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David.B
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The “Rawdat al-Balabel” Broadcast
The foundation for Arab Music Archiving and Research provides real treasures for your ears!
http://www.amar-foundation.org/podcasting/
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001 – Al-qaṣīda ‘alā al-waḥda
http://www.amar-foundation.org/001-alqasida-ala-al-wahdah/
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Rambaldi47
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This podcast is invaluable!
Thanks for sharing, David. 
It's interesting to witness the evolution (or perhaps devolution) of Lāzimat el-‘awādhil.
Abū al-‘Ulā had recorded his famous qaṣīda "Afdihi in hafiz al-hawa" (Bayati) with
only an instrumental introduction and conclusion of this part.
Abū al-‘Ulā Muḥammad - Afdihi in hafiz al-hawa
When his prodigy Oum Kalthoum recorded it, perfecting every trill of her master and
adorning it with her own still-developing style, this introduction was dropped in favor
of a simple doulab. My father remembered this version by heart from his childhood
years in Casablanca's Cafes where they played Oum Kalthoum's records regularly. It
was only recently that I've found this version online and my father's eyes were lit
with joy, perhaps the only pleasant father-son moment I've ever shared with him.
Oum Kalthoum - Afdihi in hafiz al-hawa
His other famous qaṣīda "Araka 'asiya al-dam'" (Bayati), which I can't
find it online or in my collection although I'm pretty sure he recorded it
and I've heard it, was recorded by many others after him, including Oum Kalthoum.
In her version, perhaps because it is one of the very first recordings she'd
ever made, this instrumental introduction is still present.
Oum Kalthoum - Araka 'asiya al-dam'
In this 2010 concert, Najib Coutya sang and played this qaṣīda with the traditional
Lāzimat el-‘awādhil still intact.
It's intriguing just as much to find qaṣīdat traditionally sung in one maqam
performed in another, and sometimes in the same artist repertoire -- a testament
to the artist's versatility and the form's flexibility.
Abū al-‘Ulā had recorded "Wa-haqqika ant almuna wa-talab" in Huzam,
the traditional melody picked up by Oum Kalthoum and countless others.
Abū al-‘Ulā - Wa-haqqika ant almuna wa-talab (Huzam)
But I've also found this rare recording of it in Bayati with Lāzimat el-‘awādhil
as instrumental introduction.
Abū al-‘Ulā - Wa-haqqika ant almuna wa-talab (Bayati)
Nate.
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Rambaldi47
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Correction to my above post. It was Abdel Hay Hilmi whose recording of
"Araka 'asiya al-dam'" I've remembered, and in which Lāzimat el-‘awādhil has
a very prominent place throughout.
Abdel Hay Hilmi - Araka 'asiya al-dam'
Nate.
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David.B
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I say thank you for adding this contribution to the podcast!
You share your experience and for others it's the best way to learn.
At this point I begin to understand why I did not understand ... I needed to know these recordings, some explanations and plenty of time to digest!
Besides, I realize that it becomes more complicated because I don't understand Arabic.
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002 – The Oriental Takht I
http://www.amar-foundation.org/002-the-oriental-takht-i/
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Rambaldi47
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| Quote: |
At this point I begin to understand why I did not understand ... I needed to know these recordings, some explanations and plenty of time to digest!
Besides, I realize that it becomes more complicated because I don't understand Arabic. |
I do not understand most of the Arabic in this music as well. Hebrew
and Arabic do share some common roots and words that I can
recognize or pick up but that's about it. It would be doubly enjoyable
to actually understand these amazing songs.
Thanks, David. I didn't know they were going to publish them so fast.
I know many of us have been waiting for this podcast series. The
inclusion of an English transcription is very much appreciated for
us non-native speakers.
I'm trying to understand the role of biṭāna. It is a bit unclear
(though perhaps subsequent listening would be beneficial) if he is
the same as madhhabjiyya. They give as an example muwasshaḥ
“Waghak mushriq” by ‘Abd al-Ḥayy Afandī Ḥilmī and his biṭāna (Ṣāliḥ ‘Abd al-Ḥayy?),
but also mention "the first madhhabjī who does not merely
accompany the muṭrib, but also completes and improves his
performance, as mentioned previously."
So I don't quite understand how many performers they hear in this
recording, or the role of each of them. I only hear ‘Abd al-Ḥayy
Afandī Ḥilmī with someone in the background completing his
voice when he paused to inhale or intentionally paused, "tagging"
his co-performer to continue his phrase, as a sort of echo effect.
This "echo" can be clearly heard several times in Yūsuf al-Manyalāwī
rendition of dawr "Fu'adi amro 'agib" I've mentioned in your other
thread.
I've also found this long recording of dawr "El Bolbol Gani" (Rast
suznak?) by Yūsuf al-Manyalāwī in which a rhythmic mawwal and
taqsim forms the introduction, and then the dawr extends on two
sides. The aforementioned "echoing" can be clearly heard here as
well, along with some ecstatic sighing in the background. The
mutual respect between the mutrib and the takht is
prominently heard, with each complementing the other.
Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 1
Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 2
Nate.
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David.B
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I'm still studying the qasida: from what I'm reading when the "chorus" is used as a prelude it's named dulab al-'awadhil and lazimat
al-'awadhil when it's used as an instrumental response or concluding phrase (which means 'Patrol of the Censors'). And the most important, the
two verses:
Ah ya ana w-esh lel-'awazel 'andena
'um ma adya' el-'uzzal we-waselni ana
Woe is me! What must we render to the censors?
Let them be lost, and bring thee hither!
Source: Shaykh Yusuf al-Manyalawi, The Voice of the Nahda Era by Frédéric Lagrange.
PS
Could someone tell me how to write proper letters without copy and past (qaṣīda instead of qasida for example)?
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Rambaldi47
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Quote: Originally posted by David.B  | I'm still studying the qasida: from what I'm reading when the "chorus" is used as a prelude it's named dulab al-'awadhil and lazimat
al-'awadhil when it's used as an instrumental response or concluding phrase (which means 'Patrol of the Censors'). And the most important, the
two verses:
Ah ya ana w-esh lel-'awazel 'andena
'um ma adya' el-'uzzal we-waselni ana
Woe is me! What must we render to the censors?
Let them be lost, and bring thee hither!
Source: Shaykh Yusuf al-Manyalawi, The Voice of the Nahda Era by Frédéric Lagrange. |
An Intriguing distinction! And many thanks for the translation.
I wonder what was the context of this excerpt that got accepted
as an integral part of qassid performances.
| Quote: Originally posted by David.B | PS
Could someone tell me how to write proper letters without copy and past (qaṣīda instead of qasida for example)? |
I think there isn't any keyboard layout with these Unicode characters
built-in. You have to use Alt + a numerical and/or lettered code.
For example, a Unicode character for a section (§) in certain books
is achieved with Alt+0167. Num Lock must be on.
Here's a complete list of Unicode characters on Wikipedia.
Nate.
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David.B
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| Quote: Originally posted by Rambaldi47 | I'm trying to understand the role of biṭāna. It is a bit unclear
(though perhaps subsequent listening would be beneficial) if he is
the same as madhhabjiyya. They give as an example muwasshaḥ
“Waghak mushriq” by ‘Abd al-Ḥayy Afandī Ḥilmī and his biṭāna (Ṣāliḥ ‘Abd al-Ḥayy?),
but also mention "the first madhhabjī who does not merely
accompany the muṭrib, but also completes and improves his
performance, as mentioned previously."
So I don't quite understand how many performers they hear in this
recording, or the role of each of them. I only hear ‘Abd al-Ḥayy
Afandī Ḥilmī with someone in the background completing his
voice when he paused to inhale or intentionally paused, "tagging"
his co-performer to continue his phrase, as a sort of echo effect.
This "echo" can be clearly heard several times in Yūsuf al-Manyalāwī
rendition of dawr "Fu'adi amro 'agib" I've mentioned in your other
thread. |
You're right, I can't hear a difference between the biṭāna of the example (muwasshaḥ “Waghak mushriq”, thanks) and the lead
madhhabgî in the dawr "Fu'adi amro 'agib" in the first 3 or 4 minutes.
| Quote: Originally posted by Rambaldi47 | I've also found this long recording of dawr "El Bolbol Gani" (Rast
suznak?) by Yūsuf al-Manyalāwī in which a rhythmic mawwal and
taqsim forms the introduction, and then the dawr extends on two
sides. The aforementioned "echoing" can be clearly heard here as
well, along with some ecstatic sighing in the background. The
mutual respect between the mutrib and the takht is
prominently heard, with each complementing the other.
Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 1
Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 2 |
I would say Suznak for the dûlâb, in the beginning I hear G Ab G F G in the higher notes. Then you write "a rhythmic mawwal": it isn't a
layâlî?
I can hear each singer in each role. So we have madhhabjiyya ("chorus singers"), sannīda ("supporters") and raddīda (?).
In the same book mentioned above biṭāna ("cover") are the backing-singers in the realm of the inshâd dînî (sacred singing).
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David.B
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I give up with Unicode characters 
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David.B
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I try to focus on:
Yūsuf al-Manyalāwī - Dawr "El Bolbol Gani" - Pt. 1
I hear a dûlâb, a layâlî (00:57), the madhhab (01:50), the dawr itself (04:34) ...
I am new to this kind of exercise, so feel free to say that I'm wrong.
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003 – Al Muwashshah
http://www.amar-foundation.org/003-al-muwashshah/
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David.B
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Does anyone have the scores of these muwashshaḥāt?
“Aḥinnu shawqan”
“Hāt yā ayyuhā al-sāqī”
“Malā al-kāsāt”
“El-‘uyūn el-kawāsir”
I've not exhaustively looked at, but I can add two things:
"Malâ l-kâsât
Il a empli les coupes et m'a servi
Celui dont la taille est si gracile
Ma vie ne tient qu'à un mot de lui
Son regard, tel une épée, m'a transpercé
Vous qui me blâmez ! Ne vous enquiérez point de moi
Laissez-moi respecter mes serments"
Source -> http://www.alkindi.org/francais/repertoire/repertoire_alep.htm
"If the rumor were to be true, then we would be in possession of the remnants of a piece dating back to the 15th century by Shams al-Dīn
al-Ṣidāwī, a great music professional, a composer and a singer whose contemporaries considered to be the most knowledgeable among the
period’s music professionals as to the principles of melody and singing. He also authored theory books in which he included simple
melodic phrases to various maqāmāt." -> http://www.mikeouds.com/messageboard/viewthread.php?tid=12494
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Rambaldi47
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I am new to this as well, David. Is the madhhab from 01:50 to 04:33
a kind of repeated introductory lyrics and instrumental interlude
of the same melody, i.e. the refrain of dawr?
I agree it seems the main part of dawr itself begins @ 04:34.
Nate.
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Rambaldi47
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| Quote: Originally posted by David.B | Does anyone have the scores of these muwashshaḥāt?
“Aḥinnu shawqan”
“Hāt yā ayyuhā al-sāqī”
“Malā al-kāsāt”
“El-‘uyūn el-kawāsir”
I've not exhaustively looked at, but I can add two things:
"Malâ l-kâsât
Il a empli les coupes et m'a servi
Celui dont la taille est si gracile
Ma vie ne tient qu'à un mot de lui
Son regard, tel une épée, m'a transpercé
Vous qui me blâmez ! Ne vous enquiérez point de moi
Laissez-moi respecter mes serments"
Source -> http://www.alkindi.org/francais/repertoire/repertoire_alep.htm
|
There are scores available here except the last one.
I just chose Muwashshah under genre and then scrolled down to
browse the list for the desired scores.
| Quote: Originally posted by David.B | "If the rumor were to be true, then we would be in possession of the remnants of a piece dating back to the 15th century by Shams al-Dīn
al-Ṣidāwī, a great music professional, a composer and a singer whose contemporaries considered to be the most knowledgeable among the
period’s music professionals as to the principles of melody and singing. He also authored theory books in which he included simple melodic phrases
to various maqāmāt." -> http://www.mikeouds.com/messageboard/viewthread.php?tid=12494
|
Many thanks for this, David.
Nate.
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David.B
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"In its ultimate form, honed by Muhammad Uthmân and further developed by composers such as Dawûd Husnî (1870-1937) and Ibrâhîm al-Qabbaânî
(1852-1927), the dôr was a poem in sophisticated vernacular Arabic, comprising anything from four to ten verses. It consisted of two measured parts,
usually derived from the wahda cycle. The madhhab was an overture entirely made up of two or more verses; the dôr - or ghusn (and there might be two
or several dôrs/ghusns) - per se was a semi-composed development on the remainder of the text. The madhhab was sometimes sung collectively, and it
was performed at speed. The second part of the work was a thematic development of the madhhab's melodic phrases performed by the soloist, occasionally
supported by the madhhabgiyya backing-singer during two optional sections: the 'âhât, semi-improvised variations of the sigh 'âh', and the hank, a
quick-fire interchange of composed, semi-composed or improvised melodic questions and answers between the soloist and the backing-singers."
Source: Shaykh Yusuf al-Manyalawi, The Voice of the Nahda Era by Frédéric Lagrange.
So from 01:50 to 04:33 what we hear fits pretty well the definition of the madhhab. If you listen carefully you can hear the madhhabgiyya
backing-singer at 02:26 and clearly at 03:00.
-------------------------------
Thanks for the scores, I'll be able to read while I'm listening. Good to better identify the different parts of the Muwashshah
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Rambaldi47
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| Quote: Originally posted by David.B | "In its ultimate form, honed by Muhammad Uthmân and further developed by composers such as Dawûd Husnî (1870-1937) and Ibrâhîm al-Qabbaânî
(1852-1927), the dôr was a poem in sophisticated vernacular Arabic, comprising anything from four to ten verses. It consisted of two measured parts,
usually derived from the wahda cycle. The madhhab was an overture entirely made up of two or more verses; the dôr - or ghusn (and there might be two
or several dôrs/ghusns) - per se was a semi-composed development on the remainder of the text. The madhhab was sometimes sung collectively, and it
was performed at speed. The second part of the work was a thematic development of the madhhab's melodic phrases performed by the soloist, occasionally
supported by the madhhabgiyya backing-singer during two optional sections: the 'âhât, semi-improvised variations of the sigh 'âh', and the hank, a
quick-fire interchange of composed, semi-composed or improvised melodic questions and answers between the soloist and the backing-singers."
Source: Shaykh Yusuf al-Manyalawi, The Voice of the Nahda Era by Frédéric Lagrange.
So from 01:50 to 04:33 what we hear fits pretty well the definition of the madhhab. If you listen carefully you can hear the madhhabgiyya
backing-singer at 02:26 and clearly at 03:00.
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Finally, a definition that serves to illuminate many adwar I
have listened to over the years. I have never looked at it
precisely, and from your exercise and the invaluable notes
on your CD set it is now much clearer to me what are the
individual parts that makes up a dôr / dawr.
Nate.
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Rambaldi47
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The parts of a muwashshah as presented here are nearly identical to
almost every Sana'a in a given Andalusian nawba.
| Quote: |
First dawr: a melody that may include tarannum or not. When it does not, it is limited to one or two lines of poetry.
Second dawr: a repetition of the first dawr with different lyrics. If the first dawr includes a tarannum, then so does the second one. If the first
dawr does not include a tarannnum, then neither does the second one.
Khāna or māyt khāna: another melody with new lyrics. It can either be equal in length to one of the adwār, or double its length,
thus equal in length to both put together. Also, if both adwār include a tarannum, then this tarannum is repeated at the end of the
khāna‘s melody. If they do not, then a tarannum is composed especially for the khāna, improvised by the performer, or bypassed to go
directly to the khātima (conclusion). Usually, the khāna’s melody allows for responsorial passages between the munshid (performer) and the
biṭāna, i.e. the improvisation resulting from the khāna’s melody followed by the taslīm in repeating part or all of the
khāna as a pre-conclusion.
The khārija: the repetition of the first dawr’s melody –that is the same as the second’s– with new lyrics. The melody is either repeated
in full –which is the usual process–, or repeated partially –in some exceptions– then considered as a conclusion to the piece.
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A sana'a is usually comprised of 2-3 adwar in the same melody
with a possible inclusion of taranum as ya-lalan/tirritai/tani
tanai/etc., then a part or a whole dawr with a different but closely
related melody, and finally a dawr with a repeated melody of the
first adwar.
Here's an example from Mizane Bassit (6/4) Rasd Dhil (a kind of
'Ajam?) of sana'a "Naktsoub Kitsab", comprising of
3 adwar of the same melody with taranum at the end of each,
with the exception of the second part of the 3rd dawr leading
to a 4th which repeats that 2nd part and then ending
with a 5th dawr of repeated melody.
http://www.youtube.com/watch?v=auRhSp5n4M8
Here's another from Mizane Btayhi (8/4) 'Ushaq of
sana'a "Ahin Ya Sultani", though this an exception
with only the 1st and 5th dawr having the same melody
and the middle 3 having a different one.
http://www.youtube.com/watch?v=r6HL43vOpzA
Nate.
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David.B
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| Quote: Originally posted by Rambaldi47 | | Quote: Originally posted by David.B | Does anyone have the scores of these muwashshaḥāt?
“Aḥinnu shawqan”
“Hāt yā ayyuhā al-sāqī”
“Malā al-kāsāt”
“El-‘uyūn el-kawāsir” |
There are scores available here except the last one.
I just chose Muwashshah under genre and then scrolled down to
browse the list for the desired scores. |
I tried to play "Hat yā Ayyuha al-Saqi" but the score doesn't match the recording. And I need to practice to get my ears used to old recordings
...
| Quote: Originally posted by Rambaldi47 | A sana'a is usually comprised of 2-3 adwar in the same melody
with a possible inclusion of taranum as ya-lalan/tirritai/tani
tanai/etc., then a part or a whole dawr with a different but closely
related melody, and finally a dawr with a repeated melody of the
first adwar.
Here's an example from Mizane Bassit (6/4) Rasd Dhil (a kind of
'Ajam?) of sana'a "Naktsoub Kitsab", comprising of
3 adwar of the same melody with taranum at the end of each,
with the exception of the second part of the 3rd dawr leading
to a 4th which repeats that 2nd part and then ending
with a 5th dawr of repeated melody.
http://www.youtube.com/watch?v=auRhSp5n4M8
Here's another from Mizane Btayhi (8/4) 'Ushaq of
sana'a "Ahin Ya Sultani", though this an exception
with only the 1st and 5th dawr having the same melody
and the middle 3 having a different one.
http://www.youtube.com/watch?v=r6HL43vOpzA |
The comparison is interesting, and recordings are easier to listen. About the first example, as I'm not familiar with Andalusian classical music I
won't make comparison with Arab maqamat. But I found a short explanation for this mode -> http://mcm.bois.free.fr/booklet260010.pdf page 22 of the .pdf.
"The mode rasd al-dhîl is actually the pentatonic mode rasd based on the tonic C.
Like its counterpart mode rasd, rasd al-dhîl is enriched by two floating secondary degrees: F or F # and B or Bb which have no other function than to
be ornamentals or passages.
In some cases, the polarization degree of sika (E) shows the mode of the same name."
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David.B
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It seems that "mutayyib" ("cheerleader") is a synonymous for "madhhabjī". It's the first mutayyib who received the fee of the performance, so
that the singer doesn't suffer the indignity of receiving money from a host. He saw himself as the friend and not the servant or forced. A detail on
the social aspect that seemed interesting to me.
Source: Musiques d'Egypte by Frédéric Lagrange
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David.B
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I won't be very original, here it is a quote from the same book: Shaykh Yusuf al-Manyalawi, The Voice of the Nahda Era by Frédéric Lagrange.
"In Egypt, these pieces, which were collectively played by the takht while pride of place continued to be given to the soloist, were merely preludes
to the more demanding vocal performance that was to come. Unlike Aleppine custom, which was characterised by a lengthy suite, the Egyptians were
probably accustomed to singing just one or two such pieces, which were swiftly dispatched before the pièces de résistance of the wasla. The
muwashshah was considered by teachers to be a key learning-aid: mastering it was essential if one was to venture later into the performance of a
variation or novel embellishment without straying into cycles of sometimes fifteen or sixteen beats. Knowing how to respect the muwashshah’s cycle
trained the aspiring mutrib to be in a position later to improve on cycles other than the binary wahda. Another of its virtues, in preparing the
student for the performance of other types of piece, was that the muwashshah provided a concise presentation of the broad potential of a mode while
also being a source of the standard phrases and clichés of the maqâm that could later be exploited for such other pieces.
The muwashshah seems to have attracted substantially more attention among the pioneers of modern Arab musicology in Egypt than it did among performers
themselves. While singers and instrumentalists alike bent and twisted the traditional rhythms in order to squeeze some fantasy and tarab into such
worthy exercises in virtuosity, those who sought to establish Arab song on more scientific foundations became thoroughly carried away by this form,
one whose prestige was only further enhanced by its Andalusian origins. Indeed, this is perfectly understandable, given that these were the same
people who came out firmly in favour of notation and settled forms at the time of the heated pre-war debate about composition versus improvisation. In
the 20th century, the muwashshah was to become the most cherished focus of the conservatoires, notwithstanding the extraordinary indifference to it
among the public at large."
It seemed appropriate to add.
Also, I wonder about the role occupied by the melody types in Meshâkah's work.
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Rambaldi47
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| Quote: Originally posted by David.B |
I tried to play "Hat yā Ayyuha al-Saqi" but the score doesn't match the recording. And I need to practice to get my ears used to old recordings
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There were two scores on the site I've found. Were both of
them a mismatch with the recording provided? Perhaps some
performers have different, less strict interpretations to a given
muwashshah as you've mentioned in your latest post.
| Quote: Originally posted by David.B |
The comparison is interesting, and recordings are easier to listen. About the first example, as I'm not familiar with Andalusian classical music I
won't make comparison with Arab maqamat. But I found a short explanation for this mode -> http://mcm.bois.free.fr/booklet260010.pdf page 22 of the .pdf.
"The mode rasd al-dhîl is actually the pentatonic mode rasd based on the tonic C.
Like its counterpart mode rasd, rasd al-dhîl is enriched by two floating secondary degrees: F or F # and B or Bb which have no other function than to
be ornamentals or passages.
In some cases, the polarization degree of sika (E) shows the mode of the same name." |
Thanks for the linked PDF. I cannot read French but I can pick
up some common roots with English and your translation
of course is quite welcomed. I cannot figure out
myself the notes of each nawba. Several extensive parts of
quite a few nawbat were taught to me vocally without any
mention of notes. I can say that Higaz al-Kabir (Morocco) and Zidane
(Algeria) share common traits with Hijaz and Ramel Maya & Higaz
al-Mashriqi (Morocco) and 'Irak (Algeria) are in turn closely related
to Bayati. But that's about it. I would definitely understand
whatever I've learned a lot better if I could play it. 
Nate.
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Rambaldi47
Oud Junkie
Posts: 188
Registered: 4-6-2004
Member Is Offline
Mood: No Mood
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Three interpretations of Dawr "Haz il-Hayat" (Bayati):
Abdel Hay Hilmi - Dawr "Haz il-Hayat"
Dawoud Husni - Dawr "Haz il-Hayat"
Saleh Abdel Hay - Dawr "Haz il-Hayat"
I like the expansion and embellishment of the dawr by Saleh Abdel Hay, his takht, and his choir.
It's actually on youtube. Took me a while to rediscover it without knowing much
Arabic. According to the description (translated to broken English via Google), the composer was Muhamad Othman
and the maqam Husseini. It is listed here, with the Hebrew version, 'Oz
Ou'Mihyat (=Strength & Sustenance) under Bayati.
Nate.
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David.B
Oud Junkie
Posts: 640
Registered: 9-5-2009
Location: France
Member Is Offline
Mood: Renaissance
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| Quote: Originally posted by Rambaldi47 | There were two scores on the site I've found. Were both of
them a mismatch with the recording provided? Perhaps some
performers have different, less strict interpretations to a given
muwashshah as you've mentioned in your latest post. |
For now I only tried Hat yā Ayyuha al-Saqi, but nothing matches: different rhythm, different maqam, etc.
| Quote: Originally posted by Rambaldi47 | Thanks for the linked PDF. I cannot read French but I can pick
up some common roots with English and your translation
of course is quite welcomed. I cannot figure out
myself the notes of each nawba. Several extensive parts of
quite a few nawbat were taught to me vocally without any
mention of notes. I can say that Higaz al-Kabir (Morocco) and Zidane
(Algeria) share common traits with Hijaz and Ramel Maya & Higaz
al-Mashriqi (Morocco) and 'Irak (Algeria) are in turn closely related
to Bayati. But that's about it. I would definitely understand
whatever I've learned a lot better if I could play it.
|
I give my source to avoid interpretation. Here I'm a bit lost between the pentatonic structure that reminds me of the music at the time of the
Pharaohs and the origin of the Persian maqam 'Ajam. Anyway they share common notes depending on the finalis.
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