majnuunNavid
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Strange Risha form (Said Chraibi video)
This is interesting...
https://youtu.be/3RJTrOXSX0E?t=31m43s
Has anyone ever seen/used this before?
I think he is using this to achieve a particular tone and attack. I've tried playing with a risha at this angle, and it's actually not that bad...
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Brian Prunka
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It is a strange sound. It looks like maybe a quill risha, the part sticking out of the front of this hand seems to be folded back on itself.
Look at 32:34, he briefly opens his hand.
Normally I like him, but this is kind of terrible I think.
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Brian Prunka
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After watching that I had to watch this to cleanse my aural palate:
https://www.youtube.com/watch?v=wPHt6l8yAEM
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majnuunNavid
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LOL...
This radio show is a very laid back performance...
and yes... that video you posted is quite epic..
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Brian Prunka
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I liked it, though it makes me realize I really hate the high f. It's like getting stabbed in the ear.
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majnuunNavid
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I like high ff. Probably because Said Chraibi was one of the first Oud players I was exposed to, and I realized it's so good for Ouds used in Persian
music. Though I don't use it on every Oud.
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Jason
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I like the high F on floating bridge ouds played in the Iraqi style. I love how Naseer Shamma uses it. On fixed bridge ouds it often sounds weird
and "plinky" though. I think the large Arabic bowls just don't really work well with high tunings.
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Brian Prunka
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I like it when Anouar Brahem plays it . . . I think it may just require a lighter touch
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Jason
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That's true, Anouar does make it sound great. I think it alters the instrument in a way that requires the player to think about it. Kind of like
jazz guys using a low B on guitar, takes some work to make it sound natural and fit in with everything else.
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Brian Prunka
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Every 7-string jazz guy I've know has used a low A, not a low B. Low B is for the rockers like Steve Vai.
It's so you can just take chords on the ADGBE set and just move the bass note down an octave without changing your fingerings. It's actually a pretty
easy adjustment.
An interesting tuning I came across is tuning the (regular) A string an octave higher, which turns most chords into close position voicings instead of
open.
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majnuunNavid
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I have still not grown to enjoy Anouar Brahem's material yet... any recommended listening?
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Brian Prunka
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I think Thimar has some of his strongest writing, and the jazz musicians are great.
Astrakan Cafe has a more traditional sound, but with a strong Turkish/Roma influence due to the presence of Barbaros Erkose.
Pas Du Chat Noir is beautiful, very influenced by Satie and other French music, but not really 'tarab'.
I think those are his 3 strongest.
I have a bootleg concert in Tunis with the Astrakan Cafe band but they do some Samais and Longas, you can actually hear him play some microtones!
This is nice too: https://www.youtube.com/watch?v=Bm5AndEftc4
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majnuunNavid
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Thanks for the suggestions... actually I really like that clip from youtube you posted. It seems that is his older work. Excellent!
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Jason
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Quote: Originally posted by Brian Prunka  | Every 7-string jazz guy I've know has used a low A, not a low B. Low B is for the rockers like Steve Vai.
It's so you can just take chords on the ADGBE set and just move the bass note down an octave without changing your fingerings. It's actually a pretty
easy adjustment.
An interesting tuning I came across is tuning the (regular) A string an octave higher, which turns most chords into close position voicings instead of
open.
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You are correct. Dropping to A also gives us access to the Bb which can be a nice 'money note.' On bass I usually keep the low string at B though,
things tend to get floppy and weird sounding when you tune that string down on a standard scale bass.
But the point is that the added string can sound "off" on some guitars, like it doesn't fit or resonate in the same way as the other strings. Poor
technique can exaggerate the phenomena. I think the same thing occurs on some ouds with the F.
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