dario
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Udi Hrant ciftetelli transcription
Hi all,
One of my favourite recordings is this ciftetelli by Udi Hrant: https://www.youtube.com/watch?v=jlsJeZ23tGg
For me it's a real masterclass in groove and how to make simple, repetitive phrases interesting.
I've been trying to learn it for a while but the phrases are all so similar yet slightly different that I could never remember it all (special mention
to this guy who did learn it by ear: https://www.youtube.com/watch?v=aO9nSBoOBTk ), so I transcribed it. I think it's mostly correct but I haven't notated all picking or
embellishments.
Note: the recording is in B but it's either sped up or he's tuned his oud a tone up from normal Turkish tuning, because the open strings in the
recording are BC#F#BE (low to high, no sixth course can be heard), so I've notated it in A.
Also, his low A (B in the recording) sounds like it's tuned in an octave, which can be heard in many other Hrant recordings, giving a nice resonance
every time he whacks it.
Finally, while I think it's in hicaz the tuning of the 3rd varies a lot, so the feel seems to be closer to kurdi a lot of the time, especially at the
very beginning. I've just notated it as kurdi.
Attachment: Ciftetelli.pdf (94kB)
This file has been downloaded 140 times
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maraoud108
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What and amazing work that you did here! This is a really great transcription.
To me it sounds like this piece is improvised, but like you said, it's a master class in phrasing, and I think that this type of
elegant playing, spontaneity of original ideas, and groove is (in my opinion) something that can only come from years of playing at weddings, clubs,
etc.
I was also interested in the scale. Have you thought about it in Ussak? I know that the 2nd tone seems closer to Bb, but to me it also seems a bit
sharper.
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dario
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Thank you, yes it is definitely an improvisation (but much easier to transcribe than a taksim because it's rhythmic).
I agree the scale is interesting, I don't think it corresponds to any classical makam although it's maybe correct to call it garip hicaz (hicaz with
lowered 3rd and raised 2nd).
There are other ciftetelli recordings, particularly with double-string violin, where the first tetrachord modulates completely freely between ussak,
hicaz and sabah - only the tonic and fifth are fixed, the second, third and even fourth are flexible (example - 14:49 of this https://www.youtube.com/watch?v=h-Trzd3T-tU ).
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alk
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This is excellent!
I am not very confident saying this but the other example i can think of is the old style Araban which practically doesn't exist any more.
Tsiamoulis has a Cemil bey transcription of the Tatavla Dances at the end of his book which is based on neva perde and alternates between hicaz and
ussak.
Hard to say how it would have been played but one version i heard was very close to the Hrand recording.
if you see similarities then just transpose the whole thing a fifth up and notate it as ussak+hicaz on neva perde
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Greg
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Thread Pruned
8-28-2023 at 07:18 PM |
maraoud108
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Does anyone know anything about this video? Is this Udi Hrant paying violin?
https://www.youtube.com/watch?v=DR2x6wk68Fk&ab_channel=UdiHrantK...
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