Jono Oud N.Z
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Samai Iraq, Bashraf Muhayyer, Bashraf Saba (Cantemir Repertoire) Re-edited
The Saba piece has been re-edited, there were a couple of mistakes, OK now.
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spartan
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thanks for the transcription
and ofcourse thanks for these old tresures
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Danielo
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Thanks Jono for these treasures !
I was wondering, is there a significant difference between these old 16-th century pieces and the more recent ones that we are more familiar with (end
of XIXth - begining of XXth) ?
Thanks,
Dan
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Jono Oud N.Z
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Hi.
I thought that this early repertoire should be more well known.
The oud was still one of the main instruments in 'Ottoman' and (Herati) Persian music at this time, along with the qanun.
The Ottoman Tanbur replaced the oud in Istanbul from the mid 1600's to the mid 1800's.
This older style was a lot more Persian sounding than modern Turkish classical music.
This music is from a time that the 'Middle East' shared a common music, from Herat to Cairo to Istanbul.
Many of the Bashraf and Samai' were played quicker than latter Ottoman music.
The intonation of this style is basically in between current Eastern Arabic and Iranian art musics.
For example the 'flat fourth' of Saba is a semitone like current Arabic classical music, and the Segah (and other neutral tones) pitch was played
flatter like in Syria and Iran.
The scale of this music basically corresponds to the Medieval 17 notes per octave theory.
There was also much less modulation until the latter 1600s.
The Saba piece here seems to be an earlier development of the maqam, returning to the regular fourth degree in the Taslim.
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spartan
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Sultan Veled who compose the Iraq samai is one of the sons of Jallaledine Rumi ( the founder of the Mevlevi order) I think....
As far as I know the trend on that time is to do the less modulations possible and not to change the character of the maqam.
The modulation might be very smooth, just like the audience coudnt feel the change.
I think that there is a different trend on maqam they use that time...
The maqam on use are more often maqams with deep sound (iraq might be important that time) , more emotion than compound maqams which are played on
high course (tiz neva and higher-p.e. hijazkar is invented later).
Thanks again for this
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Jono Oud N.Z
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Very interesting...
I can imagine that Iraq piece at a Mevlevi ceremony, gradually getting faster and faster with the dancing.
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