus
p.181
"§1. Melodies keyed on Yegâh.
2. Shed-`arabân. This is in fact hejâz repeated in two octaves, to render the pitch easy for the singer. Its notes are 8, 8b, 8, 11, 10a, 8b, 8, 12,
12b, 12, 11, 10a, 8b, 8, 7, 5b, 5, 4, 3a, 2,1." -> A treatise on Arabic music chiefly from a work by Mikhâil Meshâkah of Damascus p.185
My own way :
Nawa (G), Hisâr (Ab), Nawa (G), Mâhûr (c), Nihuft (B), Hisâr (Ab), Nawa (G), Muhaiyar (d), Sumbuleh (eb), Muhaiyar (d), Mâhûr (c), Nihuft (B),
Hisâr (Ab), Nawa (G), Jehârgâh (F), Kurdy (Eb), Dûgâh (D), Rest (C), Kuwesht (BB), `Ösheirân (AA), Yegâh (GG).
"§4. Melodies keyed on rest.
8. Hejâzkâr. It is 4, 8 distinctly, 8b, 8 distinctly, 7 distinctly, 6a, 4c, 4, 1, 4. Thus the Constantinople masters have arranged it. In it 5 and 6
are altered to 4c and 6a. Evidently this arrangement is that which is necessary for the performance of the tune hejâz itself ; except that the
quarter 7b must be made 7a. And if it be thus arranged, and 5 be made its keynote, it will be easier, or only one note, viz. 7, will be altered to a
quarter." -> A treatise on Arabic music chiefly from a work by Mikhâil Meshâkah of Damascus p.187
My own way :
Rest (C), Nawa (G) distinctly, Hisâr (Ab), Nawa (G) distinctly, Jehârgâh (F) distinctly, Bûselîk (E), Tek-zergelâh (D-b-), Rest (C), Yegâh
(GG), Rest (C).
So the ancient understanding of Shadd `Araban vs Hijaz Kar is very different from nowadays understanding.
Also observe the old jins Hijaz is Dûgâh (D) {3 quarters} Sigâh (E-b-) {5 quarters} Hejâz (F#) {2 quarters} Nawa (G).
In the old maqam Hijaz Kar : Rest (C) {3 quarters} Tek-zergelâh (D-b-) {5 quarters} Bûselîk (E) {2 quarters} Jehârgâh (F).
While the old Shadd `Araban (Hijaz on G) is Nawa (G) {2 quarters} Hisâr (Ab) {6 quarters} Nihuft (B) {2 quarters} Mâhûr (c).
Nowadays we assimilate maqam Shadd `Araban as a transposition of maqam Hijaz Kar, so why purists want to keep the old fashion by saying "Shadd
`Araban" instead of "Hijaz Kar on GG" ? This is an open question, my own answer is because it keeps the heritage of Arab music in its name.
[file]15541[/file]" (http://www.mikeouds.com/messageboard/viewthread.php?tid=9746)
|
|
|
David.B
Oud Junkie
Posts: 640
Registered: 9-5-2009
Location: France
Member Is Offline
Mood: Renaissance
|
|
No the opposite.
Check out this link: http://www.mikeouds.com/audio/real/george_abyad_rast.rm
At 02:00 you have a very little glissando on E-b- then a qarar (base) of the note D in order to confirm the modulation from Rast to Bayyati. But this
modulation is unusual, this is out of modulation rules...
|
|
|
mrkmni
Oud Junkie
Posts: 393
Registered: 12-9-2007
Location: Ottawa/Canada
Member Is Offline
Mood: No Mood
|
|
| Quote: Originally posted by londonoudi | | Quote: Originally posted by mrkmni | I would like to add somthing to put you in the confusion mood..
I assume you know bayati and rast, if not, dont read the rest.
the lowered E in both casesis not the same; when you play rast, shift your finger about 3 mm to the left; for the bayati, to the right.
I used to do the opposite for a long time, mistakenly of course. But who cares? who has the super ears? |
So 'mi' of rast is lower than the 'mi' of bayati?
Ok now regarding Rahat el arwa7, I was told that it is bascially huzam but in reverse order - so it basically starts on the upper jins of huzam. I am
not sure I completely understand this. |
Ok, when they say opposit, they mean start usually upside down .
Example:.
Take muashah: Ya ghosn Naka; it is huzzam, the main the melody starts from up to down.
Take -sirt elhobb- or -daret el ayyam- of oum kalthoum this is rahat alarwah... down-up
|
|
|
mrkmni
Oud Junkie
Posts: 393
Registered: 12-9-2007
Location: Ottawa/Canada
Member Is Offline
Mood: No Mood
|
|
is that your conclusion based on this file or you read it somewhere?
|
|
|
David.B
Oud Junkie
Posts: 640
Registered: 9-5-2009
Location: France
Member Is Offline
Mood: Renaissance
|
|
OK, I'm tied and upset. I prefer my ouds, my books and my Cd's. And if it's not ARAB MUSIC I don't care, it will be the music I can poorly understand
through what I can handle.
So to the newbies, ask to the Arab natives they are the masters!
|
|
|
mrkmni
Oud Junkie
Posts: 393
Registered: 12-9-2007
Location: Ottawa/Canada
Member Is Offline
Mood: No Mood
|
|
I remember I read it somewhere, few years ago, then I read the opposite may be 3 years ago, then I started playing rast lower, at first I founded it
strange then I became happy with it...
I am really not sure.
it is about 10 % so rast is 70% and bayati is 80% of the whole tone.
|
|
|
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
I didn't read all the posts, but perhaps can add something to the original question.
Firstly, it is important to drop the Western note names - this only leads to confusion. Secondly, drop the notion of SCALE... this is a Western
concept that doesn't fit in with makam theory.
In makam theory you have note names. Rast, Dugah, Segah etc etc, and depending on the tuning system you are playing in, the whole system can be
transposed. For example MANSUR, KIZNEY, BOLAHANK, YILDIZ etc etc.
Then you have tetrachord and pentachord...
You have tonics, dominants, and octaves... each one of these 3 notes can be the most important in the makam.
Finally you have the seyir, which is the "path, or grammer" of the makam which determines its direction.
Also important to mention is the notes which shift position depending on melodic direction.
Regarding transposition, the only time this applies is when you change tuning system, and in this case you shift the ENTIRE MAKAM SYSTEM to another
place. There is no such thing as a transposed makam, although the incorrect modern theorists will try to tell you this exists.... they are trying to
simplify things but they are wrong. Within one tuning system you can have several makams which seem to have the same scale but start from different
points - they will NEVER have exactly the same SEYIR... the grammar will always be different.
furthermore, it is also possible to have several makams which seem to have the same scale and DO have the same tonic... but again the seyir will be
different, also the dominant can be different, or the octave might be the most important note.
|
|
|
marbishnaye
Oud Admirer
Posts: 6
Registered: 10-22-2010
Member Is Offline
|
|
| Quote: Originally posted by Edward Powell | I didn't read all the posts, but perhaps can add something to the original question.
Firstly, it is important to drop the Western note names - this only leads to confusion. Secondly, drop the notion of SCALE... this is a Western
concept that doesn't fit in with makam theory.
In makam theory you have note names. Rast, Dugah, Segah etc etc, and depending on the tuning system you are playing in, the whole system can be
transposed. For example MANSUR, KIZNEY, BOLAHANK, YILDIZ etc etc.
Then you have tetrachord and pentachord...
You have tonics, dominants, and octaves... each one of these 3 notes can be the most important in the makam.
Finally you have the seyir, which is the "path, or grammer" of the makam which determines its direction.
Also important to mention is the notes which shift position depending on melodic direction.
Regarding transposition, the only time this applies is when you change tuning system, and in this case you shift the ENTIRE MAKAM SYSTEM to another
place. There is no such thing as a transposed makam, although the incorrect modern theorists will try to tell you this exists.... they are trying to
simplify things but they are wrong. Within one tuning system you can have several makams which seem to have the same scale but start from different
points - they will NEVER have exactly the same SEYIR... the grammar will always be different.
furthermore, it is also possible to have several makams which seem to have the same scale and DO have the same tonic... but again the seyir will be
different, also the dominant can be different, or the octave might be the most important note. |
Hi Edward, I think this is an excellent conclusion to oud discussion..... which means: go study further every maqam and you`ll see and understand all
their differences and characteristics.
what do you suggest? I mean most people go for http://www.maqamworld.com/... which is, according to what I understood from your post, too simplified.
what documentation or website would you suggest for beginners..
thank you all for your answers, I think everyone answered little by little the question which involves so much..
marbish
|
|
|
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
Hi Marbish
I don't know the 'best' way to learn makam, I can only tell you how I learned (still so much more to learn).
I began with trying to learn Arabic maqam, but this just lead to confusion - because Arabic maqam theory has disintegrated and it is no longer
possible to really learn it by theory. So many years of frustration, I just gave up...
Much later I discovered Turkish style and theory, and suddenly everything started to make sense. It is more complicated than Arab theory, but it gives
you a closer approximation of what is really going on.
What I did was to acquire mp3s of as many versions of as many renditions of makams as possible. Then where ever I could find any theoretical
information at all, I gathered that all up also and started my own note book to collect any info I could find on every makam I could find.
Then, with these mp3s and these notebooks, I simply began to listen to and analyse my recordings. I use an audio program like cubase to isolate and
repeat sections... also the pitch tuning to tune whole pieces to match the tuning of my oud... then off I went and tried to make sense from these
makam pieces. Analysing each note - - - if something didn't make sense, then I would ASK why that note was there! This way slowly slowly it all
starts to come clear.
Along with this, it is important to get the sheet music for compositions and learn the pieces, and understand each note - why is it there, and what is
it's function.
Finally it is not all that difficult really..... just plug away for a while and you will get it.
After you figure out Turkish music, your Arabic playing will be much much better, and understanding will be no problem.
|
|
|
|
![[*]](images/xmbprobrown/default_icon.gif){kind=icon}
