aoudist
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Maqam Dasht
Hi all.
Very impressed etc..
Anybody heard of Maqam Dasht? I'd like to know how it goes before my gig next week.* This being Birmingham England, I expect alot of Kurds in the
crowd. (so to speak)
Thanks in advance!
TC
*I know
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aoudist
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oh dear
No replies?
Might I add that my oud has a rather large Coptic cross inlaid onto the soundboard.
Come on guys I'm sure one of you experts didn't learn oud off the internet (maqamworld and Mikeouds)
My time is running out!
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revaldo29
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Hey bud,
I don't know if this helps, but there is a jamil bashir recording under the "rare recordings" section called dacht. Also, there is
a naseer shamma song called ughniya kurdia, I don't know what maqam that's in but u could use that maqam I guess. It sounds really cool.
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walkad
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Sadly there are not many (=none) active iranian or kurdish members in this forum. I think they would be the ones who could describe the dasht more
accurately.
Regards
/Walid
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oudman
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Munir Bashir has a cd entitled l'art du 'ud where he plays a taqasim in maqam dasht.
He notates the maqam as follows:
G, A half flat, Bb, C, D, Eb, E half flat, F, G
This maqam is a deravative of the Kurdi, the only difference being in the 6th degree, but its specific nature becomes evident in the pasta which
concludes the taqasim and is characterized by a syncopated binary rhythym which is fashionable in iraq. it is furthermore one of the main rythyms of
kurdish music.
I hope this helped.
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Ronny Andersson
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I don't think the average crowd hear the differencies between a taqasim in dasht or kurdi.
Best wishes
Ronny
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randomguy
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This is all i know about the iranian version of dasht which is actually very similar to the iraqi version.
First of all dasht can be considered a derivative of Bayati/Husseini and not kurdi because the lower tetrachord is Bayati and not Kurd. Either way,
much of the maqam is played in the second tetrachord and the bottom tetrachord is only used when descending and overall the mood of the maqam is a bit
different from Bayati. Dasht (dashti in Iran), can be thought as a bayati scale where the emphasis is on the 5th note (D if Dasht is on G, A if Dasht
is on D) and also on the 3rd note which is basically the tonic and where the maqam usually resides. Also while descending the 5th note is lowered by
a quarter tone (making it like a bayatayn scale but it is played differently). Dasht might sometimes sound like a turkish hussaini because, 1) the
scale is similar, 2) the dominant note is the same (5th note). I'm not too sure if the Iraqi version is exactly like this, but they shouldn't be too
different. Dasht is one of the most popular maqams in Iran. The Iranian oudist Master Shahidi has a taqsim in Dasht which is available on this
website for download.
To hear an Egyptian piece which might be a little bit like dasht, listen to riyad sunbati's bayati taqsim. Around minute 1:14 where he introduces the
second tetrachord (nahawand), he emphasizes the 5th note of bayati and goes up and down the scale in a somewhat similar fashion to dasht. Compare
that part with some of the parts in Munir basheer's taqsim uploaded by oudman and Master Shahidi's dasht taqsim.
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randomguy
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Yes very nice explanation by oudproff, so this basically confirms my analysis of iranian dashti being close to iraqi dasht.
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