Brian Prunka
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One Finger Technique
Hey Mikeoudis!
Thought some people might be interested in a little tutorial video I posted on what I call the "one finger ornament" . . . it's an intermediate
technique that adds character to a variety of maqamat. I demonstrate some examples from Farid, Simon Shaheen and George Michel.
Take a look:
https://www.youtube.com/watch?v=O6wTEGblIvQ
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MoH
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Awesome stuff, Brian! That was super helpful.
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SamirCanada
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Awesome video. Good stuff Brian. I really hope you can make more of these and share your knowledge.
The title though... It's rather sexual. 
@samiroud Instagram
samiroudmaker@gmail.com
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suz_i_dil
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super nice, thanks !
made me realized the semi tone glissando we hear a lot in Munir Bashir playing can have its influence from those oldies players heritage
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abousammy
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suite al andalouse
hi all,
im' looking for suite al andlaouse sheet music ; Marcel khalife
thanks in advance
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Brian Prunka
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Quote: Originally posted by SamirCanada  | Awesome video. Good stuff Brian. I really hope you can make more of these and share your knowledge.
The title though... It's rather sexual. |
Hey brother, get your mind out of the gutter! haha
thanks, I'm glad people seem to be getting something out of it. I'm definitely planning a bunch more of these!
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MattOud
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This is rally GREAT Brian! So much valuable playing to study in one video!
I have to say, I am really glad to see you making these videos. I like the commentary as well.
There are alot of things I didn't understand on how some maqams can blend together, and this is helpful in that regard as well. I will be watching
this and copying some of these techniques to learn from!
btw- what luthier/OUD are you playing here? it sounds really nice!
Cheers,
Matt
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Brian Prunka
Oud Junkie
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| Quote: Originally posted by MattOud | This is rally GREAT Brian! So much valuable playing to study in one video!
I have to say, I am really glad to see you making these videos. I like the commentary as well.
There are alot of things I didn't understand on how some maqams can blend together, and this is helpful in that regard as well. I will be watching
this and copying some of these techniques to learn from!
btw- what luthier/OUD are you playing here? it sounds really nice!
Cheers,
Matt
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Thanks, Matt! I'm glad to hear it. The oud I'm playing is by Peter Sayegh; I think he is one of the best oud makers today for making really classic
"sharqi" sounding ouds. He made this one for me a couple of years ago and I love it.
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norumba
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Nice, i really like getting the clarity on this techniques application in maqams!!
I find myself doing a lot of one finger sliding , but thats a holdover/reflex from my time on the sarod.
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elreyrico
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Hi
Thanks for this very nice video.
I was wondering if it is used also for Sabah. I mean for the hijaz tetrachord that is starting of F in Sabah:
- for the first big semitone "F-Gflat" (that is close to the jiharka flavor i think ?)
- and/or for the last semitone "A-Bflat"
Has anyone tried that ?
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Brian Prunka
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This is a good question! I think you could, but examples from recordings are not leaping to mind. I'll see if I can find some examples.
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Brian Prunka
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| Quote: Originally posted by elreyrico | Hi
Thanks for this very nice video.
I was wondering if it is used also for Sabah. I mean for the hijaz tetrachord that is starting of F in Sabah:
- for the first big semitone "F-Gflat" (that is close to the jiharka flavor i think ?)
- and/or for the last semitone "A-Bflat"
Has anyone tried that ? |
So I did some additional research. My initial feeling was that I wasn't in the habit of doing this and wasn't sure whether that was an oversight on
my part or just a reflection that I hadn't found it to be something my teachers did or that I heard in recordings.
It's tough to find good taqasim in Saba by "canonical" players like Farid, Sounbati, Qasabgi, etc. Most use of Saba in taqasim is in a modulation in
the context of another maqam, so I'm going to have to take a little more time to review some other taqasim to have a more definitive answer.
Qasabgi has one:
https://www.youtube.com/watch?v=QNvSfnkJYXg
He does not use this ornament between 3&4 when playing Saba, as far as I could tell (the recording is not great quality but it doesn't sound like
he does it). He does sound like he uses it briefly one time in the upper register between 5&6 (so in the same place you'd expect if you were in
Bayati).
Abdel Fattah Sabri has one:
https://www.youtube.com/watch?v=r58MhOUpEj0
He doesn't seem to use it either between 3&4. I didn't notice him use it between 5&6 either.
Musiqana has a lovely set of examples of Saba phrases and one of the players does use it once or twice between 3&4 as a very quick, subtle
ornament. But of all the ways those notes are played, he almost never does it, choosing a bunch of other ornaments instead.
https://www.youtube.com/watch?v=khHSXOPcbyc
All this suggests to me that as a technique it's not "characteristic" of Saba, in that it doesn't really help establish the maqam—there are other
ornaments that are part of Saba's character. However, it's not necessarily detrimental either, so you could use it. You probably want to make sure
not to overshadow the more classic Saba ornamentation though.
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MattOud
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Hi Brian,
I was noodling around on some of your tutorials today. I like the 'The Turn' tutorial.
Hope you have time to make some more when you can...
cheers,
Matt
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DaveH
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Great to see this explained so clearly, Brian, and in the context of specific maqams. And your playing is as clean as the explanations. The other
episodes also look super interesting.
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Brian Prunka
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Hey guys, thanks for your comments. Unfortunately I've been dealing with a difficult family situation the past few months and I haven't been able to
follow up with the videos or newsletter lately, but I have been planning some new segments and material and hope to be able to share soon. I'm glad
the stuff I shared so far has been helpful!
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Brian Prunka
Oud Junkie
Posts: 2939
Registered: 1-30-2004
Location: Brooklyn, NY
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Mood: Stringish
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| Quote: Originally posted by elreyrico | Hi
Thanks for this very nice video.
I was wondering if it is used also for Sabah. I mean for the hijaz tetrachord that is starting of F in Sabah:
- for the first big semitone "F-Gflat" (that is close to the jiharka flavor i think ?)
- and/or for the last semitone "A-Bflat"
Has anyone tried that ? |
I was listening to a recording today of a taqsim by William Shaheen (Simon's younger brother) and he uses a version of this technique in modulating
from bayati to saba.
https://www.youtube.com/watch?v=vapk7mFG0p8
(from about 3:17)
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