billkilpatrick
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characteristics of each string
somewhere i read what i imagine is an ancient treatise on the inherent qualities of each string - what each expresses best; the times of day
associated with it, etc.. if i remember correctly, these comments were restricted to the original, 4c. tuning.
anybody have knowledge of this treatise or know where i might find it?
sincerely - bill
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oudplayer
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hi bill
if i am not wrong i was reading that also and i am almost positive it was hamza el din and he talks about stuff like that its on his website
thx sammy
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billkilpatrick
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better than the reference i had in mind - thanks - bill
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Luthier
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To answer your question, I am afraid that I have to go back in History a few centuries.
Historically, the Oud, for Arab theorical musicians and philosophers, provided the basis for analyzing the relationship between music and the harmony
to be found in the universe. In this study they include nature, the four elements, and the features or moods of human psychology.
Also, historically, the oud shape, the materials used in its crafting, the number and type of the stings and of course the name of the instrument
underwent a lot of changes. The great musician Zalzal (died in 791) introduced innovations in its crafting and named the instrument Oud Al-Sabbut,
which substituted the former Mizhar (or Arabic traditional Oud with a leather sound-board).
The Arabic music theory is based on two key concepts: the modes (known as Maqamat in the eastern arab region or Toubou' in the western region); The
Vocal suite/musical session (known as Nawba, Wasla, etc…).
The Maqam/tab' (literally, character, nature of) is the name given to the modal scale, and not only referred to its defining features, but also
implied the psycho-physiological impact this scale could have. This modes are based the theory of the four elements that constitute the nature (Earth,
Water, Air, Fire), the four seasons (Autumn, Winter, Spring, Summer), the four colours ( Yellow, Red, White, Black) and the four moods of human
psychology (Melancholy, Phlegm, Blood, Bile). All is related to the four strings of the oud (Zirr, Mathna, Mathlath, Bamm). So based on this theory,
each string of the oud has its effects on the Human humours and psychology. The first (zir) has the yellow as a colour, the fire as element and the
bile as temperament. The second string (mathna) has the red as colour, the air as element and the blood as element. The third string (mathlath) has
the white as colour, the water as element and the phlegm as temperament, and last but not least, the fourth string (bam) has the black as colour, the
earth as element and the black-bile as temperament.
According to Ziryab, this theory is fundamental but not complete. As he demonstrates to his disciples, all this represent the material, the element,
the body but not the spirit. To create a balance in the universe, the theory needs something that represents the spiritual part, the soul. So ziryab
made his well-known changes on the oud.
The shaped of the instrument was drastically changed, as well its interpretation and repertory. This genius master introduced a lot of novelties and
new elements:
- He added a fifth string, one "as red as blood" known as "Watar Ziryab, Ziryab string" placed between the second and third strings. Thus he
reinforced the four humors, since the new string represents the soul and symbolizes life. Thus, the oud adopted its fifth string. This string added by
the master has dark red as colour, life as cosmic element and soul as the mood or the temperament.
- The reduction of two thirds of the instrument,s weight by a wise selection of the materials used in the crafting of the instrument.
- The special preparation of the strings. The first two (Zir, Mathnaa) were manufactured of silk spun in cold water, witch made them flexible but not
soft. The third and the fourth strings (mathlath, Bamm) were made of lion-cub gut, witch, while making them more melodious with a clear and dense
sonority, allowed them to be used for a longer time while better resisting variations in temperature.
- The substitution of the woodem plectrum (midhrab, Sat'aa) by a one carved from an eagle,s feather (risha –t- 'Uqaab) . This plectrum was easier to
handle and enriched the intensity of the sounds, permitting the musician to gently and nimbly strum the surface of the strings.
Al-kindi, Al-Farabi, Ibn Sina, Ishaq Al-Mawsili, Ziryab, Ibn Baja, used the oud as a model for studying the Arabic music theory and to develop their
theories.
Of course they are a lot of others theories about the seven notes of the scale and their relation with the seven days and the seven planets etc., the
relation between each mode and each hour of the day…
I hope this will answer your question.
Marwan Duhri
Maitre luhtier.
Marwan Duhri
Maître Luthier.
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billkilpatrick
Oud Junkie
Posts: 563
Registered: 1-3-2004
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thank you very much. in the west, "my dog has fleas" is about as deep as it gets in terms of the metaphysics of sound.
your information is very much appreciated - bill
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