Maqam Rast
Najm al-Din al-Sheikhli (1893 - 1938)
Baghdad, Iraq. 78rpm recording.
c. 1928
مقام الرست من اداء القارئ نجم الدين الشيخلي ممجد الحضرة القادرية مع التخت الشرقي. تسجيل اسطوانه قديم من عشرينات القرن الماضي. القصيده للشاعر المصري ابراهيم حسني ميرزا
كم بعثنا مع النسيم سلاما * للحبيب الجميل حيث أقاما
وسمعنا الطيور في الروض تشدو * فنقلنا عن الطيور كلاما
نحن قوم مخلدون وإن كنا * خلقنا لكي نموت غراما
The Maqam Rast in the Baghdad school of music is a primary maqam based on the rast mode with its tonic on C and the first of the Rast suite. It is sung to classical Arabic verses (formerly Persian or Turkish) without rhythmic accompaniment except for two brief rhythmic interludes between the second and third meyanas. It typically includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Segah Balaban, Khalili, Sharqi Rast, Hijaz Madani, and Mathnawi. Poetry sung here is by the Egyptian poet Ibrahim Husni Mirza.
- Unmeasured introduction on the qanun in rast mode.
- Tahrir, unmeasured vocal introduction, presenting the rast mode to the word "yar" (love, Turkish and Persian). (0:10).
- A fragment of a verse in rast mode ending with a modulation on the 'arabat hijaz degree called Negriz. (1:00)
- A piece called Mansuri (saba on G), abbreviated here, followed by a return to rast. (1:15)
- A piece called Ibrahimi (bayat on G) consisting of a fragment of a verse repeated twice. (1:25)
- Jalsa, cadenza characterized by a gradual descent to the tonic sung to the word "yar", ending the first part of the maqam. (1:55)
Second part:
- First meyana called Balaban (in rast mode) sung in high register to the words "ya dust" (Arabic-Persian, my friend) followed by a verse in the same mode and a return to the tonic. (2:25)
- Dulab in sharqi rast mode and a 4/4 wahda rhythm. (3:25)
- Second meyana called Khalili (chahargah mode) to the words "nazenine men" (Persian, my honey) followed by a fragment of a verse in the same mode. (3:43)
- A piece called Sharqi Rast (in sharqi rast mode) sung to the words "ya lali, ya lali, ya ya ya dayim" (Iraqi-Arabic, oh eternal one). (4:05)
- Third meyana called Madani (hijaz mode) to the words "yademen, ya dust, meded, aman". (4:31)
- A piece called Mathnawi (hijaz mode) consisting of a sung verse followed by the command "aziz men" ('aziz, buya 'azizi used here instead) and a return to rast. (5:02)
- Taslim, conclusion of the maqam in rast mode, sung to the words "ya lail, yar", gradually descending to the tonic by way of the Negriz. (6:08)
*
نجم الدين بن عبدالله بن صفاء الدين الشيخلي ولد في بغداد في ١٨٩٣ في محلة باب الشيخ و توفي يوم الاربعاء ١٦ شباط ١٩٣٨ و دفن في مقبرة الغزالي. يعد من اساطير الغناء العراقي الديني و الدنيوي، أخذ المقام من الملا عثمان الموصلي و رحمين بن نفطار افندي و أخذ اشغال المولد النبوي من مختلف اصحاب هذه الصناعة و مجَد بصوته الشجي على مآذن الحضرة الكَيلانية و حتى وفاته كما اشتغل مع اجواق الموالد النبوية و قرأ في الذكر كثيرا. كان الناس يترددون ليلا الى مقهى عزاوي الشهير في بغداد ليستمعوا الى قرائته للمقام. و قد سجل جملة من المقامات العراقية لصالح شركات الاسطوانات الاجنبية في عشرينات القرن الماضي منها الاوج والمنصوري و الحجاز ديوان و الحجاز آجغ و الرست و المدمي و الجبوري و البهيرزاوي و المحمودي و النوى و الحويزاوي و المخالف و العجم و الطاهر و الصبا و الابراهيمي و الشرقي دوكاه و اللامي و الخنبات.
Najm al-Din bin Abdullah bin Safa' al-Din al-Sheikhli was born in the Bab al-Sheikh district of Baghdad in 1893. He learned the art of maqam from the renowned Mulla 'Uthman al-Mosuli and Rahmain bin Niftar Efendi; he also took up the religious maqam by performing heavily in Sufi dhikr and mawlid ceremonies. Older Baghdadis still remember him for his tamjid (glorification of God from minarets) during the nights of Ramadan from the Gaylani Mosque in Bab al-Sheikh. He was also famous as a pigeon-breeder and a qari' of the profane maqam music at 'Azzawi's cafe, and he recorded many maqams for both European and local record companies during the 1920s. He died in 1938 and was buried at the Ghazali cemetery of Baghdad.
Tuesday, November 10, 2009
Thursday, October 1, 2009
A Note on the Iraqi Maqam
By Gen'ichi Tsuge
Asian Music, Vol. 4, No. 1, Near East-Turkestan Issue (1972), pp. 59-66. University of Texas Press.
On June 21 and 22, 1972 at Al-Khuld Hall, the Iraqi National Symphony Orchestra closed its thirteenth season with a rather popular program consisting of works by Rossini, Mozart, Bizet and Johann Strauss. In addition, this orchestra of 66 players performed a lovely piece which recalled to a Japanese traveller's mind the fact that this was actually happening by the slow-moving waters of the Tigris. The piece was Abdul Wahab Bilal's "Sama'i Lami" arranged for symphonic orchestra by Hans G. Mommer, the conductor.
Western classical music is doubtless an important one among various kinds of musics practiced in Baghdad today. The traditional music of Iraq, however, seems to have been known abroad so far, more or less by the activity of the two celebrated 'ud players and composers Salman Shukur and Jamil Bashir. Both, at the start, studied classical music at the Institute of Fine Arts (Ma'had al-funun al-jamila) in Baghdad with Turkish masters such as Sharif Muhiddin Haydar (in Turkey, Serif Muhiddin Targan) and Mas'ud Jamil (in Turkish, Mesut Cemil), who were invited as visiting professors from Istanbul. Thus, we could trace their style back to Ottoman Turkish classical music at least in terms of musical lineage. However, this does not necessarily mean that they are champions of the Istanbul tradition in Baghdad. There is no doubt that they are Iraqi musicians and composers of new Iraqi music.
In Iraq today, there are a number of musicians who sympathize with modern Egypt's music. As a matter of fact, the influence of Egyptian music seems most powerful in Baghdad, and it is obvious in large orchestras consisting of both Arab and Western instruments at the radio and television studios and in their musical style. Some of Iraqi musicians received their education in the U.A.R. and are now applying their technique to create a new national Iraqi music. Furthermore, an influx of Arab popular music imported from Cairo and Beirut is quite noticeable here.
However, what is very frequently and impressively heard in downtown Baghdad, at bazaars, cinemas, teahouses and record shops, is the tunes called the Baghdadi Maqam (Al-Maqam al-Baghdadi). This appealing music seems to have formidable fans still today, in spite of the impact of foreign musics. And, after all, it must have covert influence on the new Iraqi music, for this is the most representative musical tradition of Iraq which, willy-nilly, touches the heartstrings of the Iraqi people.
The Sama'i Lami is an example of this tradition. This brief note is primarily intended to remind readers of the existence of the Baghdadi maqam, or, in more generic term, the Iraqi (vocal) maqam in a corner of West Asia.
AL-MAQAM AL-'IRAQI (THE IRAQI MAQAM) :
So far little attention has been paid to this unique musical tradition of Iraq. Perhaps it has been simply overlooked by professional musicologists who tend to consider the traditional music of Iraq merely as a tributary of Eastern Arab music or a branch of Ottoman Turkish music.
This does not necessarily imply that the Iraqi maqam has not yet been properly introduced abroad in the past. For instance, at the Congress of Arab Music held at Cairo in 1932, Iraq was represented by Muhammad Al-Qubbanchi, a celebrated singer of the Iraqi maqam, and six accompanying instrumentalists. Henry G. Farmer who attended their concert writes: ".. .the present writer heard an Iraqi orchestra (takht) performing its indigenous music in a way which suggested a renascence of the glorious past...." (Farmer 1954:532). However, in the article, Farmer never mentions specifically the term al-maqam al-'iraqi. Whether it sounded like the legacy of the glorious Abbasid Empire or not, what Al-Qubbanchi sang was the Iraqi maqam.
On the occasion of the International Conference for Arab music held in 1964 at Baghdad, the home of the Iraqi maqam, the exquisite maqam singer Al-Qubbanchi gave a public performance. At the same time, a few lectures on the Iraqi maqam were given. If the proceedings of this conference had been published widely in Western languages, the Iraqi maqam might have by now attracted the attention of ethnomusicologists who avariciously seek untapped territory. Recently, at the Asian Music Rostrum in 1971, a performance of "Urfa", one of the Iraqi maqams, by Abdul Rahman Khidhir, singer, accompanied by three instrumentalists at Radio Baghdad, was considered "excellent" and ranked in the "recommended" entry.
The main reason why I took special notice of the Iraqi maqam is for the sake of comparison with the kindred vocal traditions in West Asia, particularly with the Persian avaz the Azerbaijan mugham and the Turkish gazel which seem to me very closely related to one another.
The following is a note on characteristics of the Iraqi maqam compared with the Persian avaz. (Maqams followed by P are similar to those in the Persian avaz (or dastgah); those with T relate to the Turkish makam. C indicates classical texts, while F denotes folk verses.) A huge number of modes are counted in the Iraqi maqam. However, the following seven maqamat are generally considered as the principal modes (Al-Wardi 1964:9):
There are numerous subsidiary maqamat which are theoretically considered to be derived from the principal modes. Al-Wardi mentions fifty-eight names2 of such maqams (Al-Wardi 1964:26):
In the Iraqi maqam, certain maqamat are supposed to be sung with classical Arabic verses, whereas another type of maqamat is devoted to folk verses. The former type of maqamat amounts to 41, according to AI-Wardi, including all the principal maqamat, while the latter includes 25.
As indicated in the list shown above, quite a few names of the Iraqi maqam are identical to those in the Persian avaz, or dastgah and also to those in the Turkish makam. Many of the Iraqi maqamat sung with classical verses are found both in the Persian and the Turkish traditions. In particular those which are found only in the Iraqi maqam and in the Persian avaz (gusheh) such as Mukhalaf (Persian Mokhalef), Mansuri, Dashti, Awshar (Afshari), Bakhtiyari (Bakhtiyar) and Mathnawi (Masnavi), should be noted in order to see how closely the two traditions are related to each other.
A distinguishing trait in the Iraqi maqam is that each maqam has special vocables for vocal introduction called tahrir.4 In other words, tahrir should be sung in vocables peculiar to the maqam: for example, in the maqam Sigah it should be sung with "Lilay, lilay... ."; in Ibrahimi it is sung with "Owh, khayi... "; in Rast, with "Yar, yar.. . "; in Nawa, Humayun and Dashti, it is sung with "Aman, aman... "; whereas in the maqamat Bayat and Hijaz, the tahrir should be sung with the words "Faryad-e men,..." and so forth. (Al-Rajab 1961:105-58).
Another feature of the Iraqi maqam is that each maqam should be sung at a special pitch level. "If it is sung higher or lower, then it loses the most characteristic part of it." When "the pitch of the maqam Sigah is raised, we have on our hands a new maqam which is called Awj."(Al-Rajab 1961:6-7) Moreover, two maqams which share the same modal structure may be called by different names when the rhythm or the verse type customarily employed differs. Unlike the Turkish makam, which is distinguished exclusively in terms of its modal structure, the Iraqi maqam may also feature a definite rhythmic character. This happens among the Persian gusheha as well.
Performance practice of the Iraqi maqam also closely resembles that of the Persian avaz. A solo vocalist called mughanni is accompanied by a small chamber orchestra consisting of the santur (dulcimer), the jawza (or kamanja, kamana al-baqhdadiya; four-stringed fiddle made of coconut shell, or jawz), the tabla (or dunbug; goblet-shaped single-headed drum) and the riqq (or daff zanjari: tambourine). Sometimes the 'ud, the qanun, the nay and the violin are included. However, these instruments are not considered integral, but rather later additions.
The orchestra usually begins a maqam with a short prelude called muqaddama al-dulabi. Then the mughanni starts to sing a tahrir in free rhythm in order to set up the mode and the mood of a given maqam, and also to warm up his voice. This is a counterpart of the daramad of the Persian avaz. This tahrir is responded to by accompanying melodic instruments. These phrases are called muhasiba (the Persian equivalent to this would be called javab.)
The verse (shi'r) is then introduced in free rhythm. Usually two couplets (bayt) are sung at one time. The accompanying instruments may play soft short phrases following the vocal line, but in a free manner. This essential part of the maqam practice is equivalent to what is called "avaz" in Persian.
Another muhasiba brings the singing to a breath pause. Then the second set of verses is sung. The third set and the fourth may be continued in similar way. Sometimes a set of popular folk verses called abudhiya may be inserted.
In part of the muhasiba an instrument may play elaborate solo passages which closely resemble the chahar-mezrab in Persian practice. The term chahar-mezrab, however, does not exist in the Iraqi maqam.
In the course of a maqam performance, several other maqamat and/or anqham (pl. of nagham, melodies) are introduced or, customarily, incorporated as part of the maqam progression. For instance, the maqam Sigah usually includes the following sections5:
As shown below, a series of gusheha in the Persian dastgah Segah or Chahargah would form a suitable counterpart to this:
One could also mention the names of gusheha which are identical such as Sigah (Segah), Mukhalif (Mokhalef) and Mansuri. Musical terminology such as tahrir (introduction), meyana (the highest point) and tasIim (cadential passage leading back to the original maqam) correspond almost exactly to Persian daramad, owj and forud.
In addition, a maqam performance is usually concluded with a pasta (or peste; ughniya), a song in fixed rhythm composed in the same maqam. This can be considered as an equivalent to Persian tasnif, though the term pasta (peste) is apparently derived from Turkish beste.6 In pasta at the end of maqam, an inspired audience may participate in singing. Usually the mughanni (soloist) sings couplets, whereas the madhab (chorus) sings the reiterated refrain (lazima).
In the past, the Iraqi maqam used to be sung at special cafes every night. "Music of (lower class) cafes" was the generally accepted notion concerning the Iraqi maqam. And still today it might bother some puritanical moslems; thus, the Iraqi maqam is sometimes rather looked down upon by the Iraqi intelligentsia and modernists. Fortunately, however, new institutions for traditional music were recently (in 1971) established by the government, such as the Markaz al-turath al-musiqi (Traditional Music Center - Archives) and the Ma'had al-dirasat al-naqhamiya al-'iraqiya (Institute of Iraqi Music Studies - Music School, evening class only) in Baghdad. I sincerely hope that this unique musical tradition of West Asia will be looked at again from various viewpoints in the near future.7
Asian Music, Vol. 4, No. 1, Near East-Turkestan Issue (1972), pp. 59-66. University of Texas Press.
 |
On June 21 and 22, 1972 at Al-Khuld Hall, the Iraqi National Symphony Orchestra closed its thirteenth season with a rather popular program consisting of works by Rossini, Mozart, Bizet and Johann Strauss. In addition, this orchestra of 66 players performed a lovely piece which recalled to a Japanese traveller's mind the fact that this was actually happening by the slow-moving waters of the Tigris. The piece was Abdul Wahab Bilal's "Sama'i Lami" arranged for symphonic orchestra by Hans G. Mommer, the conductor.
Western classical music is doubtless an important one among various kinds of musics practiced in Baghdad today. The traditional music of Iraq, however, seems to have been known abroad so far, more or less by the activity of the two celebrated 'ud players and composers Salman Shukur and Jamil Bashir. Both, at the start, studied classical music at the Institute of Fine Arts (Ma'had al-funun al-jamila) in Baghdad with Turkish masters such as Sharif Muhiddin Haydar (in Turkey, Serif Muhiddin Targan) and Mas'ud Jamil (in Turkish, Mesut Cemil), who were invited as visiting professors from Istanbul. Thus, we could trace their style back to Ottoman Turkish classical music at least in terms of musical lineage. However, this does not necessarily mean that they are champions of the Istanbul tradition in Baghdad. There is no doubt that they are Iraqi musicians and composers of new Iraqi music.
 |
In Iraq today, there are a number of musicians who sympathize with modern Egypt's music. As a matter of fact, the influence of Egyptian music seems most powerful in Baghdad, and it is obvious in large orchestras consisting of both Arab and Western instruments at the radio and television studios and in their musical style. Some of Iraqi musicians received their education in the U.A.R. and are now applying their technique to create a new national Iraqi music. Furthermore, an influx of Arab popular music imported from Cairo and Beirut is quite noticeable here.
 |
However, what is very frequently and impressively heard in downtown Baghdad, at bazaars, cinemas, teahouses and record shops, is the tunes called the Baghdadi Maqam (Al-Maqam al-Baghdadi). This appealing music seems to have formidable fans still today, in spite of the impact of foreign musics. And, after all, it must have covert influence on the new Iraqi music, for this is the most representative musical tradition of Iraq which, willy-nilly, touches the heartstrings of the Iraqi people.
The Sama'i Lami is an example of this tradition. This brief note is primarily intended to remind readers of the existence of the Baghdadi maqam, or, in more generic term, the Iraqi (vocal) maqam in a corner of West Asia.
AL-MAQAM AL-'IRAQI (THE IRAQI MAQAM) :
So far little attention has been paid to this unique musical tradition of Iraq. Perhaps it has been simply overlooked by professional musicologists who tend to consider the traditional music of Iraq merely as a tributary of Eastern Arab music or a branch of Ottoman Turkish music.
 |
This does not necessarily imply that the Iraqi maqam has not yet been properly introduced abroad in the past. For instance, at the Congress of Arab Music held at Cairo in 1932, Iraq was represented by Muhammad Al-Qubbanchi, a celebrated singer of the Iraqi maqam, and six accompanying instrumentalists. Henry G. Farmer who attended their concert writes: ".. .the present writer heard an Iraqi orchestra (takht) performing its indigenous music in a way which suggested a renascence of the glorious past...." (Farmer 1954:532). However, in the article, Farmer never mentions specifically the term al-maqam al-'iraqi. Whether it sounded like the legacy of the glorious Abbasid Empire or not, what Al-Qubbanchi sang was the Iraqi maqam.
On the occasion of the International Conference for Arab music held in 1964 at Baghdad, the home of the Iraqi maqam, the exquisite maqam singer Al-Qubbanchi gave a public performance. At the same time, a few lectures on the Iraqi maqam were given. If the proceedings of this conference had been published widely in Western languages, the Iraqi maqam might have by now attracted the attention of ethnomusicologists who avariciously seek untapped territory. Recently, at the Asian Music Rostrum in 1971, a performance of "Urfa", one of the Iraqi maqams, by Abdul Rahman Khidhir, singer, accompanied by three instrumentalists at Radio Baghdad, was considered "excellent" and ranked in the "recommended" entry.
 |
The main reason why I took special notice of the Iraqi maqam is for the sake of comparison with the kindred vocal traditions in West Asia, particularly with the Persian avaz the Azerbaijan mugham and the Turkish gazel which seem to me very closely related to one another.
The following is a note on characteristics of the Iraqi maqam compared with the Persian avaz. (Maqams followed by P are similar to those in the Persian avaz (or dastgah); those with T relate to the Turkish makam. C indicates classical texts, while F denotes folk verses.) A huge number of modes are counted in the Iraqi maqam. However, the following seven maqamat are generally considered as the principal modes (Al-Wardi 1964:9):
| 1. Rast | (C) | T | P |
| 2. Bayat | (C) | T | P |
| 3. Sigah | (C) | T | P |
| 4. Hijaz Diwan | (C) | T | |
| 5. Saba | (C) | T | |
| 6. 'Ajam 'Ushayran1 | (C) | T | |
| 7. Husayni | (C) | T |
There are numerous subsidiary maqamat which are theoretically considered to be derived from the principal modes. Al-Wardi mentions fifty-eight names2 of such maqams (Al-Wardi 1964:26):
| 1- Ibrahimi | (F) | ||
| 2. Biherzawi | (F) | ||
| 3. Juburi | (F) | ||
| 4. Mahmudi | (F) | ||
| 5. Nari | (F) | ||
| 6. Mugabal | (F) | ||
| 7. Mukhalaf | (F) | P | |
| 8. Lami | (F or C) | ||
| 9. Mansuri | (C) | P | |
| 10. Hadidi | (F) | ||
| 11. Jammal | (C) | ||
| 12. Hilelawi | (F) | ||
| 13. Bajilan | (F) | ||
| 14. 'Araybun 'Arab | (F) | T | |
| 15. 'Araybun 'Ajam | (C) | T | |
| 16. Humayun | (C) | T | P |
| 17. Dasht 'Arab | (C) | ||
| 18. Dashti | (C) | P | |
| 19. Urfah | (C) | ||
| 20. Sharqi Dugah | (F) | T | P |
| 21. Qatar | (F) | ||
| 22. Sharqi Rast | (F) | T | |
| 23. Panjgah | (C) | T | P |
| 24. Rashidi | (F) | ||
| 25. Awshar | (C) | P (Afshari) | |
| 26. Sa'idi | (C) | ||
| 27. Khalwati | (C) | ||
| 28. Tahir | (C) | ||
| 29. Nawa | (C) | T | P |
| 30. Madmi | (F) | ||
| 31. Awj | (C) | T | P |
| 32. Hijazkar Kurd | (F) | T | P |
| 33. Hijazkar | (F) | T | |
| 34. Nahawand | (F or C) | T | |
| 35. Quriyat | (C) | ||
| 36. Tiflis | (C) | ||
| 37. Mischin | (F) | ||
| 38. - (?) 3 | |||
| 39. Mathnawi | (C) | P | |
| 40. Hakimi | (F) | ||
| 41. Huwaizawi | (C) | ||
| 42. Nawruz al-'Ajam | (C) | P | |
| 43. Arwah | (C) | P (Ruh-ol-Arvah) | |
| 44. Sharqi Isfahan | (F) | T | P |
| 45. 'Ushshaq | (C) | T | P |
| 46. Sigah Balaban | (C) | ||
| 47. Bayat al-'Ajam | (C) | ||
| 48. Gulguli | (F) | ||
| 49. Bashiri | (C) | ||
| 50. Bakhtiyari | (C) | P | |
| 51. Haftgah | (C) | ||
| 52. Hijaz Shaytani | (C) | ||
| 53. Hijaz Achugh | (C) | ||
| 54. Hijaz Gharib | (C) | ||
| 55. Mukhalaf Kirkuk | (C) | ||
| 56. Qaryabash | (C) | ||
| 57. Sa'idi Mubarqa' | (C) | P | |
| 58. Qazzaz | (F) |
In the Iraqi maqam, certain maqamat are supposed to be sung with classical Arabic verses, whereas another type of maqamat is devoted to folk verses. The former type of maqamat amounts to 41, according to AI-Wardi, including all the principal maqamat, while the latter includes 25.
As indicated in the list shown above, quite a few names of the Iraqi maqam are identical to those in the Persian avaz, or dastgah and also to those in the Turkish makam. Many of the Iraqi maqamat sung with classical verses are found both in the Persian and the Turkish traditions. In particular those which are found only in the Iraqi maqam and in the Persian avaz (gusheh) such as Mukhalaf (Persian Mokhalef), Mansuri, Dashti, Awshar (Afshari), Bakhtiyari (Bakhtiyar) and Mathnawi (Masnavi), should be noted in order to see how closely the two traditions are related to each other.
 |
A distinguishing trait in the Iraqi maqam is that each maqam has special vocables for vocal introduction called tahrir.4 In other words, tahrir should be sung in vocables peculiar to the maqam: for example, in the maqam Sigah it should be sung with "Lilay, lilay... ."; in Ibrahimi it is sung with "Owh, khayi... "; in Rast, with "Yar, yar.. . "; in Nawa, Humayun and Dashti, it is sung with "Aman, aman... "; whereas in the maqamat Bayat and Hijaz, the tahrir should be sung with the words "Faryad-e men,..." and so forth. (Al-Rajab 1961:105-58).
Another feature of the Iraqi maqam is that each maqam should be sung at a special pitch level. "If it is sung higher or lower, then it loses the most characteristic part of it." When "the pitch of the maqam Sigah is raised, we have on our hands a new maqam which is called Awj."(Al-Rajab 1961:6-7) Moreover, two maqams which share the same modal structure may be called by different names when the rhythm or the verse type customarily employed differs. Unlike the Turkish makam, which is distinguished exclusively in terms of its modal structure, the Iraqi maqam may also feature a definite rhythmic character. This happens among the Persian gusheha as well.
Performance practice of the Iraqi maqam also closely resembles that of the Persian avaz. A solo vocalist called mughanni is accompanied by a small chamber orchestra consisting of the santur (dulcimer), the jawza (or kamanja, kamana al-baqhdadiya; four-stringed fiddle made of coconut shell, or jawz), the tabla (or dunbug; goblet-shaped single-headed drum) and the riqq (or daff zanjari: tambourine). Sometimes the 'ud, the qanun, the nay and the violin are included. However, these instruments are not considered integral, but rather later additions.
 |
The orchestra usually begins a maqam with a short prelude called muqaddama al-dulabi. Then the mughanni starts to sing a tahrir in free rhythm in order to set up the mode and the mood of a given maqam, and also to warm up his voice. This is a counterpart of the daramad of the Persian avaz. This tahrir is responded to by accompanying melodic instruments. These phrases are called muhasiba (the Persian equivalent to this would be called javab.)
The verse (shi'r) is then introduced in free rhythm. Usually two couplets (bayt) are sung at one time. The accompanying instruments may play soft short phrases following the vocal line, but in a free manner. This essential part of the maqam practice is equivalent to what is called "avaz" in Persian.
Another muhasiba brings the singing to a breath pause. Then the second set of verses is sung. The third set and the fourth may be continued in similar way. Sometimes a set of popular folk verses called abudhiya may be inserted.
In part of the muhasiba an instrument may play elaborate solo passages which closely resemble the chahar-mezrab in Persian practice. The term chahar-mezrab, however, does not exist in the Iraqi maqam.
 |
In the course of a maqam performance, several other maqamat and/or anqham (pl. of nagham, melodies) are introduced or, customarily, incorporated as part of the maqam progression. For instance, the maqam Sigah usually includes the following sections5:
| 1. Tahrir - Sigah |
| 2. Mansuri |
| 3. Meyana - Balaban |
| 4. Hakimi |
| 5. Mukhalaf Kirkuk |
| 6. Sufyan |
| 7. Tiflis |
| 8. Jammal |
| 9. Taslim - Sigah |
As shown below, a series of gusheha in the Persian dastgah Segah or Chahargah would form a suitable counterpart to this:
| 1. Daramad - Segah | Daramad - Chahargah |
| 2. Zabol | Zabol |
| 3. Muyeh | Muyeh |
| 4. Hesar | Hesar |
| 5. Mokhalef (Owj) | Mokhalef |
| 6. Maghlub | Maghlub |
| 7. - | Mansuri |
| 8. Forud to Segah | Forud to Chahargah |
One could also mention the names of gusheha which are identical such as Sigah (Segah), Mukhalif (Mokhalef) and Mansuri. Musical terminology such as tahrir (introduction), meyana (the highest point) and tasIim (cadential passage leading back to the original maqam) correspond almost exactly to Persian daramad, owj and forud.
In addition, a maqam performance is usually concluded with a pasta (or peste; ughniya), a song in fixed rhythm composed in the same maqam. This can be considered as an equivalent to Persian tasnif, though the term pasta (peste) is apparently derived from Turkish beste.6 In pasta at the end of maqam, an inspired audience may participate in singing. Usually the mughanni (soloist) sings couplets, whereas the madhab (chorus) sings the reiterated refrain (lazima).
In the past, the Iraqi maqam used to be sung at special cafes every night. "Music of (lower class) cafes" was the generally accepted notion concerning the Iraqi maqam. And still today it might bother some puritanical moslems; thus, the Iraqi maqam is sometimes rather looked down upon by the Iraqi intelligentsia and modernists. Fortunately, however, new institutions for traditional music were recently (in 1971) established by the government, such as the Markaz al-turath al-musiqi (Traditional Music Center - Archives) and the Ma'had al-dirasat al-naqhamiya al-'iraqiya (Institute of Iraqi Music Studies - Music School, evening class only) in Baghdad. I sincerely hope that this unique musical tradition of West Asia will be looked at again from various viewpoints in the near future.7
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1. Al-Rajab gives Chahargah in place of 'Ajam 'Ushayran. (Al- Rajab 1961:5).
2. Al-Rajab says that there are about ninety subsidiary modes. (Al-Rajab 1961:6).
3. This number is left out from the list.
4. This tahrir should not be confused with Persian tahrir which is a special vocal technique employed in melismatic ornamentation. The tahrir in the Iraqi maqam is rather equivalent to Persian daramad.
5. According to Sha'ubi Ibrahim's illustration: personal communication, Baghdad, June 1972.
6. Beste itself is originally a Persian word.
7. I wish to express my gratitude to the following artists and scholars of Baghdad for their generous informations and hospi- tality during my short visit in summer of 1972: Messrs. Sha'ubi Ibrahim , Salman Shukur, Rawhi Al-Khammash, Jamil Bashir, Abdul Wahab Bilal, Hammoudi Al-Wardi, Ferid Allahwerdi, Jamil Hamoudi, Dr. Subhi Anwar Rashid and Cinucen Tanrikorur, a Turkish musician who was serving at the Institute of Iraqi Music Studies as a technical adviser.
References:
- Farmer, H. G. "Iraqian and Mesopotamian Music," in Grove's Dictionary of Music and Musicians, 5th ed. 1954, London: Macmillan.
- Al-Rajab, Hashim M. Al-Maqam al-'Iraqi, 1961, Baghdad.
- Al-Wardi, Hammoudi. Al-Ghina al-'Iraqi, 1964, Baghdad.
In addition, there exist the following publications on the subject:
- Bilal, Abdul Wahab. Al-Nagham al-Mubtakir fi al-Musiqa al-'Iraqiya wa al-'Arabiya, 1969, Baghdad.
- Al-Hanafi, Al-Shaykh Jalal. Al-Mughanun al-Baghdadiyun, 1964, Baghdad.
- Ibrahim , Sha'ubi. Al-Maqamat, vol. 1. 1963, Baghdad.
- Al-Wardi, Hammoudi. Maqam al-Mukhalaf, 1969, Baghdad.
Concerning sound recordings of the Iraqi maqam, there are many 7" 45 rpm discs commercially available from Chakmakchiphon, Baghdad, of popular singers such as Muhammad Al-Qubbanchi, Nazim Al-Ghazali, Yusuf 'Umar and others.
Sunday, September 20, 2009
Maqam Rast - Muhammad al-Qubbanchi 1926
Maqam Rast
Muhammad al-Qubbanchi
Baghdad, Iraq. 78rpm recording.
c. 1926
مقام الرست من اداء الاستاذ محمد القبانجي. تسجيل اسطوانه قديم من فتره شبابه عام ١٩٢٧ مع الفرقه الموسيقيه (آله الجوزه: ناحوم يونا الدرزي، القانون: يوسف مير زعرور
شغفت ببدر فاق كل ملاحة * وخالفت في حبيه كل ملامة
فلما بدا لي منه بعض علامة * تركت حبيب القلب لاعن ملامة
ولكن جنى ذنبا يؤول الى الترك
The Maqam Rast is a primary maqam based on the rast mode with its tonic on C and is the first of the rast suite. It is sung to classical Arabic verses without rhythmic accompaniment until the second and third meyanas where it uses two different rhythmic formulas. It includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Segah Balaban, Khalili, Sharqi Rast, Hijaz Madani, and Mathnawi. Al-Qubbanchi here omits the third meyana in Hijaz Madani.
- Unmeasured instrumental introduction in rast mode.
- Tahrir, unmeasured vocal introduction presenting the rast mode to the word "yar" (love, Turkish). (0:15)
- Two verses of the qasida in rast mode ending with a piece called Negriz. (1:05)
- A piece called Mansuri (saba on G) consisting of two sung verses, followed by a return to rast. (1:30)
- A piece called Ibrahimi (bayat on G) consisting of a verse ending with the command "aman, 'elet ya m'awwad, aman" (Turkish and Iraqi-Arabic) (2:30)
- Jalsa, cadenza starting with a short piece called Hijaz Shaytani (hijaz on G) to the words "ahu ya leil" (Arabic, o night) followed by a gradual descent to the tonic sung to the word "yar", ending the first part of the maqam. (3:02)
Second part:
- First meyana called Segah Balaban (in rast mode) sung in high register to the words "ya dost" (Arabic-Persian, my friend) followed by a verse in the same mode. (3:39)
- Second dulab in sharqi rast mode and a 4/4 wahda rhythm. (4:37)
- Second meyana called Khalili (chahargah mode) to the words "nazenine men" (Persian, my honey) followed by a fragment of a verse in the same mode. (5:00)
- A piece called Sharqi Rast (in sharqi rast mode) sung to the words "ya lali, ya lali, ya ya ya dayim" (Iraqi-Arabic, oh eternal one). (5:25)
- Instrumental piece in hijaz mode. (5:40)
- A piece called Mathnawi (hijaz mode) consisting of two sung verse followed by the command "aziz men" and a return to rast. (5:48)
- Taslim, conclusion of the maqam in rast mode, sung to the word "yar", gradually descending to the tonic by way of the Negriz. (6:53)
Vocals: Muhammad Abdul Razzaq al-Gubbanchi (1901-1989)
Joza: Nahum Yonah Ben-Yonah al-Dirzi (1878-1955)
Qanun: Yusuf Meir Za'rur al-Saghir (1901-1986)
Tabla: (?)
Download
Muhammad al-Qubbanchi
Baghdad, Iraq. 78rpm recording.
c. 1926
مقام الرست من اداء الاستاذ محمد القبانجي. تسجيل اسطوانه قديم من فتره شبابه عام ١٩٢٧ مع الفرقه الموسيقيه (آله الجوزه: ناحوم يونا الدرزي، القانون: يوسف مير زعرور
شغفت ببدر فاق كل ملاحة * وخالفت في حبيه كل ملامة
فلما بدا لي منه بعض علامة * تركت حبيب القلب لاعن ملامة
ولكن جنى ذنبا يؤول الى الترك
The Maqam Rast is a primary maqam based on the rast mode with its tonic on C and is the first of the rast suite. It is sung to classical Arabic verses without rhythmic accompaniment until the second and third meyanas where it uses two different rhythmic formulas. It includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Segah Balaban, Khalili, Sharqi Rast, Hijaz Madani, and Mathnawi. Al-Qubbanchi here omits the third meyana in Hijaz Madani.
- Unmeasured instrumental introduction in rast mode.
- Tahrir, unmeasured vocal introduction presenting the rast mode to the word "yar" (love, Turkish). (0:15)
- Two verses of the qasida in rast mode ending with a piece called Negriz. (1:05)
- A piece called Mansuri (saba on G) consisting of two sung verses, followed by a return to rast. (1:30)
- A piece called Ibrahimi (bayat on G) consisting of a verse ending with the command "aman, 'elet ya m'awwad, aman" (Turkish and Iraqi-Arabic) (2:30)
- Jalsa, cadenza starting with a short piece called Hijaz Shaytani (hijaz on G) to the words "ahu ya leil" (Arabic, o night) followed by a gradual descent to the tonic sung to the word "yar", ending the first part of the maqam. (3:02)
Second part:
- First meyana called Segah Balaban (in rast mode) sung in high register to the words "ya dost" (Arabic-Persian, my friend) followed by a verse in the same mode. (3:39)
- Second dulab in sharqi rast mode and a 4/4 wahda rhythm. (4:37)
- Second meyana called Khalili (chahargah mode) to the words "nazenine men" (Persian, my honey) followed by a fragment of a verse in the same mode. (5:00)
- A piece called Sharqi Rast (in sharqi rast mode) sung to the words "ya lali, ya lali, ya ya ya dayim" (Iraqi-Arabic, oh eternal one). (5:25)
- Instrumental piece in hijaz mode. (5:40)
- A piece called Mathnawi (hijaz mode) consisting of two sung verse followed by the command "aziz men" and a return to rast. (5:48)
- Taslim, conclusion of the maqam in rast mode, sung to the word "yar", gradually descending to the tonic by way of the Negriz. (6:53)
Vocals: Muhammad Abdul Razzaq al-Gubbanchi (1901-1989)
Joza: Nahum Yonah Ben-Yonah al-Dirzi (1878-1955)
Qanun: Yusuf Meir Za'rur al-Saghir (1901-1986)
Tabla: (?)
Download
Sunday, September 6, 2009
Maqam Rast - Rashid al-Qundarchi مقام رست - رشيد القندرجي
Maqam Rast
Rashid al-Qundarchi
Baidaphone 78 rpm recording, 1925.
Maqam Rast by Rashid al-Qundarchi. The poetry is attributed to the Mameluke poet Ibn al-Nabih al-Masri (14th century).
مقام الرست من اداء الاستاذ رشيد القندرجي (١٨٨٦-١٩٤٥) مع اعضاء الفرقه الموسيقيه (عزوري هارون، صالح شميل، شاؤول هارون زنگي). تسجيل اسطوانه قديم لصالح شركه بيضافون عام ١٩٢٥. الشعر منسوب الى ابن النبيه المصري
ان شكوت الهوى فما انت منا * تحمل الصد والجفا يا معنى
قم من النوم واطرد الهم عنا * يا مليحا اذا مشى يتثنى
قم لقد قامت الطيور تغني * ايكون الحمام اطرب منا
تدعي مذهب الهوى ثم تشكو * اين دعواك في الهوى يا معنى
ما عشقناك للصفات ولكن * نحن قوم اذا نظرنا عشقنا
كنت مثل الحمام تالف ليلا * صرت مثل الغزال تنفر عنا
كلما دارت الزجاجه درنا * يحسب الجاهلون انا جننا
The Maqam Rast is a primary maqam based on the rast mode with its tonic on C and is the first of the rast suite. This complex mode is ancient and is found in Arabic, Persian and Turkish classical and popular music. It is sung to classical Arabic verses without rhythmic accompaniment until the second and third meyanas (formerly it was often sung in classical Persian). It includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Balaban, Khalili, Sharqi Rast, Hijaz Madani, and Mathnawi. The version sung here is called Rast Turki and is rarely peformed today, having been replaced with the Rast Hindi by later maqam performers.
- Tahrir, vocal introduction in rast mode sung to the word "yar" with a descent from the rast degree to the 'ushayran and gradually up to the chahargah and higher notes. This version of the tahrir is called Rast Turki. (0:08)
- A fragment of a verse in rast mode. (1:20)
- A piece called Mansuri (saba on G) consisting of a verse in mansuri mode preceded by the interjection "ay". (1:34)
- A piece in bayat on G. (2:12)
- Descent to the rast ending with a piece called Negriz. (2:27)
- First meyana called Segah Balaban sung to the words "ya dost" (Arabic-Persian, my friend) followed by a verse in the same mode. (2:47)
- Return to rast by way of the Negriz. (3:31)
- Musical interlude in sharqi rast mode and a 4/4 wahda rhythm. (3:51)
- Second meyana called Khalili (chahargah mode) sung to the words "nazenine men" (Persian, my honey) followed by a verse in the same mode. (4:22)
- Third meyana called Hijaz Madani (hijaz mode) sung to the word "yademen". (5:23)
- A piece called Mathnawi (hijaz) ending with the command "aman aman". (6:10)
- Taslim in rast mode progressively descending from B flat to C by way of the Negriz. (7:02)
Vocals: Rashid Ali al-Qundarchi (1886-1945)
Joza: Salih Shumayyil Shmuli (1890-1960)
Qanun: 'Azzuri Harun (1900-1965)
Tabla: Shaul Harun Zangi (1890-1956)
*
Rashid al-Qundarchi
Baidaphone 78 rpm recording, 1925.
Maqam Rast by Rashid al-Qundarchi. The poetry is attributed to the Mameluke poet Ibn al-Nabih al-Masri (14th century).
مقام الرست من اداء الاستاذ رشيد القندرجي (١٨٨٦-١٩٤٥) مع اعضاء الفرقه الموسيقيه (عزوري هارون، صالح شميل، شاؤول هارون زنگي). تسجيل اسطوانه قديم لصالح شركه بيضافون عام ١٩٢٥. الشعر منسوب الى ابن النبيه المصري
ان شكوت الهوى فما انت منا * تحمل الصد والجفا يا معنى
قم من النوم واطرد الهم عنا * يا مليحا اذا مشى يتثنى
قم لقد قامت الطيور تغني * ايكون الحمام اطرب منا
تدعي مذهب الهوى ثم تشكو * اين دعواك في الهوى يا معنى
ما عشقناك للصفات ولكن * نحن قوم اذا نظرنا عشقنا
كنت مثل الحمام تالف ليلا * صرت مثل الغزال تنفر عنا
كلما دارت الزجاجه درنا * يحسب الجاهلون انا جننا
The Maqam Rast is a primary maqam based on the rast mode with its tonic on C and is the first of the rast suite. This complex mode is ancient and is found in Arabic, Persian and Turkish classical and popular music. It is sung to classical Arabic verses without rhythmic accompaniment until the second and third meyanas (formerly it was often sung in classical Persian). It includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Balaban, Khalili, Sharqi Rast, Hijaz Madani, and Mathnawi. The version sung here is called Rast Turki and is rarely peformed today, having been replaced with the Rast Hindi by later maqam performers.
- Tahrir, vocal introduction in rast mode sung to the word "yar" with a descent from the rast degree to the 'ushayran and gradually up to the chahargah and higher notes. This version of the tahrir is called Rast Turki. (0:08)
- A fragment of a verse in rast mode. (1:20)
- A piece called Mansuri (saba on G) consisting of a verse in mansuri mode preceded by the interjection "ay". (1:34)
- A piece in bayat on G. (2:12)
- Descent to the rast ending with a piece called Negriz. (2:27)
- First meyana called Segah Balaban sung to the words "ya dost" (Arabic-Persian, my friend) followed by a verse in the same mode. (2:47)
- Return to rast by way of the Negriz. (3:31)
- Musical interlude in sharqi rast mode and a 4/4 wahda rhythm. (3:51)
- Second meyana called Khalili (chahargah mode) sung to the words "nazenine men" (Persian, my honey) followed by a verse in the same mode. (4:22)
- Third meyana called Hijaz Madani (hijaz mode) sung to the word "yademen". (5:23)
- A piece called Mathnawi (hijaz) ending with the command "aman aman". (6:10)
- Taslim in rast mode progressively descending from B flat to C by way of the Negriz. (7:02)
Vocals: Rashid Ali al-Qundarchi (1886-1945)
Joza: Salih Shumayyil Shmuli (1890-1960)
Qanun: 'Azzuri Harun (1900-1965)
Tabla: Shaul Harun Zangi (1890-1956)
*
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الطريقة القندرجية في المقام العراقي
حسين اسماعيل الاعظمي
اختزن المطرب الكبير رشيد القندرچي في فطرته وعقله خلاصة ما سمعه وتعلمه من الطرق الغنائية القديمة التي كانت سائدة في عصره، الممتدة اسسها من القرن التاسع عشر، التي كانت ابرزها واهمها طريقة استاذه المطرب الحاذق احمد زيدان (١٨٣٢-١٩١٢) وطريقته الفـذة (الطريقة الزيدانية)، حيث ادركها رشيد القندرجي وعاش اعماقها وحلل اشكالها ومضامينها واستنبط منها بعدئذ طريقته الغنائية الفذة التي وصل بها الى ذروة كلاسيكية كل الطرق التي سبقته مجتمعة، مما أحدث انعطافا كبيرا لدى المتلقي في التذوق الجمالي للاداءات المقامية، اذ قلب فيها كل الموازين الأدائية في زمنه ليتوج بالاجماع اسطورة عصره بعد ان تبلورت اسس طريقته الرصينة التي اثرت في الكثير من المغنين المقاميين الذين جاؤا بعده وتبعوا طريقته. و رغم كل ذلك فان ما كتب عن رشيد سيظل قاصرا ازاء مدرسة متكاملة في اصول صناعة و صياغة الانغام، فرشيد كان صائغ نغم و مهندسا بارعا في الوصول الى الكمال.
اتباع رشيـد القندرچي
لقد كان النتاج الفخم في تسجيلات المقام العراقي للمطرب الكبير رشيد القندرجي مؤثرا جدا في اوساط المغنين المعاصرين و اللاحقين له. و قد بقي تأثير طريقته الغنائية في الاوساط المقامية زمنا طويلا و من اشهر اتباعها من المغنين المقاميين عبد القادر حسون، احمد موسى، الحاج هاشم الرجب، شهاب احمد الاعظمي، رشيد الفضلي، يونس يوسف، عبد الخالق صالح رحيم، سعيد دخان، حسقيل قصاب وغيرهم، رغم التحولات والمتغيرات التي حصلت لشتى مجالات الحياة، ورغم بداية شيوع شهرة محمد عبد الرزاق القبانجي وطريقته القادمة للمنافسة في النصف الاول من القرن العشرين. والطريقة القندرچيه بالذات قد قلَّ اتباعها وافل نجمها في العقود الاخيرة من القرن العشرين إلا أن رشيد وطريقته لم يزل له تأثير لدى البعض من المغنين المقاميين الذين يروق لهم التغني بطريقته .. ونحن اذ نتحدث عن رشيد القندرجي وطريقة غنائه وفنِّه المقامي ، فقد اطلقنا على طريقــته في الغـناء ( الطريقة القندرچيه) نسبة اليه اولا ومصطلحا نتداوله بفن رشيد القندرجي واسلوب طريقته، باعتبارها خلاصة الطرق القديمة التي جعلها القندرجي مهذبة في شكلها ومضمونها الى اللاحقين من بعده.
ان من اسباب افول نجم الطريقة القندرچيه في النصف الثاني من القرن العشرين هي التحولات والمتغيرات التي احدثتها تطورات العلوم الصناعية، لتمسي هذه الحقبة الزمنية الكبيرة حقبة للتحولات بكل ما تعنيه هذه الكلمة ( حقبة التحول) وفيما بعد حقبة للتجارب الفنية (حقبة التجربة) وهو ما اطلقناه على هذه الحقب من الزمن ، ومن ثم ظهور الافكار الحديثة والجديدة والابداعات والتطورات التي كانت احد اسباب شيوع شهرة محمد القبانجي وشيوع طريقة غنائه التي اطلقنا عليها ايضا اسم ( الطريقة القبانجية) لامتلاكها المقومات الفنية هي الاخرى لتمسي تيارا جماليا وذوقيا في الغناء والموسيقى المقامية في النصف الاول من القرن العشرين. فالفارق الزمني بين ظهور رشيد القندرجي و محمد القبانجي رغم انه عدد من السنوات لاتتجاوز الخمسة عشر سنة، إلا أنه امسى في- حقبة التحول- زمنا ليس قليلا في عصر اصبحت السرعة سمته الأكثر حضورا، وكان كافيا ان يحدث تغيّرات وتحوّلات جمالية ذوقية في الغناء المقامي. اذ لم تتح للقندرجي فرصا تسجيلية للمقامات العراقية بصوته كافية عندما كان في ذروة نضوجه في السنوات الاولى من القرن العشرين، اذ لم تصل بعد شركات التسجيل الصوتي الاجنبية الى بغداد. وحيثما حل العقد الثالث والرابع من هذا القرن وقد وصلت الشركات الاجنبية لتسجيل تراث الشعوب الغنائي كان القندرجي قد بدأ نجمه بالافول وبدأ صوته يصاب ببعض الخراب، بينما كان القبانجي في هذه الفترة بالذَّات قد واجه هذه الشركات وسجل لها الكثير من المقامات والاغاني العراقية وهو في ذروة نضوجه الفني في الغناء المقامي. لذلك فقد كانت ظروف هذه الحقبة لكلا المطربين الكبيرين قد أثرت على نحو ما سلبا على الطريقة القندرچيه بصورة عامة، في حين ساعدت هذه الظروف ايجابا على نجاح ورسوخ اسس الطريقة القبانجية ونجاح مؤسسها محمد القبانجي الذي فاق التصورات.
وعليه فقد اخذت الطريقة القندرچيه فعلا بالاضمحلال، خاصة وان تسجيلات القندرجي جاءت اكثرها بصوت مستعار استخدمه القندرجي نزولا عند ظروف قابليته التي اجبرته على التخلي عن طبيعته الغنائية وليس باختياره تم ذلك، واشيع بين الاوساط المقامـــية والجماهيرية وبصورة واسعة جدا ان القندرجي يغني بصوت وطبقة ( الزير) ويقصد بهذا المصطلح بالصوت المستعار، ولم يسجل بصوته الطبيعي إلا في بعض المقامات مثل مقام البيات المغنى بشعر فارسي. وفي مقامات اخرى نجد مقاطع منها او اغلبها بطبقة صوتية منخفضة او في القرار عموما. وكذلك جاءت تسجيلات اتباعه مفعمة بسمات طريقته واكثرها ميزة ذلك الغموض العام السائد، وتلك الادغامات في لفظ الكلمات ومخارج حروفها وعدم وضوحها عند الغناء والتي دحرتها الثقافة الجديدة لحقبة التحول حيث جاء القبانجي ليعلن عن هذه التحولات وبدء عصر ثقافي جديد للمقام العراقي وللحياة الغناسيقية في العراق برمته. وبالتالي تطورت الكثير من السمات القندرچيه في حقبة التحول واصبحت اكثر ملائمة على يد تلميذها المتمرد محمد القبانجي الذي لم يأخذ من سابقيه بصورة تقليدية وانما استوعبهم واستنطق اساليبهم فأوجد الحداثة في غناء المقام العراقي في كل ما سمع وتعلم ولذلك اصبحت التسجيلات الصوتية لرشيد القندرجي واتباعه في حقبة التحول الى المتلقي دون إثارة كافية ، في حين ان تسجيلات القبانجي كانت غاية في الروعة والوضوح وبها وصل القبانجي الى قمة المجد المقامي في العراق
جذورالطريقة القندرچيه
لقد كان رشيد القندرجي يسير من الوجهتين الفنية والاصولية في المجرى الواضح للاسلوب الكلاسيكي الذي اتسمت به الطرق القديمة للغناء المقامي التي سبقته نسبة لزمنها، ولعل من اهم مميزات الطريقة الرشيدية هي تلك المسارات اللحنية المخضرمة والمعبرة عن جذور واعماق شكل ومضمون المقام العراقي التي تصور حياة العراقيين بكل تاريخهم وحياتهم. و بعد شيوع هذه الاسس اللحنية و تعابيرها من خلال التسجيلات الصوتية لاول مرة في حقبة التحول المستمدة اسسها من المغنين السابقين مثل عبد الرحمن ولي (١٧٤٤-١٨٣٠) و حسن البصير الشيخلى ( ١٧٩٠-١٨٧١) و رحمة الله شلتاغ(١٧٩٣-١٨٧١) و سعيد محمد الاعظمي (١٨١٧-١٨٨٥) و حمد بن جاسم ابو حمّيد (١٨١٧-١٨٨٠) و خليل ربّاز (١٨٢٤-١٩٠٤) و احمد زيدان (١٨٣٢-١٩١٢) و ابراهيم العمر (١٨٦٤-١٩١٤) وغيرهم. تطورت هذه الاساليب الغنائية كلها واصبحت بقيادة الفنان المتمكن رشيد القندرجي بداية حقبة التحول واستلمها القبانجي في ذروة هذه الحقبة ويبدو لنا من خلال المعلومات التاريخية ان الوسط المقامي بأكمله الذي عاصر ظهور رشيد القندرجي قد اعترف له بسيادة عصره، و بأن خلاصة هذه الطرق قد وصلت تباعا و تبلورت في غناء رشيد القندرجي ووصلت الى ذروة كلاسيكيتها عنده. و يمكن القول ان القندرجي و من تبع طريقته من معاصريه ولاحقيه يشتركون في تحديدات اسس هذه الطريقة ذات المضمون الفكري الكلاسيكي وهي مادة موضوعاتهم ومصائر حياتهم التي نذروها لهذا الغناء التراثي (المقام العراقي) في حين انهم يختلفون بطبيعة الحال في درجات مستوياتهم الفنية والتقنية في الغناء
ان وصف رشيد القندرجي بمصطلح (صاحب طريقة قديمة جديدة) هو النعت الذي اراه مناسبا لوصف طريقتة الغنائية و هو ايضا يقترب من النعت الذي غلب على وصف المتخصصين و المهتمين بشؤون المقام العراقي و جماهيره في مضامين نقدهم او احاديثهم عن الطريقة الرشيدية و تأثيراتها. ان تأثيرات رشيد القندرجي ناتجة بواسطة حنكته في التركيز عند غنائه للمقامات وربط عناصر المقام في حركة ديناميكية متواصلة دون اسهاب يذكر. و قد نجح كثيرا في هذا الشأن وعبَّر عن ذلك اكثر النقاد بمفردة (الصياغة) أي صياغته لعلاقة المسارات اللحنية و حبكتها
بعض مزايا الطريقة القندرچيه
ان الكثير من مقامات رشيد القندرجي التي خلَّفها لنا مسجلة بصوته ليست مقامات غنية في نواحيها التجديدية بمقدار ما هي توضيح اصول غنائية مقامية تقليدية وتثبيتها تاريخيا كشكل غناسيقي يمكن الاعتماد على اسسها اللحنية كمسارات غنائية وصلت تباعا من السابقين الى اللاحقين. وبالتالي فقد كانت هذه المقامات على نحو ما نماذج غنائية تقليدية جبل عليها المغنون، لكنه صاغها باسلوب ابداعي شيق فقد تفوق رشيد على بقية اقرانه بصياغة القطع ووضعها كلا في محلها. اما اشهر مقاماته التي غنَّاها وسجلها فهي مقام الابراهيمي (سلَّمه بيات) الذي استفاد منه القبانجي ونافسه فيه واشتهر به ايضا، كذلك كان مقام البيات الرئيسي من المقامات الرائعة التي سجلها القندرجي بصوته، اضافة الى مقامات اخرى مثل مقام السيكاه ومقامي العريبون او مقام الرست الذي يغني فيه القصيدة الشهيرة ان شكوت الهوى
و في هذا الصدد يقول خبير المقام العراقي تركي الجراخ "ان القندرجي كان بارعا في غناء مقام الابراهيمي ومقامي العريبون – لقد كان فنانا بارعا في صياغة الانغام و ذا قدرة بارعة في الحفظ. كان يعرف كل المقامات و لكنه كان يقرأ المقامات الصعبة فكان يبتعد عن المقامات الفرعية لانها تقلل من قيمته" يقصد ان المقامات الفرعية يمكن غناءها من قبل المطربين الصغار الجدد وليس من قبل مطربين كبار امثاله. و يقول المرحوم الشيخ جلال الحنفي "يعتبر رشيد القندرجي من الطبقة المتفوقة من مغني بغداد و قد اخذ عنه جماعة , منهم مكي الحاج صالح و اسماعيل خطاب عبادة و حمودي و احمد السراج و سعيد محمود البياتي و عبد القادر حسون و عبد الخالق صالح رحيم و سعيد دخان و غيرهم , و قد قرأ رشيد جملة مقامات في الاسطوانات و هي السيكاه و التفليس (سلَّمه هزام) و الكلكلي (سلَّمه مخالف) و الحليلاوي (سلَّمه يتنوع بين الهزام والرست الذي تستقر نهايات المقاطع الغنائية عليه) ا و الاوج (سلَّمه هزام) و البيات و الصبا و المحمودي (سلَّمه بيات) و الحسيني الخ من المقامات المهمة"
و مما ذكر في كتاب اعلام المقام العراقي في القرن العشرين في شأن التحدث عن رشيد القندرجي من قبل بعض اصدقائه، فقد قال تركي الجراخ و هو خبير في المقامات العراقية و صديقا حميما لرشيد "كان رشيد يأتي كل يوم لزيارتي، يجلس هنا في هذا المحل و كان يدندن ببعض الانغام ثم يصمت عندما يجد الناس يحملقون به". ثم يقول عن تلمذة رشيد لاحمد زيدان "ان حكاية رشيد القندرجي مع احمد زيدان إبتدأت حين كان رشيد يعمل عاملا في احدى المقاهي التي اندثرت و هي مقهى القيصرية، و كان ينصت للأستاذ احمد زيدان الذي كان يحيي حفلات الجالغي البغدادي. و ذات يوم تغيَّب احمد زيدان عن موعده فحار الموسيقيون بمعالجة الموقف فطلبوا من رشيد ان يحل محله و بالفعل قرأ رشيد و اثار انتباه الموسيقيين ولكن عندما علم احمد زيدان مسك رشيد من رقبته و لكنه عندما علم بحسن صوته ودقة ادائه شجَّعه و قال له ستكون خليفتي في هذا الميدان الصعب فواصِل الطريق، و هكــــذا اصبح رشيد ملازما لاستاذه". ثم يسترسل تركي الجراخ ويقول "أذكر أنه قبل وفاته بأيام كنت قد قابلته في سوق الصدرية وكان يضع فوق كتفه معطفا سميكا وعندما سألته أجاب أن ألماً حادَّاً قد لازم ظهره منذ ليلة الأمس". وقال أيضا "لو لا تحديد ساعة تقديمه بالمقام في الاذاعة لما ذهب وعندما ودَّعْتهُ لم ألتقه بعد ذلك فقد دخل في بيته ولم يخرج منه إلا ميتا. لقد شيَّعته بغداد بحرقة فقد ترك فراغا واضحا لا من المقام حسب بل بحضوره الشخصي".
اما الحاج هاشم الرجب احد تلامذة رشيد فيقول عن بعض خصائصه "لقد تأثر رشيد باستاذه احمد زيدان و اخذ عنه الكثير، وبما ان صوت استاذه كان ضعيفا ولأن مقامات التحرير تحتاج الى قرار قوي، فكان احمد لا يتفنن بمقامات التحرير بل يركز جهوده على مقامات البدوة كالابراهيمي و المحمودي و الطاهر و قد برع في المقامات العالية". اما السيد عبد القادر البراك فيقول "تعرفت على رشيد القندرجي في سرداب جريدة العراق عام ١٩٤٢حيث كان يتردد لزيارة بعض اصـــدقائه من محرري الجريدة و كان يلبِّي دعواتهم لقراءة المقامات التي يودون الاستماع اليها منه".
الباحث صادق الازدي يقول "تعرفت على رشيد القندرجي في شهر مايس عام ١٩٤١ وهو الشهر الذي قامت في بدايتة الحرب بيننا و بين بريطانيا و قد اسهمتُ اثناء ايام تلك الحرب بتحرير جريدة يومية مسائية يصدرها المرحوم عبد الله حسن، و كانت الاعداد التي صدرت منها خلال مايس هي آخر ما صدر منها طوال مدة الحرب العالمية الثانية. و كان احد اصحاب مطبعة الرشيد التي تطبع النهار على ماكنتها من قراء المقام العراقي و هو المرحوم محمد سعيد احد اصدقاء رشيد القندرجي. و كان رشيد يزور المطبعة في معظم ايام الاسبوع و كان يرتدي الملابس العصرية و يضع السدارة على رأسه، و هو ممتلئ الجسم قوي البنية رغم كونه يتجاوز الخمسين من العمر. و عندما كان يجلس معي في غرفة ادارة المطبعة كان يسألني ما هي اخبار الحرب يا صادق؟ فكنت اروي له الانباء التي سمعتها عن طريق الاذاعات العربية. و كنت سعيد الحظ لأنني سهرت و أياه في بيت صديق له و لي، فانطلق يغني ثم ذهب بعد ذلك الى بيته الذي يعيش فيه وحيدا و هناك لفظ أنفاسه الاخيرة يوم ٨اذار ١٩٤٥"
و بالنسبة الى المرحوم باهر فائق السفير الدبلوسي و الخبير المقامي فيقول "صوته في البس (باص في الفرنسية) جهيري جميل كما يتبين ذلك من اسطوانته التي يغني فيها الرست مثلا و ما استعماله للزير (أي الصوت المفتعل به في الميانات) إلا لأن بُعُدْ صوته محدود في الالحان المرتفعة و اكثر المولعين بالمقام يقدرونه في لونيه المنخفض و المرتفع كما انه يلتزم التزاما كليَّا باصول المقام و قد سمعته في مختلف مقاهي بغداد و المجالس الخاصة، يعطي التحرير و الاوصال و الميانات و التسلوم حقَّها فلا ينتهي من إحداها إلا بعد أن يكون قد وفَّى حقَّها من التعبير النغمي فأشبعها من روحه وفاء للمشاعر التي لحِّنت من اجلها واستيعابها لمعنى الكلمه. تبرز شخصيه القندرجي في ابتعاده عن الابتذال و التكرار الممل و الميوعة باستيعاب الاصول و مراعاة المقام في بُعْديهِ النغمي و المحيطي فمكانة رشيد خير مثال لتلك الصفات "
و اخيرا يتحدث جلال الحنفي فيقول "كان رشيد سلس القيادة أليفا بسيطا لم اره متعنتا يوما ما إلا في موقف يتطلب منه الاعتراف بالاستاذ القبانجي او الالتقاء به تحت سقف واحد و اني بذلت جهدا كبيرا استمر زمنا غير قصير من اجل جمعهما في مكان واحد فلم افلح في ذلك و كان موقف القبانجي من هذه الناحـية لا يقل امتناعا عن موقف صاحبه. و في الثلاثينات كنت احمل معي آلة تصوير بدائية اجول بها على المغنين والمواسقة و قرَّاء المقام العراقي لألتقط لهم صورهم فكانت صورة رشيد القندرجي تتعرض عندي للفشل الذريع المتكرر و قد لاحقت رشيد القندرجي ملاحقة مستمرة و كنت آخذه الى مسجد حسب الله الذي آل منه الجزء المطل على الشارع بعد ان شقَّ شارع الخلفاء و في المسجد كان رشيد يعرض لنا نماذج من تسبيحات التمجيدالذي هو ضرب من الغناء الصوفي الذي كاد ينقرض و يندثر، و في مسجد حسب الله تم التقاط صورا كثيرة لغير واحد من رجال المقام".
ثم يختتم محمد القبانجي هذه الاحاديث بحديث عن سر الخلاف الذي كان بينه و بين رشيد القندرجي: "حين سمعت المرحوم رشيد القندرجي لاول مرة يغني في مقهى علوان العيشة التي كانت ملتقى الفنانين في الثلاثينات لم اكن مشهورا انذاك لكنني اخذت عليه تحفظه في الغناء، فالذي تسمعه اليوم منه تجده يكرره غدا دون تغيير او تبديل في الانغام شأنه في ذلك شأن المغنين الكلاسيكيين الذين كانوا يعتبرون المقام قالبا معينا لا يمكن تغييره، مع ذلك كان له مؤيدون و الكثيرون المعجبون و ما زالو يذكرونه حتى الآن، و من هنا نشأ الخلاف بيننا. انا ادعو للتطوير شريطة عدم خروج المغني عن الجوهر و هو يلتزم الكلاسيكية، و اليوم بعد رحيل القندرجي اقول ان خلافنا لم يكن شخصيا بل كان فنيا و اذكر انني عندما غنيت مقام حجاز كاركرد و النهاوند و سمعني رشيد لم يكن يعرف النهاوند او على علم به و بدأ القندرجي يشيع بين الناس على ان القبانجي بدأ يغني حسب مزاجه مقامات ليس لها وجود و لم نسمعها من اساتذتنا".
هناك مصدران مهمان لمعرفة زمن و مكان ولادة القندرجي. الاول لجلال الحنفي في كتابه المغنون البغداديون المنشور مضمونه في الثلاثينات والمطـبوع في كتاب عام ١٩٦٤، والثاني للحاج هاشم محمد الرجب في كتابه المقام العراقي الصادرعام ١٩٦١. وكلا المصدرين مهمان فعلا، ويحتاج الامر الى البحث عن ايهما ادق في ذكر المعلومة. فالاول يذكر ان رشيد قد ولد في بغداد محلة سبع ابكار سنة ١٣١٢هـ في حين ان المصدر الثــاني يذكر انه ولد في بغداد محلة العوينة سنة ١٣٠٤هـ وبما ان المصادر الاخرى بكثرتها متفقة تقريبا على ان رشيد ولد عام ١٨٨٦م فهذا يعني ان ولادة رشيد بالتقويم الهجري على ما جاء في كتاب الرجب. اما بالنسبة لمكان المحلة التي ولد فيها فيحتاج الامر الى تأكيد الاصح منهما. ولد رشيد بن حبيب بن حسن القندرجي من ابوين فقيرين، وبسبب الفقر لم يدخل الى المدرسة ليتعلم فبقي اميَّاً. وانصرف منذ صغره الى الاعمال الحرة، فتعلَّم صناعة الاحذية في احد المعامل البغدادية وسار لقبه من هذه المهنة. نشأ وهو يحب الغناء حتى جالس كبار المغنين يسمع منهم، فتُلمذَ على يد المطرب الكبير احمد زيدان مؤسس الطريقة الزيدانية، ولازمه حتى وفاته واخذ عنه الغناء حتى قال له يوما "انت خليفتي من بعدي" فكان له ذلك. لقد وهبت له الطبيعة نفْساً طروبا تميل الى السرور والمرح غير انه اصيب في بادىء نشأته بما عكَّر صفاء تلك النفس، اذ كان يرى امامه امَّاً حزينة اثقلها الدهر بنكباته فتستسلم يوميا للبكاء امام الفاقة والعوز اللذين احاطا بهما. وكان رشيد طيب القلب شديد الحب لها وبذلك حرم من سعادة الطفولة. ومع ذلك فقد قضى الشطر الاول من حياته وهو ينتقي درر الانغام، ونتيجة لظروفه لم يفكر بالزواج وبقي اعزبا طيلة حياته. كان رشيد القندرجي سريع الطرب لا يقل طربه اثناء حضوره على المسرح عن طرب السامع. وهو اول مغن عراقي بعد استاذه احمد زيدان تنبه الى واجبات الايماء وحركات الغناء بالاشارات. وعلى هذا بقي يرفل في ثياب الانس والفرح ليلهِ كنهارهِ ونهارهِ كليلهِ يشنف آذان السامعين بلآليء غنائه الى ان دعته الحكومة ليكون خبيرا فنيا في دار الاذاعة اللاسلكية العراقية فقام بواجبه الفني خير قيام حتى وافاه الاجل في الثامن من اذار عام ١٩٤٥الموافق ٨ صفر ١٣٦٢هـ.
Wednesday, September 2, 2009
Tribal Maps of Iraq
Maqam Rast - Muhammad al-Qubbanchi 1932
Rast suite
Maqam Rast
The Maqam Rast is a primary maqam based on the rast mode with its tonic on C and is the first of the rast suite. This complex mode is ancient and is found in Arabic, Persian and Turkish classic and popular music, with the term meaning "straight" in Persian. It evokes feelings of wisdom, grandeur and spirituality because of its common use in the adhan, religious ceremonies and Quran recital. It is sung to classical Arabic verses without rhythmic accompaniment until the second and third meyanas where it uses two different rhythmic formulas (maqam performers in past centuries often sang the rast to classical Persian poetry). It includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Balaban, Khalili, Sharqi Rast, Madani, and Mathnawi.
مقام الرست مقام رئيسي يرتكز على درجه الرست (دو) و يبتدأ به فصل الرست في المقام العراقي. مقام الرست مقام قديم جدا ويستخدم في الموسيقى العربية و الإيرانية و التركية و في الانشاد الديني و التلاوة. يغنى بالشعر العربي الفصيح بدون مصاحبة الايقاع حتى الفواصل الموسيقية بين الميانات الاولى و الثانية و الثالثة، حيث يدخل ايقاع الوحدة ٤/٤ و سنگين سماعي ٤/٦. الرست الذي يؤديه القبانجي هنا هو الرست الهندي (نسبة الى عائلة كانت تسمى الهندي في بغداد) و يختلف عن الرست التركي في سير التحرير وفي بعض القطع والميانات. تدخل في مقام الرست قطع و اوصال من اجناس متعدده: النگريز (وهي تسمية خاطئة)، المنصوري (صبا على النوى)، الابراهيمي (بيات على النوى)، الحجاز شيطاني (حجاز نوى)، سيگاه بلبان (سيگاه على البزرك او رست على الكردان)، الخليلي (رست او جهارگاه)، الشرقي رست (رست)، الحجاز مدني (حجاز او رست)، المثنوي (حجاز على النوى)
*
Maqam Rast (two parts)
Muhammad al-Qubbanchi
First Cairo Congress of Arab Music (1932)
Cairo, Egypt. 78rpm recording.
Maqam Rast by Muhammad al-Qubbanchi and members of the Iraqi delegation to the First Cairo Congress of Arab Music (Le Congrès du Caire) in Egypt, ِ1932. The poetry sung here is a takhmis by Sayyid Ja'far al-Hilli al-Najafi (1861-1898) of a poem by Muhammad Sa'id al-Habbubi (1849-1916).
مقام الرست من اداء الاستاذ محمد القبنجي مع اعضاء الفرقة الموسيقية العراقية (يوسف بتو، صالح شميل، ابراهيم صالح، يهودا شماس، يوسف زعرور الصغير، عزوري هارون العواد) في مؤتمر القاهرة الاول للموسيقى العربية في مصر عام ١٩٣٢.
الشعر تخميس للشاعر السيد جعفر الحلي النجفي (١٨٦١-١٨٩٨) لقصيدة العلاّمة السيد محمد سعيد الحبوبي (١٨٤٩-١٩١٦
يا يوسف الحسن فيك الصب قد ليما * و لو رأوك هَووا للأرض تعظيما
بمن حباك فنون الحسن تتميما * لُحْ كوكباً وامشِ غُصناً والتفتْ ريما
فإن عداك آسمُها لـم تَعْدُك السِّيمـا
شهد بثغرك لم تبرد به كبد * عقارب الصدغ في حافاته رصد
تبدي ثلاثاً لكن لم تنلك يد * وجه أغرّ و جيد زانه جيَد
و قامة تخجل الخطى تقويما
يا نارلي الرمل من نجد احبكم * وان هجرتم ففيما هجركم فيما
حرّمت وصلي كما حللت سفك دمي * صدقتُ شرعك تحليلا وتحريما
- Muqaddima, instrumental introduction in rast mode.
- Tahrir, unmeasured vocal introduction presenting the rast mode to the word "yar" (love, Turkish) (0:18), descending from the rast (C) to the 'ushayran degree, then up to the rast, dukah, segah and nawa gradually descending back to rast, then up to the kardan through the 'arabat hijaz and nawa (1:06). This version of the tahrir is called Rast Hindi.
- Instrumental piece on the joza in rast mode. (1:27)
- Two verses of the qasida in rast mode ending with a modulation on the 'arabat hijaz degree called Negriz. (1:44)
- A piece called Mansuri (saba on G) consisting of two sung verses, followed by a return to rast. (3:27)
- A piece called Ibrahimi (bayat on G) consisting of a verse ending with the command "aman, 'elet ya m'awwad, aman" (Turkish and Iraqi-Arabic) (4:06)
- Jalsa, cadenza called Hijaz Shaytani (hijaz on G) to the words "ah ya leil" (Arabic, o night) with a gradual descent to C to the word "yar", ending the first half of the maqam. (5:37)
Second part:
- Dulab, instrumental interlude in sharqi rast mode and a 4/4 wahda rhythm.
- First meyana called Balaban (in rast mode) sung in high register to the words "ya dost" (Arabic-Persian, my friend) from the buzurg degree up to the sahm (0:37)
- A verse of the qasida representing the melody of the meyana ending with a descent to rast to the word "aman" (Turkish, grace). (1:01)
- Second dulab in sharqi rast mode and a 4/4 wahda rhythm. (1:47)
- Second meyana Khalili (in chahargah mode) to the words "nazenine men" (Persian, my sweet love) followed by a verse in the same mode. (2:23)
- A piece called Sharqi Rast (in sharqi rast mode) sung to the words "ya lali, ya lali, ya ya ya dayim" (Iraqi-Arabic, o eternal one). (2:55)
- Part of recording of third meyana called Madani damaged from origin.
- Musical interlude in hijaz mode. (3:14)
- A piece called Mathnawi (hijaz on G) consisting of three sung verses. (3:27)
- Taslim, conclusion of the maqam, to the word "yar", gradually descending from the 'ajam (B-flat) degree to the rast. (5:43)
Vocals: Muhammad Abdul Razzaq al-Qubbanchi (1901-1989)
Santur: Yusuf Hugi Pataw (1886-1976)
Joza: Salih Shemayyil Shmuli (1890-1960)
Qanun: Yusuf Meir Za'rur al-Saghir (1901-1986)
Oud: Ezra Aharon al-'Awwad (1903-1995)
Tabla: Yehouda Moshe Shammas (1884-1972)
Daff: Ibrahim Salih
*
محمد عبد الرزاق عبد الفتاح مصطفى الطائي الگبانچي (نسبه الى القبان) ولد في محلة سوق الغزل ببغداد عام ١٩٠١. من رواد التجديد وصاحب الطريقة القبنجيه في المقام العراقي. اخذ فنه من قدوري العيشه و ولي بن حسين و الاسطه محمود الخياط ووالده عبد الرزاق الطائي. بدأ مسيرته بالموالد والمناقب النبوية قبل ان يبدأ بتسجيل المقامات عام ١٩٢٥ لصالح الشركات الأجنبية و المحلية وقد بلغ منزله رفيعه في الاداء حتى مثل العراق في مؤتمر القاهرة الاول للموسيقى العربية عام ١٩٣٢ وفاز الوفد العراقي بالجائزه الاولى. ادخل الكثير من التصرفات النغمية في المقام العراقي لم تكن مقبولة في وقتها ادخل مقامات جديدة الى العراق كمقامات اللامي والحجاز كار كرد والحجاز كار والنهاوند وطور اخرى كالهمايون والقطر، ولحن الكثير من الاغاني مثل يللي نسيتونه، هيا بنا، واويل واويله، من گايلك تشري شعير، المجرشه، يا حلو يابو السداره وبعض الموشحات والاناشيد. اعتزل الغناء عام ١٩٧١.حتى وفاته في بغداد عام ١٩٨٩ ودفن في الجامع المسمى بأسمه في الحارثية ببغداد.
Maqam Rast
The Maqam Rast is a primary maqam based on the rast mode with its tonic on C and is the first of the rast suite. This complex mode is ancient and is found in Arabic, Persian and Turkish classic and popular music, with the term meaning "straight" in Persian. It evokes feelings of wisdom, grandeur and spirituality because of its common use in the adhan, religious ceremonies and Quran recital. It is sung to classical Arabic verses without rhythmic accompaniment until the second and third meyanas where it uses two different rhythmic formulas (maqam performers in past centuries often sang the rast to classical Persian poetry). It includes the modulating pieces: Negriz, Mansuri, Ibrahimi, Hijaz Shaytani, Balaban, Khalili, Sharqi Rast, Madani, and Mathnawi.
مقام الرست مقام رئيسي يرتكز على درجه الرست (دو) و يبتدأ به فصل الرست في المقام العراقي. مقام الرست مقام قديم جدا ويستخدم في الموسيقى العربية و الإيرانية و التركية و في الانشاد الديني و التلاوة. يغنى بالشعر العربي الفصيح بدون مصاحبة الايقاع حتى الفواصل الموسيقية بين الميانات الاولى و الثانية و الثالثة، حيث يدخل ايقاع الوحدة ٤/٤ و سنگين سماعي ٤/٦. الرست الذي يؤديه القبانجي هنا هو الرست الهندي (نسبة الى عائلة كانت تسمى الهندي في بغداد) و يختلف عن الرست التركي في سير التحرير وفي بعض القطع والميانات. تدخل في مقام الرست قطع و اوصال من اجناس متعدده: النگريز (وهي تسمية خاطئة)، المنصوري (صبا على النوى)، الابراهيمي (بيات على النوى)، الحجاز شيطاني (حجاز نوى)، سيگاه بلبان (سيگاه على البزرك او رست على الكردان)، الخليلي (رست او جهارگاه)، الشرقي رست (رست)، الحجاز مدني (حجاز او رست)، المثنوي (حجاز على النوى)
الرست كلمة فارسية تعني "المستقيم"، و مقام الرست هو المقام الأساسي في الموسيقى العربية و الشرقية يبدأ من درجه الدو و يمكن تصويره على اي درجة مع الاحتفاظ بأبعاده. يتكون من جنسين متصلين هما الرست على درجة الرست و الرست على درجة النوى يفصل بينهما فاصل طبيعي فا-صول. واحيانا يستبدل الجنس الثاني بالنهاوند عند النزول. درجات سلمه بالاسماء الغربية:
دو - ري - مي كاربيمول - فا - صول - لا - سي كاربيمول - دو
بالأسماء الشرقية:
رست - دوگاه - سيگاه - جهارگاه - نوى - حسيني - اوج - كردان
ابعاده من اليسار الى اليمين:
١ - ٤/٣ - ٤/٣ - ١ - ١ - ٤/٣ - ٤/٣
*
Maqam Rast (two parts)
Muhammad al-Qubbanchi
First Cairo Congress of Arab Music (1932)
Cairo, Egypt. 78rpm recording.
Maqam Rast by Muhammad al-Qubbanchi and members of the Iraqi delegation to the First Cairo Congress of Arab Music (Le Congrès du Caire) in Egypt, ِ1932. The poetry sung here is a takhmis by Sayyid Ja'far al-Hilli al-Najafi (1861-1898) of a poem by Muhammad Sa'id al-Habbubi (1849-1916).
مقام الرست من اداء الاستاذ محمد القبنجي مع اعضاء الفرقة الموسيقية العراقية (يوسف بتو، صالح شميل، ابراهيم صالح، يهودا شماس، يوسف زعرور الصغير، عزوري هارون العواد) في مؤتمر القاهرة الاول للموسيقى العربية في مصر عام ١٩٣٢.
الشعر تخميس للشاعر السيد جعفر الحلي النجفي (١٨٦١-١٨٩٨) لقصيدة العلاّمة السيد محمد سعيد الحبوبي (١٨٤٩-١٩١٦
يا يوسف الحسن فيك الصب قد ليما * و لو رأوك هَووا للأرض تعظيما
بمن حباك فنون الحسن تتميما * لُحْ كوكباً وامشِ غُصناً والتفتْ ريما
فإن عداك آسمُها لـم تَعْدُك السِّيمـا
شهد بثغرك لم تبرد به كبد * عقارب الصدغ في حافاته رصد
تبدي ثلاثاً لكن لم تنلك يد * وجه أغرّ و جيد زانه جيَد
و قامة تخجل الخطى تقويما
يا نارلي الرمل من نجد احبكم * وان هجرتم ففيما هجركم فيما
حرّمت وصلي كما حللت سفك دمي * صدقتُ شرعك تحليلا وتحريما
- Muqaddima, instrumental introduction in rast mode.
- Tahrir, unmeasured vocal introduction presenting the rast mode to the word "yar" (love, Turkish) (0:18), descending from the rast (C) to the 'ushayran degree, then up to the rast, dukah, segah and nawa gradually descending back to rast, then up to the kardan through the 'arabat hijaz and nawa (1:06). This version of the tahrir is called Rast Hindi.
- Instrumental piece on the joza in rast mode. (1:27)
- Two verses of the qasida in rast mode ending with a modulation on the 'arabat hijaz degree called Negriz. (1:44)
- A piece called Mansuri (saba on G) consisting of two sung verses, followed by a return to rast. (3:27)
- A piece called Ibrahimi (bayat on G) consisting of a verse ending with the command "aman, 'elet ya m'awwad, aman" (Turkish and Iraqi-Arabic) (4:06)
- Jalsa, cadenza called Hijaz Shaytani (hijaz on G) to the words "ah ya leil" (Arabic, o night) with a gradual descent to C to the word "yar", ending the first half of the maqam. (5:37)
Second part:
- Dulab, instrumental interlude in sharqi rast mode and a 4/4 wahda rhythm.
- First meyana called Balaban (in rast mode) sung in high register to the words "ya dost" (Arabic-Persian, my friend) from the buzurg degree up to the sahm (0:37)
- A verse of the qasida representing the melody of the meyana ending with a descent to rast to the word "aman" (Turkish, grace). (1:01)
- Second dulab in sharqi rast mode and a 4/4 wahda rhythm. (1:47)
- Second meyana Khalili (in chahargah mode) to the words "nazenine men" (Persian, my sweet love) followed by a verse in the same mode. (2:23)
- A piece called Sharqi Rast (in sharqi rast mode) sung to the words "ya lali, ya lali, ya ya ya dayim" (Iraqi-Arabic, o eternal one). (2:55)
- Part of recording of third meyana called Madani damaged from origin.
- Musical interlude in hijaz mode. (3:14)
- A piece called Mathnawi (hijaz on G) consisting of three sung verses. (3:27)
- Taslim, conclusion of the maqam, to the word "yar", gradually descending from the 'ajam (B-flat) degree to the rast. (5:43)
Vocals: Muhammad Abdul Razzaq al-Qubbanchi (1901-1989)
Santur: Yusuf Hugi Pataw (1886-1976)
Joza: Salih Shemayyil Shmuli (1890-1960)
Qanun: Yusuf Meir Za'rur al-Saghir (1901-1986)
Oud: Ezra Aharon al-'Awwad (1903-1995)
Tabla: Yehouda Moshe Shammas (1884-1972)
Daff: Ibrahim Salih
*
محمد عبد الرزاق عبد الفتاح مصطفى الطائي الگبانچي (نسبه الى القبان) ولد في محلة سوق الغزل ببغداد عام ١٩٠١. من رواد التجديد وصاحب الطريقة القبنجيه في المقام العراقي. اخذ فنه من قدوري العيشه و ولي بن حسين و الاسطه محمود الخياط ووالده عبد الرزاق الطائي. بدأ مسيرته بالموالد والمناقب النبوية قبل ان يبدأ بتسجيل المقامات عام ١٩٢٥ لصالح الشركات الأجنبية و المحلية وقد بلغ منزله رفيعه في الاداء حتى مثل العراق في مؤتمر القاهرة الاول للموسيقى العربية عام ١٩٣٢ وفاز الوفد العراقي بالجائزه الاولى. ادخل الكثير من التصرفات النغمية في المقام العراقي لم تكن مقبولة في وقتها ادخل مقامات جديدة الى العراق كمقامات اللامي والحجاز كار كرد والحجاز كار والنهاوند وطور اخرى كالهمايون والقطر، ولحن الكثير من الاغاني مثل يللي نسيتونه، هيا بنا، واويل واويله، من گايلك تشري شعير، المجرشه، يا حلو يابو السداره وبعض الموشحات والاناشيد. اعتزل الغناء عام ١٩٧١.حتى وفاته في بغداد عام ١٩٨٩ ودفن في الجامع المسمى بأسمه في الحارثية ببغداد.
Thursday, August 20, 2009
المقامات العراقية - عبد الكريم العلاف
اشتهر العراق بأغانيه فكان اشهر من نار على علم، و ان من سبر غور الكتب التاريخية يتحقق لديه ان الغناء في عهد الدولة العباسية ارتقى حتى بلغ اوجه فلا ترى في دار السلام (بغداد) انسانا مؤسراَ اذ ذاك و ليس في بيته قينة تطربه برخيم صوتها و نغمات عودها. و ليس بعجيب اذا ما سمي العراق مهبط وحي الموسيقى العربية فلقد انجب فحول المغنيين غير ان إرادة الله شاءت و قضت ان لا يبقى العراق ممتعا بتلك المنحة الجميلة، بل كان نصيبه كنصيب الدولة العباسية من الضعف والتدهور و هناك اخذت شمسه المشرقة تدنو الى الأفول فتلقته الأمم على اختلاف نزعاتها و كل أمه تصرفت به و مزجته بلسانها (العامي) اي اللغة الدارجة عندها.
أما في ربوع العراق و بالأخص في بغداد فقد بقي على حالته حتى ايام التتر ثم ارتبك نظامه لأنه دخل عليه كثيرا من الحان الفارسية و التركية و هي التي يغني بها المغني الآن. و قد تسمع من المغني العراقي و هو يغني بلفظة (يا دوست) بمعنى يا صديق، و كلمات اخرى مثل (فرياد من) بمعنى النجده، و (دل ياندم) بمعنى قلبي اشتعل، و (ايكي گوزم) بمعنى عيناي الأثنان، و (دل من) بمعنى قلبي، و (جان من) بمعنى روحي، و (أفندم) بمعنى سيدي. أما سبب استعمال هذه الكلمات الاجنبية و وضعها في المقامات العراقية هو أن الأمتين الفارسية و التركية لما دخلتا بغداد و استوطنتها كانت الموسيقى العراقية رغما على ما حصل بها من الفتور و الأنحطاط في طليعة الفنون الجميلة عند هاتين الأمتين، وكان المغني العراقي يومذاك شديد الرغبة في ارضاء مواطنيه و مجاراتهم فأخذ يستعمل مثل هذه الكلمات في سياق غنائه حينما يرى الفارسي و التركي من بعض مجالسيه.
و قد كان الغناء يسمى (مقامات) جمع مقام. و المقام على ما ذكره محمد ابن عبد الحميد اللاذقي في رسالته الفتحية هو الدور، و قال كان القدماء يسمون الأدوار المشهوره بمقام و برده و شد اما المتأخرون فيسمون تلك الالحان بمقام فقط و يغنى على النوبة في العراق. و النوبة هي الچالغي بالجيم الفارسية المثلثة، و كلمة چالغي تركية و أصل التركيب (چالغي طاقمسي) اي جماعه الملاهي. و يتألف الچالغي في بغداد من قارئ أي استاذ في الغناء و آلة موسيقية قديمة تسمى (سنطور) و آلة اخرى تسمى (كمانه) و (دف) و دربكة اي (دنبك). و يبتدئ الچالغي أولا بلحن يسمونه (بشرو) أو بشرف و الاول اسم فارسي مركب من كلمتين احداهما كلمة (بش) و معناها امام و الأخرى (رو) ومعناها ذهاب فباجتماعهما يصير معناهما الذهاب امام و في اصطلاح الموسيقى يطلق هذا الأسم على الهواء الابتدائي الذي يصدر به اول فصل و معناه المقدم أو الفاتحة، كما يقال نظير ذلك عند العرب (بشرف) و هي تحريف كلمة (بشرو) المذكورة، و بعد ذلك يبتدئ المغني بالغناء، و البدء يقال له باصطلاحهم (تحرير) و الختام (تسليم). و في ختام كل مقام ينشد المغنون و هم الذين يعزفون بالآلات الموسيقية (بستة) أي اغنية تكون موافقة للمقام الذي يغنيه المغني والمغني يطلق عليه قارئ، و البستة كلمه فارسية معناها (رابط) و مصطلح عليها في الموسيقى التركية بمعنى (موشح).
أما المقامات المعمول بها اليوم والتي يغنى بها على (الچالغي) هي:
بيات و الترك يسمونه بياتي و الارجح ان الكلمة مأخوذه من العشيرة المسماه بهذا الأسم و هي عرب يتكلمون اللغه العربية و التركية أو من الأرض التي يسكنونها و هي واقعة في انحاء جبل حمرين، و قد اشتهر هؤلاء الناس بصوتهم الرخيم وكان منهم في العهد الأخير شلتاغ و احمد زيدان.
ناري اي المحرق و هذا المقام مستعمل في الموصل و أن البغداديين أخذوه عن الموصليين و انهم سبقوا البغادده في استعماله
محمودي و هو مسمى باسم واضعه و انه مستعمل في العراق و قيل في ديار الشام
طاهر او زنگه و الزنگه عشيرة معلومه من العشائر الكردية العراقية تقطن بقضاء كفري التابع الى لواء كركوك و لعل الزنگه تصحيف رزگولاه او زنگلاه الذي تسميه العرب بصفتهم الفنية زرگولاه و العرب المولدون زنگوله و هو أحد المقامات المعروفة الواقع بين مقام الراست و الدوگاه
سيگاه و هو المقام الثالث
حليلاوي بالتصغير و النسبة على طريقه العامة العراقية اذ يقولون حلاوي و بصراوي و مكاوي بالنسبه الى الحلة و البصرة و مكة
حجاز ديوان و الديوان كلمة تركية و عربية تطلق على ثمانية درجات أصوات متتابعة بالتدريج، و من انواع هذا المقام نوع يقال له حجاز شيطاني.
قوريات و مستعمل في كركوك و لعله منسوب الى جانب من جوانبها و هو الجانب الغربي و يسمى قورية
عريبون عجم بفتح العين و الراء وسكون الياء و يليها باء مضمومة فواو ساكنة فنون. و الترك يسمونه أعريبون بزياده الالف الاولى، و هو من وضع الفرس
عريبون عرب و يسمى عند الترك كالاول و قد وضعه العرب تجاه العريبون عجم الذي وضعه الفرس
جبوري منسوب الى عشيرة الجبور الساكنة في انحاء العراق و هؤلاء مشهورون بغناء العتابة
مخالف قال صاحب كتاب (تعليم الموسيقى) ان هذا المقام مهجور مع انه اليوم مستعمل في العراق و بالأخص في بغداد
راشدي لعل اللفظة تصحيف كلمه رشتي مدينة من مدن ايران أو مسمى باسم واضعه
راست و الكلمه فارسية أي المستقيم و كان الفرس يبتدؤون ديوانهم براست، والعراقيون يلفظون الراست بلا ألف أي رست
منصوري و هو منسوب الى (منصور زلزل) المغني المشهور في عهد العباسيين، و الترك يسمونه منصور بحذف ياء النسبة، و زلزل هذا من سواد أهل الكوفة و كان أضرب معاصريه في العود و هو أول من أحدث العيدان الشبابيط و كانت قديما على عمل عيدان الفرس.
حجاز آجغ و الكلمة الأخيرة تركية محرفة و الصحيح هي آجق أي صريح، و هذا المقام مشتق من الحجاز ديوان
عمر گلى و گلى بالگاف الفارسية و ألف مقصورة و هو منسوب الى واضعه و يستعمل في كركوك و مشهور هناك
ابراهيمي منسوب الى (ابراهيم الموصلي) المغني في العهد العباسي و سبب تسميته في الموصلي أنه لما نشأ اشتهى الغناء فطلبه فأشتد أخواله عليه و بلغوا منه فهرب الى الموصل و لما رجع قالوا له أصحابه مرحبا بالفتى الموصلي فلقب به.
باجلان و لعله منسوب الى برجلان قرية من قرى مدينة واسط المندرسة او الى عشيرة باجلان الكردية و هي تسكن العراق قريبا من بلده خانقين.
نوى و هو اسم معرب ذكرته كتب الموسيقى و في اللغة النوى هو الفراق
مسكين و في العراق يسمى مسچين بالجيم الفارسية المثلثة و هو من وضع العراقيين و مسمى باسم واضعه
خنابات او خربات و عباره هذا الاسم فارسية و لعله منسوب الى الفرس
حسيني بالتصغير و النسبة و لعله منسوب الى السادة الحسينية او الى احد الاشخاص المسمى بهذا الأسم
دشت بفتح الدال و سكون الشين المعجمة و التاء الساكنة و العراقيون يلفظون هذه الكلمة دشتي بزياده ياء النسبة، و اصل هذا المقام
فارسي
عجم او عجم عشيران بالتصغير و هو منسوب الى الفرس ايضا
گلگلي بكافين فارستيين و اللام الاولى ساكنة و الثانيه مكسورة و الكلمة تركية معناها وردي
ارواح و لعل هذا المقام هو المشهور (براحه الارواح) و معناه استراحه الروح و هو مشهور عند الأتراك
صبا و هو أشهر من أن يذكر و قد قيل عنه أقدم المقامات و في اللغه الصبا هي الريح وتأتي من مطلع الشمس
پنجكاه كلمة فارسية ظاهره المعنى أي المقام الخامس
شرقي أو شرقي اصفهان و منه شرقي دوگاه، و كلمة شرقي تركيه تطلق على كل نغم من الانغام كما يقال نظير ذلك عند العرب (موشح أو دور) و أصفهان احدى مدن ايران و هي وطن أبي فرج الأصفهاني صاحب كتاب الأغاني و لعل هذا المقام منسوب اليها.
اوج و الاتراك يسمون (اويج) و هذا المقام هو اعلى المقامات
مثنوي لعله منسوب الى الوتر الثاني من أوتار العود
ماهوري و هو اسم فارسي و معناه الهلال و قد قيل انه خطأ و انما هو ياهو، و يستعمل في العراق و الشام، و العراقيون يسمونه ماهوري بزياده ياء النسبة
بهرزاوي و هو منسوب نسبة عامية الى قرية من قرى بعقوبه يقال لها بهرز، و العراقيون كثيرا ما يطربون لهذا المقام
حديدي و هو منسوب الى بيت الحديدي في بغداد او الى عشيرة الحديديين التي تسكن جوار مدينة الموصل
حكيمي وضعه أحد أفراد بيت السيد عبد الباقي الحكيم البغدادي، و كان أهل هذا البيت يزاولون الطبابة و الموسيقى في العراق في القرن الماضي و يصفون الطرب و اللهو لمداواة عدة امراض فتبرأ
مدمي و هذا المقام ايضا من وضع بيت الحكيم البغدادي وضع للمرضى لأنه يحرك الدم
خلوتي و هذا المقام صوفي منسوب الى أهل الطريقة الخلوتية و هم قسم من السادة الصوفية
أوشار و الهمزة مضمومة ضما مفخما مبهما و الكلمة فارسية تدل على نسبه هذا المقام الى الفرس
سعيدي و هو منسوب الى رجل معروف بحسن غنائه في بغداد
بختيار مقام يستعمل في كردستان و الموصل و بغداد و أصله فارسي و منسوب الى عشيرة البختياريين في ايران
مقابل و الباء مفتوحة و اكثر استعماله في الموصل، و الموصليون يطربون لسماعه و يسمونه (مگابل) بالگاف الفارسية
بشيري منسوب الى واضعه او الى قرية البشيري من قرى كركوك
اورفا و هو منسوب الى المدينة المشهورة سابقا بالرها و هي مدينة بالجزيرة بين الموصل و الشام و من المدن التركية اليوم
آيدين و هو منسوب الى مدينة عرفت بهذا الاسم في الاناضول التركي
قطر و هو مقام كردي مستعمل في كركوك و انحائها
چارگاه بالجيم الفارسية المثلثه و الكاف الفارسية و هو تصحيف او تخفيف جهارگاه و تعني المقام الرابع
و بين هذه المقامات ما هي أصلية تسمع في بلدان من البلاد الشرقية اي ديار العرب و الفرس و الترك و هي (الرست و الصبا و الاوج و العجم و النوى و الحسيني و الحجاز) أما الباقيه فهي من وضع العراقيين و الاقوام المجاورة لهم. و لهذه المقامات (شعب و پردات و ميانات) وضعوها العراقيين انفسهم فسموها بأسماء مختلفة منها منسوبه الى اصحابها و واضعيها و منها سميت بالمكان الذي وضعت فيه و جميعا تستعمل في غناء هذه المقامات، و المغني الحاذق عند التغني بها لا يجوز له التخلي و الشذوذ عن اوضاع تلك الشعب و الپردات و الميانات و ان يأتي بكل واحدة منها و يضعها في مكانها المطلوب. و اسماؤها:
سفيان نغمه سيگاه، و خليلي نغمه رست، و عبوش نغمه بيات، و بلبان نغمه سيگاه، و قريه باش نغمه بيات، و سي رنك نغمه سيگاه، و مخالف كركوك نغمه سيگاه، و قزاز نغمه بيات، و ناهفت نغمه چارگاه، و بوسليك نغمه بيات، و بيات عجم نغمه حجاز، و قاتولي نغمه سيگاه، و اذربيجان نغمه سيگاه، و جصاص نغمه سيگاه، و سيساني نغمه رست، و آيدين نغمه چارگاه، و نوروز عجم نغمه بيات، و بشيري نغمه چارگاه، و دشتي نغمه حسيني، و همايون نغمه حجاز، و زنبوري نغمه بيات، و سيگاه حلب نغمه سيگاه، و سيگاه عجم نغمه سيگاه، و ماهوري نغمه چارگاه، و عشيشي نغمه حجاز، و عمر گلى نغمه بيات، و لاووك نغمه چارگاه. و هذه الشعب و البردات و الميانات لا يعرفها الا اساتذه المقام العراقي.
اما كيفية الغناء بالمقام العراقي فأنه ينقسم الى خمسه فصول الأول يقال له فصل البيات و الثاني (فصل الحجاز) و الثالث (فصل الرست) و الرابع (فصل النوى) و الخامس (فصل الحسيني) . و لكل فصل من هذه الفصول مقامات خاصة و توجد مقامات لم تدخل ضمن هذه الفصول و تغنى منفردا، و يجوز للمغني ان يدخلها ضمن هذه الفصول اذا شاء. و غير مستحسن ان تغنى المقامات العراقية على غير آلتي (الكمانه و السنطور) يضاف اليهما الدف و الدنبك اي (چالغي بغداد). و بعد ان يجلس المغني مع العازفين يبدأ اولا في الفصل الاول و هو فصل البيات ثم الفصل الثاني و الثالث الى آخر الفصول
* منقول من كتاب الطرب عند العرب، بغداد ١٩٦٣
Wednesday, August 12, 2009
Taqsim Santur Maqam Awj - Hugi Pataw تقسيم سنطور مقام اوج - حوكَي پتو
Taqsim Santur - Maqam Awj and Peste
Hugi Pataw (1848-1933)
Baghdad, Iraq, c. 1925
78 rpm recording
- Taqsim (improvisation) on Iraqi santur in awj mode.
- Peste in awj mode. (2:30)
The Maqam Awj is derived from the Maqam Segah (sikah) and its tonic is on awj (B-half flat). It is sung to classical Arabic verses without any rhythmic accompaniment. It includes the following modulating pieces: Sufyan, Hakimi, Musta'ar, Mukhalaf Kirkuk, and Qadirbayjan.
تقسيم سنطور عراقي مقام اوج مع بسته من اداء الاسطه حوكَي پتو (١٨٤٨-١٩٣٣). تسجيل اسطوانه من العشرينات في القرن الماضي
مقام الاوج العراقي هو فرع من مقام السيكَاه، و يغنى بالشعر العربي الفصيح بدون اي ايقاع. تدخل فيه قطع السفيان، الحكيمي، المستعار، مخالف كركوك و القادر بايجان.
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حوكَي پَتَو بن صالح بن رٍحمين ولد ببغداد في محله الطاطران سنة ١٨٤٨ م و توفي فيها في يوم الاثنين ٢٧ شباط سنة ١٩٣٣م. كان من مشاهير السنطوريين و كان له جوق خاص بالجالغي البغدادي اشتغل به مع احمد زيدان و حسن الشكرجي و خليل رباز و الحاج جميل البغدادي و يوسف حوريش. و اخذ حوكَي اصول العزف من محمد بن صالح السنطورجي، و اخذ منه ابنه يوسف بتو. وقد عرف في اسره بتو استعداد فائق للعزف على السنطور البغدادي. (الشيخ جلال الحنفي - اعلام الغناء البغدادي
Hugi Pataw bin Salih bin Rahmain was born in the Tatran district of Old Baghdad in 1848. Pataw was one of the most famous santur performers in the modern history of this instrument in Iraq. He learned from Muhammad bin Salih al-Santurachi (born late 18th century) and headed chalghi bands to accompany some of Baghdad's best singers during the 19th and early 20th centuries, such as Ahmed Zaydan, Hasan al-Shakarchi, Khalil Rabbaz, Hajj Jamil al-Baghdadi, and Yusuf Huryesh. He famously performed for the Egyptian singer Umm Kulthum at the residence of Yusuf Za'rur when she visited Iraq shortly before his death in Baghdad on February 27, 1933.
Hugi Pataw (1848-1933)
Baghdad, Iraq, c. 1925
78 rpm recording
- Taqsim (improvisation) on Iraqi santur in awj mode.
- Peste in awj mode. (2:30)
The Maqam Awj is derived from the Maqam Segah (sikah) and its tonic is on awj (B-half flat). It is sung to classical Arabic verses without any rhythmic accompaniment. It includes the following modulating pieces: Sufyan, Hakimi, Musta'ar, Mukhalaf Kirkuk, and Qadirbayjan.
تقسيم سنطور عراقي مقام اوج مع بسته من اداء الاسطه حوكَي پتو (١٨٤٨-١٩٣٣). تسجيل اسطوانه من العشرينات في القرن الماضي
مقام الاوج العراقي هو فرع من مقام السيكَاه، و يغنى بالشعر العربي الفصيح بدون اي ايقاع. تدخل فيه قطع السفيان، الحكيمي، المستعار، مخالف كركوك و القادر بايجان.
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حوكَي پَتَو بن صالح بن رٍحمين ولد ببغداد في محله الطاطران سنة ١٨٤٨ م و توفي فيها في يوم الاثنين ٢٧ شباط سنة ١٩٣٣م. كان من مشاهير السنطوريين و كان له جوق خاص بالجالغي البغدادي اشتغل به مع احمد زيدان و حسن الشكرجي و خليل رباز و الحاج جميل البغدادي و يوسف حوريش. و اخذ حوكَي اصول العزف من محمد بن صالح السنطورجي، و اخذ منه ابنه يوسف بتو. وقد عرف في اسره بتو استعداد فائق للعزف على السنطور البغدادي. (الشيخ جلال الحنفي - اعلام الغناء البغدادي
Hugi Pataw bin Salih bin Rahmain was born in the Tatran district of Old Baghdad in 1848. Pataw was one of the most famous santur performers in the modern history of this instrument in Iraq. He learned from Muhammad bin Salih al-Santurachi (born late 18th century) and headed chalghi bands to accompany some of Baghdad's best singers during the 19th and early 20th centuries, such as Ahmed Zaydan, Hasan al-Shakarchi, Khalil Rabbaz, Hajj Jamil al-Baghdadi, and Yusuf Huryesh. He famously performed for the Egyptian singer Umm Kulthum at the residence of Yusuf Za'rur when she visited Iraq shortly before his death in Baghdad on February 27, 1933.
Saturday, August 1, 2009
Maqam Segah - Yusuf Omar مقام سيكاه - يوسف عمر
Maqam Segah
Yusuf Omar and al-Chalghi al-Baghdadi
c. 1960, Baghdad, Iraq.
The Maqam Segah or Sikah in Iraq is a primary maqam based on the huzam mode (hijaz on G) with its tonic on segah (E half-flat or mi carbemol). The Segah is an ancient piece of classical Iraqi music used in both profane and religious suites. It is sung to a classical Arabic poem with its music accompanied by the 36/4 samah rhythm and the 12/4 yugrug (from the meyana to the taslim). It includes the following modulating pieces (qita'): jassas, pestenagar, seigah balaban, sufyan, mukhalaf kirkuk, sunbula, tiflis, and jammal. Classical poetry by poet 'Abd al-Rahim al-Bura'i al-Yemani (8th century). Performed by Yusuf Omar and al-Chalghi al-Baghdadi.
مقام السيكَاه العراقي هو مقام اساسي نغمته هزام (حجاز على درجه النوى) و ارتكازه على درجه السيكَاه، يقرأ حرآ بالشعر الفصيح و موسيقاه خاضعه لايقاع السماح ٤/٣٦ و ايقاع اليكَرك ٤/١٢ بالتناوب من التحرير الى الميانه الى التسليم. تدخل فيه قطع الجصاص، البستنكَار، البلبان، السفيان، مخالف كركوك، السنبله، تفليس و الجمال. اداء يوسف عمر و فرقة الجالغي البغدادي (السنطور: الحاج هاشم محمد الرجب، الجوزه: شعوبي ابراهيم خليل الاعظمي، الطبله: حسين عبدالله) من الستينات في بغداد، العراق. الشعر من قصيدة لعبد الرحيم بن أحمد البرعي اليماني المتوفى سنة ٨٠٣ هـ
عاهدوا الربع ولوعا وغراما * فوفوا للربع بالدمع ذماما
كلما مروا على أطلاله * سفحوا الدمع بذي السفح انسجاما
كلما ناحت حمامات اللوى * في آراك الشعب ناوحت الحماما
يا نداماي فؤادي عندكم * ما فعلتم بفؤادي يا ندامى
ما عليكم سادتي من حرج * لو تردون ليالينا القداما
إن تناءت دارنا عن داركم * فاذكروا العهد وزورونا مناما
'ahadu l-rab'a wulu'an wa gharama * fa wafaw lil-rab'i bil-dam'i dhimama
kullama marru 'ala atlalihi * safahu l-dam'a bi dhil-safhi 'nsijama
kullama nahat hamamat ul-liwa * fi arak il-shi'b nawahtu l-hamama
ya nadamayya fu'adi 'indakum * ma fa'altum bi fu'adi ya nadama
ma 'alaikum sadati min harajin * law tarrudun layalina l-qudama
in tana'at daruna 'an darikum * fa 'dhkuru l-'ahda wa zuruna manama
- Muqadimma, rhythmic instrumental introduction on a 36/4 samah rhythm.
- Tahrir, unmeasured vocal introduction in segah mode in three parts: the jassas, with a descent to the 'iraq sung to the words "elilay lilay lilay la", the awshar "aman aman", and a return from the rast to the seigah on the words "aman aman bidadey". (0:50)
- Musical interlude in segah mode and a 36/4 samah rhythm. (1:23)
- A verse representing the tahrir melody followed by a piece on the santur in segah mode and a 12/4 yugrug rhythm. (1:47)
- Two verses in segah mode interspersed with musical interludes to the 36/4 samah rhythm. (2:49)
- Part of a verse in segah mode followed by a fragment in mansuri mode (saba on G) preceded by the interjection "Ah" announcing the beginning of the Mansuri piece. (4:16)
- Improvisation on the joza in mansuri mode and a 12/4 yugrug rhythm. (4:49)
- A piece called Mansuri consisting of two verses in mansuri mode preceded by the interjection "Ay". (5:03)
- Return to segah and a piece called Segah 'Ajam to the Persian words "hey dad bidadey" ending on the segah tonic. (6:23)
- Second part
- First Meyana called "Segah Balaban" (segah in the higher register) to the words "ya dost, aman" (Arabic, Persian and Turkish, "my friend, grace") with a change of rhythm from 36/4 samah to 12/4 yugrug. (0:22)
- A verse in seigah balaban mode ending with a gradual descent to the tonic. (0:45)
- Musical interlude on the santur and joza in segah mode. (1:17)
- Second meyana called "Sufyan" (segah) sung to the Persian words "nazenine men" followed by a verse in the same mode. (1:51)
- A return to segah and 12/4 yugrug rhythm to the words "yaba yaba, yaba hnayyin, oye" (Iraqi-Arabic, "Oh, my dear caring father"). (2:20)
- Musical interlude on the santur and joza in segah mode. (2:37)
- "Mthaltha", rhythmic piece in segah mode sung to the words "hey baba baba" (Iraqi-Arabic, "hey father") accompanied by the 12/4 yugrug. (3:17)
- A piece called "Mukhalaf Kirkuk" sung to the words "aya ya ya ya ya yay". (3:57)
- A piece called "Sunbula" (segah) to the words "rumed rumed rumed" (Iraqi-Arabic, "dust") and repeated in mukhalaf mode with the words "wa asih toj'ani 'uyuni" (Iraqi-Arabic, "I shout, my love is as precious as my eyes"). (4:34)
- A piece called "Tiflis" (segah) consisting of a verse in tiflis mode ending with the command "aman allah ya hayy" (Arabic, "thanks to god, oh living one"). (5:00)
- A piece called "Jammal" consisting of two verses in jammal mode ending with the words ''allaw yuba, yuba helak wain shalaw, wain irhalaw, wain wallaw" (Iraqi-Arabic, "allaw, oh father, hey, where have they gone? where have they fled? Where have they disappeared to?"). (5:29)
- Final taslim, descent to the tonic in segah mode to the words "aman aman bidadem". (7:02)
Vocals: Yusuf Omar (1918-1986)
Santur: Hajj Hashim al-Rejab (1921-2003)
Joza: Shaoubi Ibrahim al-A'dhami (1924-1991)
Tabla: Hussein Abdullah
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Saturday, July 18, 2009
Classical Music of Iraq
Music from far away and from long ago
By Bernard Moussali
The musical tradition of Baghdad descends from a complex Arab tradition which is influenced by a number of cultures: Turkish, Persian, Kurdish, and even Indian. This school brings into play classical modes, as defined by a series of indissociable elements, parts of which are found in the Syrian-Egyptian and Ottoman schools. Each mode, each utterance, has its coloring and mood, calling on synaesthesia, magic and faith, in a charismatic and apocalyptic framework. The harmony thus obtained is called insijam and can only be reached in a state of internal mystical exaltation. The effect on the audience is called tarab, a musical emotion which transports the soul to exaltation.
The artists call this form al-maqâm al-'irâqî (modal composition of Iraq) which is also played in Mosul and Kirkuk at festivals and private concerts. Modes and rhythms are not always called by the same name and do not always have the same characteristics. There is no clear separation of the profane and the sacred in this melody mode and it can be found in most religious music of Mesopotamia (Muslim, Jewish, Christian, Gnostic, Schismatics or Heretics). The repertory is often transposed in a mystical language to preserve its esoteric nature. All of the communities of Iraq participate in a same aesthetical goal: Arabs, Kurds, Turkmen, Armenian, Mandian, Sabian, Jacobites, Syricacs, Assyrians, Tchetchens, Georgians, Zoroastrians, Zanzibarans, Indians, adorers of Satan and Yezidis.
Contrary to other traditions, the singers of the maqâm are called qari’ (reciters), like the reciters of the Quran, probably to recall the sacred element of their art. Vocal suites are often interpreted during rituals invoking God (dhikr), accompanied by dances: Mesopotamia is the country of the tariqa of Qadiriyya and Rifa'iyya. There are vibrations in al-A'zami’s voice that recall the rituals of the Sunnite brotherhoods and the commemorations of the martyr Husayn at Karbala’ (Ardu l-karbi wa-l-bala’, the land of suffering and misfortune). There are always spectacular shows of faith at the Great Mosque/Mausoleum of al-Kadhimayn in Baghdad where the worshippers interpret the ta'ziya in a travesty (Shiite mystery). They mutilate their heads, backs and bellies, in rhythm, accompanied by the clinking of chains, the incredible whirring of metal bars used for this flagellation and of the “yatagans” (daggers) slicing through the air. The old and terrible maxim: “The spirit triumphs over the pains of the body, vile matter and perpetual suffering” comes as an ironic response to the fulmination of theologians and jurisconsults. It is therefore not surprising that Mesopotamia is the land of the ordeal and talion, the immemorial land of the Sufi, dervishes and faqirs. These mystical rituals generally end in bursts of laughter, expressing the hope of Resurrection.
The instruments, the tone of voice, technique, and terminology are not traditionally unified. For example, the mode is called tawr (cycle) in Bedouin music. There are some seventy Arab scales or melodic modes and some fifty melodic pieces. The root generates a number of verbs and substantives: istaqama (to be in good shape or pregnant in dialect), qawm (home, stay, tribe, people, from which goum in dialect of the Maghreb and goumier in the French military jargon), qawma (station, pause between two prayers, revolution, trouble, male erection), qawâm (size), al-qiyam bi-l-Lah (the constant cult of God), al-qiyam li-l-Lah (the return of God), al-qiyama (the Resurrection), qayyum (one of the ninety nine attributes of God: eternal, who exists on his own), al-qayyima (the true religion), qima, (price, value of something), iqamat al-salat (the accomplishment of prayer) iqtama (to mutilate by cutting the nose), taqwim (recovery, rectification), taqwim al-bilad (land register) qa’im maqam (lieutenant), qa’im al-zawiya (rectangle), qa’im al-sayf (handle of a sword), miqwam (handle of a cart) etc...
The basic idea behind this root is that of a stopping point, a standing station, a construction on a certain site. The word designates a “place” in the first simple verbal form: maqam, muqam or muqama (plural being maqamat, or muqamat, occurring twenty times in the Quran). First used to mean the stay, the place and time, the place, the dignity and rank, then
sacred or prophetic place (maqâm of Ibrahim at Ka'aba of Mecca) is transposed in literary vocabulary to designate an erudite genre (maqama: meeting, assembly) in saja' (rhythmic and rhyming prose), a rhetoric contest of literary circles where an illustrious marginal defends and illustrates the Arab language by showing his listeners a subtle science of words and syntax, in search of the rare, the bizarre, the surprising, the archaic, the unexpected and even the obscure. Badi' al-Zaman al Hamadhani (968-1007) and al-Qasim b. 'Ali al-Hariri (1054-1122) stood out in this genre during the Middle Ages, followed by a number of others until the nineteenth century.
The term maqam is used by the mystics to designate the different stages of initiation into the brotherhood: tahzim (entry into the brotherhood), dhikr jali (ritual invoking of God out loud), dhikr khafi (interior ritual), inkhitaf (stage of sensorial transport), dhikr al-hadhra (collective ritual), hal (ecstasy), wajd (enstasy) and others, according to the secrets passed down by the head of the brotherhood.
The maqam entered musical vocabulary sometime in the middle of the eleventh century AD, thanks to the Syrian theorist, al-Saydawi al-Dimashqi (Kanz al-tarab wa-ghayat al-arab fi madh sayyid al-'arab wa-l-'ajam, the treasure of musical emotion by the recitation of praise to the Lord of the Arabs and Foreigners). The long poem written by this theorist has a curious system of notation of ranges, probably inspired by the presence of numerous Crusades in Palestine and the invention of Guy of Arezzo (11th century). His poem was noted in many anthologies, of which Shibab al-Din Muhammad al-Hijazi (c. 1793-1857) in the nineteenth century (Safinat al-mulk wa-nafisat al-fulk, the Arch of the Lord and the precious nave).
Today, the maqam is mostly used in Arab and Turkish-speaking countries. It is almost synonymous with naghma (root nghm, nasalisation and melody) and is considered more theoretical. The ancient terms of lahn (Arab error, then foreign melody, then melody), isba' (finger), shadd (transposition), avaz (air), sawt (voice) or tab' (character) are out of date, although the Northern and Eastern parts of Arabia still use the word sawt, while the Maghreb is more inclined to tab'. The Turkish-speaking populations of Central Asia use the term mugam (Azerbaïdjan) and makom (Turkmenistan).
In this mode, musical scales (sullam) have unequal degrees (darajat) of importance; regulating the process (sayr) of the melodic mode and its specific ornaments. The mode is also characterised by opening vocalisations (tahrir or badwa), situating the mode and the singer’s voice, a collection of melodic modes in pieces called qit'a, wasla, jalsa or gufte; an emphasized and understood ascent to the high notes (meyana) or low notes (qarar); cries (sayha) returning to the initial scale; final vocalisations (taslim); modulating syllables (alfaz) introducing the modulations and transpositions. The rhythm is closely linked to the mode which is traditionally accompanied by a pulsation. All modes do not follow this stereotypical order, with some including only certain phases, in spite of academic efforts to create uniformity. There are short instrumental versions that exist, and tradition has it that it was two brothers, Dawud (1910-1976) and Salih 'Ezra al-Kuwaiti (1908-1986) who undertook to interpret the complete versions on Radio Baghdad in the 1930’s.
This music is also generally characterised by the tragic modulation of the vocals, highpitched voices (takhnis), pecking (buhha), strictly coded sobbing, intervals, technical vocabulary, rhythms (several versions) specific instruments, specific craftsmanship in lute-making, a poetic repertory in classical, median and dialectical Arab, distinct from the legendary Arab-Andalusian heritage. Strict dietetics, an accepted and sought out musical therapy and a particularly expressive chironomy. The songs were generally interpreted in an alternating duo (tanawub), making for a variation in tone and tessitura, while giving the singers a chance to rest. This technique began before the Islamic period and the Book of Songs talks of the beautiful song of Two Grasshoppers (al-Jaradatan). One sings the deep bass notes (sawt al-bam) while the other sings in a high octave (sawt al-zir). Classical music of the Maghreb employs this technique which is widespread in popular and sacred music throughout Arabic countries.
These complete versions are done in classical or dialectical Arab, Persian, Osmanli Turk, Turkmen, Kurdish and Hebrew. Some are without meaning, as in scholarly Indian or Western Medieval music. Certain modes have shorter versions which are used as melodic pieces. The language, Arabic or another, of the poems follows strict rules, but the masters generally do not adhere to them.
The modes and original modulations (maqam or naghma, in several versions) are organised in semi-improvised compositions which are either profane or mystical. These compositions follow one other in the vocal suites (fasl, radif in Persian) according to an order established by the great masters (mu'allim, ustä or ustadh), in complex musical styles. They often include unknown or little used modes. Preludes (bashraf or muqaddima) and interludes (sama'i) constitute the instrumental parts. Ritornellos (dulab) can be interpreted at the beginning of the suites or at the end of the song to recall the initial mode after modulations. Only the rhythm and the duration differ.
Modes are generated by several means: linking of modes by their common notes (idafat al-angham), divergence of the composition of modes (ikhtilaf fi tarkib al-maqamat), additions of modes (ziyada 'alä nagham), different interpretations or paths of a melody (ikhtilaf bi-l-qasr aw al-madd or ikhtilaf bi-sayr al-lahn), transposition of modes to another degree (taswir al-maqamat 'alä daraja mukhtalifa or qalb al-'ayan). These processes are all very ancient and are called tarkib (composition) in the 'Abbassid school and mürekkep makam in the Ottoman school.
The traditional ensemble (Chalghi Baghdadi in osmanli) is made up of a santur (zither, strings are struck) or a qanun (zither, strings are plucked), a joza (rebec or spike fiddle), a clay drum (tabla) or kettle drum (naqqara) and a tambourine with cymbals (daff zinjari). Starting in the 1920’s, the qanun, like the lute, became favored under the influence of Muhammad al-Qubbanji and other masters. The crystalline sound of the qanun is considered as more precise than the santur which leaves an echo. The lute underpins the low notes and was for a long time the prerogative of the Christian lute-maker Hanna al-'Awwad. The naqqarat was abandoned, then reintroduced by Munir Bashir.
Iraqi modes of Baghdad according to Hajj Hashim Muhammad al-Rajab (al-Maqam al-'Iraqi, Baghdad 1983) and the mufti Jalal al-Din al-Hanafi (al-Fath magazine, Baghdad, 1939)
C: Classical Arabic; D: Archaic dialectical Arabic of Baghdad, from High or Low Mesopotamia; P: Persian; T: Osmanli Turkish; TM: Turkmen; K: Kurdish; and R: rhythm, with the name being stated.
Râst (C and R: Wahda in part): Râst Hindî (C and R: Wahda), Râst Turkî (C or T and R: Wahda), Mansûrî (C and R: Samâh and Yugrug), Hijâz Shaytânî (C and R: Wahda), Jubûrî (D and R: Yugrug) and Khanâbât (C or P and R: Yugrug) and somtimes Sharqî Isfahan (D and R: Wahda);
Bayyât (C, P or T): Nârî (D and R: Ay Nawâsî), Tâhir or Bâbâ Tâhir (C and R: Ay Nawâsî), Mahmûdî (D and R: Yugrug), Seigâh or Sîkâh (C and R: Samâh and Yugrug), Mukhâlaf or Sikâh A'raj (D) and Hlélâwî (D);
Hijâz or Hijâz Dîwân (C and R: Wahda in part): Qûriyyât (C or Tm and R: Yugrug), 'Uraybûn or 'Arîbûn 'Ajam (C or P and R: Yugrug), 'Uraybûn 'Arab (D and R: Yugrug), Ibrâhîmî (D and R: Ay Nawâsî) and Hadîdî (D and R: Yugrug);
Nawä (C and R: Samah and Yugrug): Maskîn (D and R: Wahda), 'Ajam 'Ushayrân (C), Penjgâh (C) and Râshidî (D and R: Jurjîna) and Qarya Bâsh;
Husaynî (C): Dasht al 'Arab or al-'Irâq (C or P and R: Wahda), Urfâ (D and R: Wahda or Wahda Tawîla), Arwâh or Râhat al-Arwâh (C), Awj (C), Hakîmî (D and R: Yugrug), Sabâ (C and R: Wahda) and Tshahârgâh (C), and sometimes the Bayyât al-'Ajam (C or P and R: Yugrug) and the 'Alî Zubâr.
Modes traditionally not included in the suites: Jammâl (C), Humâyûn (C), Nawrûz 'Ajam (C or P and R: Yugrug), Bashîrî or Nîm Bashîrî (C and R:Jurjîna), Dashtî or Dasht al-'Ajam (C), Huwayzâwî (C), Hijâz Atchugh (C or T and R: Wahda), Bayyât 'Ajam (C or P and R: Yugrug), Mathnawî (C or P), Sa'îdî or Sa'îdî Mubarqa' (C and R: Yugrug), Khalwatî (C and R: Yugrug), Awshâr (C or P), Tiflîs (T and R: Yugrug), Nahâwand (D), Bherzâwî (D and R: Yugrug), Muqâbal (D and R: Yugrug), Sharqî Isfahân or Sharqî Râst (D and R: Wahda), Râst Penjgâh (D or C), Sharqî Dûkâh (D and R: Wahda), Hijâz Kâr Kurd or Ibtikâr (D), Hijâz Kâr (D), Bâjilân (D), Qatar (D or K), Gulgulî (Dand R: Yugrug) Lâmî (D or C), Qazzâzî or Qazzâz (D or C) and Madmî (D and R:Yugrug).
Others are more rarely heard such as the Hayrân, Shushtârî, Akbarî, the Nâhuft al-'Arab, Zamzamî, Ramal, Salmak, Abû 'Atâ, Qajar and Mâ’ranâ, which have almost disappeared. The Lâmî became widely know from the recording made by Muhammad al-Qubbânjî by Baidaphon at the end of 1928, but which was also recorded by Gramophone in the same year.
Modal pieces founded on melody formulas: B: Bayyât; H: Hijâz; Hu: Husaynî; °I: °Iraq; M: Mansûrî; Mu: Mukhâlif; R: Râst; S: Sîkâh N: Nawä; Na: Nahâwand; Ng: Nagrîz and T: Tshahârgâh.
Lâwûk (N, T, Na or Hu), Zanbûrî (R), Sîkâh Balabân (S), Mukhâlif Kirkûk (°I), Sîkâh 'Ajam (S), 'Udhdhâl (Mu), Seh Reng or Muthallatha (Mu, S, and R, Yugrug), Musta'âr, Adhirbayjân (S), Sîkâh Halab (S), Mâhûrî (T), 'Alî Zubâr or 'Arazbâr (T and B), 'Ushashî (H), 'Abbûsh or 'Iraq (B), Bayyât al-Aghawân (B), Qariyah Bâsh or Qaryat Bâsh (B), 'Umar Galah (B and S), Bakhtiyâr (T and S), Nihuft or Nihuft (T, S or H), Nihuft al-'Arab (B), 'Ushayshî or 'Ashîshî (B or H), Qâtûlî (S, M or R), Hijaz Dunadî (H), Hijâz Gharîb (M or B), Aydîn (T or Ng), Shâhnâz (H), Bûseh Lîk (B or Na), Hijâz Madanî (H, N, Ng or R), Jassâs (°I), Sufyân (S), Sîsânî (R), Qazzâz (B and S), Khalîlî (B or R), Zunjurân (R), Nagrîz (H), Kûyânî (B), Muthaggal (B), Khâbûrî (B), Rukbânî (B), °Irâq (H), Bayyât Shûrî (B), Salmak (B), Sunbula (S), Zangana (S), Bahrânî (R), Janâzî (R), Dawarân (B), Maw'a (B), Mugatta' (B), Muthallath (B), Jalsa (R or B), Rukbânî (B) and Yatîmî (B, R or Na).
Certain artists ('Abd al-Latif b. Shaykh al-Layle, 1819-1899) distinguished themselves by introducing modulations (Gapangi) to modes that did yet have any. Others developed modulations into modes (Qazzâz, controversial origin). If a note is held too long it can change the mood of a modal piece and give rise to a new modulation or even a new mode. Traditionalists reproved the great masters, who were energetically followed by their disciples and their public. There are certain names that are the same in Iran, but their modes and melody formulas are not the same.
Rhythms used today: Jûrjîna 10/16 in two versions, Wahda 4/4, Wahda Tawîla, Bamb or Sawt 4/4, Wahda Maqsûma 2/4, Yugrug 'Irâqî 12/4, Ay Nawâsî 18/8, Samâh 36/4, Samâ'î Dârij or 2/4 walse and Sangîn Samâ'î 6/4. There are older denominations which were presented at the Cairo Congress of 1932 by two master Percussionists ('Ulaylâwî 10/8, Hachcha 6/8, Muthallath 8/8, Sharqî 4/4 and Sha'bâniyya 5/8).
Modulating syllables or words: There are a large number of modulating syllables, devoid of any particular meaning other than a complaint (Oweh, Ah, Ouf) in dialectical Arabic (Ya bah, O my father), in classical (Allah ya dayim, God, Oh eternal), in Persian (Yar, Love), in Osmanli (Eki kuzum, you are as precious as my eyes) and in Hebrew (Hallelujah). It is said that an eighteenth century British traveller who went to a maqam concert, sincerely thought that the singer was in pain, and handed him some medicine. Some verses are a resurgence of ancient poems, complete or incomplete form. The other languages are subject to dispute. In any case, the great masters use them as they like.
The Baghdad school is also heavily permeated with a style that is both archaic and refined, probably very close to the style of the Golden Age of the Umayyads and Abbassids. Deben Bhattacharya and Simon Jargy were the first to research the question, but their successors have not managed to further our knowledge. We can only assemble pieces of outdated materials that are behind an aesthetics that is still highly attractive. Historians generally agree that this music developed from the fifteenth century and was influenced by both the Persian and Ottoman cultures. The musical history of the maqâm al-'iraqi and the genealogy of those interpreting it were explored in depth in the twentieth century by historians, in spite of the political turmoil and darkness which shrouds large sections of this cultural heritage.
The first recordings of the Baghdad school were made on cylinders in the last years of the nineteenth century, of Mulla 'Uthman al-Mawsili and Ahmad Zaydan. Between 1908 and 1939, Baidaphon (Bayda Abna’ 'Amm), Gramophone, Odéon, Homocord and Sudwä made recordings, followed by Iraqi producers (al-Hakkak and Chaqmaqchiphon). The most important recordings were made by Baidaphon which organised a meeting of musicians from a number of Arab regions in its studio in Berlin in 1928, the first pan-Arab encounter. The 'Azzuri Harun al-'Awwad ensemble of Baghdad (Ezra Aharon, lute player, violinist and qanun player, born 1900, emigrated to Palestine in 1934) accompanied the lively Tunisian singer Marguerite, called Hbiba Msika.
The poetic repertory:
A number of poems are extracted from the Book of Songs of Abu al-Faraj al-Isfahani, psalms translated into Aramean (often from the apocryphal books of the Old and New Testaments) and anthologies that are related to the cabbala which were collected by rabbis (Isra’il Naggara). The melancholy shadows of Abu Nuwas and al-Mutannabbi obsessively haunt the memory of a number of poets of the river Tigris. Their imagery is constantly making connections with the sea, in distant memory of the Sumerians, the fish god Ohannes and Sinbad the Sailor who was in search of the pearl on the lost islands. Courtly love is illustrated by classical qasida, which are monometric and monorhyming verses written by major or minor poets.
The dialectical peste, are strophic, light and characterised by somewhat spicy language. Certain authors developed exquisite pieces, sung in literary circles (majalis adabiyya), gymnasium (zur khana), cafés (qahwat khana), tea houses (chay khana) and taverns (khammara), such as 'Abd al-Ghaffar al-Akhras al-Baghdadi (the stutterer of Baghdad, 1806-1873), the sayyid Muhammad Sa'id al-Habbubi (1849-1915), al-Hajj Zayir al-Najafi, al-Mulla Zuhayr al-Jadir, and Khidr al-Ta’i (19th century). Among the neoclassical poets of the twentieth century are the Egyptians, Ahmad Shawqi (1868-1932) and Hafiz Ibrahim (1871-1932), the Lebanese Illiyya Abu Madi, the Iraqis Ma'ruf al-Rusafi, Muhammad al-Jawahiri and many more.
The takhmis is a neo-classical quintain of three hemistiches which includes an ancient and famous verse in the middle and at the end of the quintain, usually in a b a a b. The long vowels are extended to allow for modulations or transpositions. The alfaz come within the verse or at the end of hemistiches. There are also poems which are embedded within other poems to allow for the requirements of the mode and rhythm.
The mawaliya form of poetry emerged from the new city of al-Wasit in Iraq around the eighth century AD. This form of poetry, now called mawwal, is a song in which non-Arab servants, slaves or free men, deplore their Arab lords. The mawwal follows a specific meter that does not follow the declination nor the syntax of the Quran or of classical poetry and became an important part of Arabic literature.
The mawwal musabba' was originally a popular form of song of Mesopotamia, using a specific meter and mode: starting with a septain of hemistiches often having a double meaning, with two rhymes which are almost homophone and homographic (a a a b b b a). The poet generally describes the torments of passion in these verses. Pleading and interjections enhance the semantic fibre and open the way to modulations. The poetry has its corresponding melody. Traditional expressions are placed at the beginning of the septains: “Men yom fargak (since the day of your departure), “ya zain el-awsaf” (You, whose beauty is perfect), “Ya man bi-husnak” (You, whose beauty), “Li khillatan” (I have a friend) etc. Some of these poems are very hard to decipher, as only their author knows the real meaning behind them. This natural reserve is explained by the Bedouin modesty, tribal vendettas and the price of blood.
The modal compositions are separated by peste (from the Persian, link), quatrains and refrains. These are transitions during which the chorus comes in. Their role is to give the recitor a rest, after the great efforts required by the maqâm. The peste also act as a trigger, a catharsis. They are always rhymic, sung in dialect or in Arabic. They are generally gay or ironical, often jumbling and making reference to legendary beauties and symbolic places. These compositions sometimes talk of political events and the authors are excellent satirists and ironists. These were originally considered as being songs for women, but men quickly claimed their share. However, a high-pitched voice traditionally opens the octave above the chorus in recognition of the origin. This is also found in the classical music of Syria-Egypt and the Maghreb.
The famous song, “Fog en-nakhel” (Above the palm trees) is none other than a profane version of the sacred hymn “Fog al-'arsh” (Above the throne), attributed to Mulla 'Uthman al-Mawsili. The Hebraic hymns of Babylon collected by Avraham Zvi Idelsohn (1882- 1938) and Amnon Shiloah in the twentieth century, like in many Arab countries, were often composed from profane melodies, and vice versa. They are still recited in the Babylonian synagogues of Israel. The Christian psalms of Mesopotamia and of Adiabenia have these same characteristics and develop in particular the urfawi style, which stemmed from ancient Aramean melodies of Palestine. Then there are quatrains (abudhiyyat et 'atabat, in two forms, furganiyyat or hawawiyyat, of separation or union) or septains (mawawil sab'awiyya) written in archaic dialect and full of esoteric meaning. There are other forms, but these are mostly interpreted during popular concerts: maslawiyya, khaburiyya, rukbani, murabba', nayil, suwayhili, burdana. A number of anthologies have been edited recently.
The main interpreters:
Bedouin Abu Humayyid (1817-1881), the Mulla Hasan al Babujachi (1774-1841), the leader in his time of the Baghdad school; the Turkmenian Rahmat Allah Shiltagh (1798-1872); of Khalil Rabbaz (1826-1905); the unforgettable falsetto voices of Hazzan Israil b. al-Mu'allim Sasun (1842-1891), Rubin Rajwan (1851-1927) and Salman Moshe (1880-1955); the Christian cantor Antun Dayi (1861-1936); the ustä Mahmud al-Khayyat (1872-1926), the leader of the tailor’s guild; Qadduri al-'Aysha (1813-1896) famous for his great art; Rahmin Niftar (1833-1928); Hafiz Mahdi al-Shahrabani (1894- 1959), grand master of the hanafite recitors of the Quran of the Great Mosque of the Sayyid 'Abd al-Qadir al-Gilani; Hajj Yusuf al-Karbala’ i (1897-1951); the Mulla 'Uthman al-Mawsili (1854-1923) blind prodigy, a talented composer, protégé of the great master rifa'i Muhammad Abu al-Hudä and the Sultan 'Abdül-Hamid II; his disciple al-sayyid Ahmad 'Abd al-Qadir al Mawsili (1877-1941) a descendant of the prophet; one of the heros of the falsetto traditions Rashid al-Qundarji (1886-1945); the Jewish cantor Yusuf Huraysh (1884-1976) grandson of the Austrian rabbi Eli 'Assar b. Salif Khalif, the erudite al-Hajj Jamil al-Baghdadi (1877-1953), the pigeon breeder Najim al-Din al-Shaykhli (1893-1938) chosen to write the glorifications of God on the highest of minarets (al-tamjid 'ala l-mana’ir) in spite of his good looks and popularity among the veiled women of the harem; of the Hajj 'Abbas Kambir al-Shaykhli (1883-1971) the Afghan famous for the magical power of his voice; Hasan Khéwké (1905-1962); protege of king Ghazi, the unforgettable Muhammad al-Qubbanji (1901-1989) and his remarkable pupils Nazhim al-Ghazali (1920-1963) and Yusuf 'Umar (1918-1986), Ahmad Musa (1905-1968) whose deep voice was like ocean waves; Husayn Isma'il al-A'zami (1952), Salim Shibbeth (1908); Hasqil Qassab; Filfil Ilyas Gurji (deceased 1983); and Ya'qub Murad al-'Imari, all four refugied in Israel from 1951.
There are just a few women in this singing school but those who did take part excelled with their usual brio and refinement. Among these voices are Salima Murad (called Salima Pacha, 1900-1970), Siddiqa al-Mullaya (Siddiqa Salih Musa 1900-1970), Munira 'Abd al-Rahman al-Hawazwaz (1895-1955), Zakiyya Georges from Alep (1900-1966), Badriyya Umm Anwar, Jalila Umm Sami, Zuhur Husayn, al-Sitt al-Mutahajjiba, Khanum, Sultana Yusif, Ruti al-Mandalawiyya and her sister Bahiyya. This school benefited from the patronage of state officials such as Nuri al-Sa'id, after king Ghazi disappeared (1939) and after the arrival of the regent 'Abd al-Ilah. This music was governed by strict etiquette, required by the courtly ceremonials. The popular aspect of certain interpretations enhances the interest and serves to reveal the extraordinary impact. Na'im Kattan spoke of these arcanes of traditional society.
The musicians of Mesopotamia joined in guilds at an early stage. They fought several battles to preserve their rights from the Iraqi radio and television. They travelled widely, importing the melodies, modes and techniques learned abroad. Their art is a modal Tower of Babel that can be analysed over close to a millenium and a half, thanks to a series of treaties on acoustics, theories, practices and historical approaches. These poets left their verses to posterity, often incorporated into ancient anonymous repertories. They are difficult to understand as they are generally chronograms or anagrams using a mystical science of the alphabet mixed with a large degree of humor.
The major musicians:
The musicians are generally from religious minorities and they distinguish themselves by using a very particular technique. The music is of the tradition of the ustä (masters) Yusif Hugi Pataw (1886-1976, santur), Salih Shumayyil Shmuli (1890-1960, joza), and Yahuda Moshé Shamash (1884-1972, tabla) who emigrated to Israel in 1951. The traditions of the Bassun, Yuna and al-Kuwayti families still exist in Israel. The tradition of Ibrahim Adham al-Qilarinetshi (around 1850-1932) is represented in Syria and Lebanon. Many of these musicians, wishing to pass on their art to their descendants and would sometimes put the umbilical cord of their first son in the sound box of their instrument.
Zithers can be traced back to the ancient Mesopotamia. The santur (onomatopea meaning 100 strings in Indian) is made up of a sound box which is often thick, iron or wood pegs and strings made of gut or bronze. Two ivory mallets, sometimes wrapped in silk, are used to strike the strings. The qanun has a much thinner sound box, wooden pegs. The strings used to be made of gut but are now made of plastic or nylon with copper wiring. A silk cloth can be laid across the strings for a more muted, almost intimate sound. The musician would wear a ring with an eagle’s feather on each index finger to pluck the strings. Today, these have been replaced by plastic sticks or shirt stays. Qanun means “law” or “canon” in Greek and Arabic, reflecting the Arab’s interest in ancient Greece and thinkers such as Pythagorus. The qanun was brought to Europe after the crusades. We assume that the harpsichord stemmed from the qanun with the adaptation of a keyboard. Embellishments, trillos and drumming are part of the tradition of the santur players, Hugi Pataw (1848-1933), Yusif Pataw, and Rahmat Allah Safa’i (first half of the twentieth century), and qanun players Yusif Bedros Aslan (1844-1929), Gabriel Iskandar (1859-1919), Sion Ibrahim Cohen (1895-1964), Ibrahim Dawud Cohen, Shawul Zangi, Shlumu Shamash, Nubar efendi (188°-1954) and Yusif Meïr Za'rur al-Saghir (1901-1986).
Abu Salim Nahum Yuna (1878-1955), Salih Shumayyil Shmuli (1890-1960) and Ephraïm Bassun were the great masters of jawza (joza or djozé, in dialect), an extremely difficult instrument to play. The instrument lays on the right hand thigh if the musician in right handed, or on the left hand thigh if he is left handed. The instrument is a spike viola or rebec, having four strings which are played with a bow. The body is made of half a hollowed out coconut, which is where it gets its name, joza meaining nut in dialect. The coconuts are imported from India. Apricot tree or other fruit tree wood is also used to make the instrument. The bow uses horse hair. The strings are made of silk, nylon or various metals. A special varnish (spirto damalog) is used, the secret composition of which is passed down through generations. The traditional tuning is 'Ajam 'Ushayran, Dukah, Nawä, Kurdan (depending on the singer’s ambitus). After a free overture, the joza generally plays a measured part which develops with an accumulation of embellishments, trillos, transpositions and modulations. The joza follows the arabesques described by the singers in a constant dialogue. The instrument provides the acid nasal sound to the maqâm and makes it possible for the singer to always situate his voice within the mode.
'Abbas ibn Kadhim Qarah Juwayyid (1840-1910), Hasqil ibn Shuta ibn Meïr (1840-1919), Harun Zangi and his son Sha’ul (1890-1956), Ibrahim ibn 'Ezra ibn Moshe Shasha, Yahuda Moshe Shamash, Ibrahim Salih and Husayn 'Abdallah were also great dumbak players (also called dumbukk or tabla baghdadiyya), a clay drum, traditionally stretched with a fish skin from the Tigris river. Today, certain musicians prefer an aluminum body and a plastic skin which do not deform in the heat in humidity. However, this trend is being fought because it changes the delicate nature of certain cycles and requires a constant and strenuous physical effort to play.
The evolution of the maqâm and the permanence of its quintessence:
The maqâm of Iraq underwent deep change in the twentieth century, mirroring the changes in society. The maqâm was broadly diffused throughout southern Mesopotamia. Nâzim al-Ghazâlî made the songs of Baghdad popular all the way to Tunisia. Foreign poems and language were banished in a nationalistic movement. An academic school was born,in part from the pedagogical efforts of people like shaykh 'Ali al-Darwish al-Mawlawi of Aleppo (1872-1952), the lute player Sharif Muhyi al-Din b. Haydar Targan of Istanbul (1892-1967), of the Hashemite royal family, the specialist in muwashshahat Ruhi al-Khammash of Palestine (1923-1998), Hashim Muhammad al-Rajab (1921-2003) and Munir Bashir (1932-1997) of Iraq. Certain Turkish musicologists were consulted: Refik bey Fersan (1892-1965), Mes’ud Cemil bey Tel (1902-1965) and Necdet Varol. Soviet experts of Azerbaijan and Tadjikistan were invited, as well as the Tunisian historian Sâlih al-Mahdî.
The state took charge of the retirement pension of the musicians and institutions took the role of the traditional patrons. The ancient cafés ('Azzawi, Qadduri al-'Aysha, Shahbandar and many others) are reconstituted in the Museum of Baghdad. Lute-makers are encouraged and subsidised. The rudiments of music and computer generated music are now admitted. Television and radio series were recorded and widely broadcast. Teaching manuals with casettes and videos came on the market as well as anthologies of poems and modal compositions, measured or not. Intisar Ibrahim Muhammad continued the bibliographical research started in 1978 (Masadir al-Musiqa al-'Iraqiyya 1900-1978, Sources Bibliographiques de la Musique Irakienne (Baghdad 1979).
Starting in 1971, serious research revealed the complexity and diversity of all the musical instruments of Irak. (“Les instruments en Irak et leur role dans la société traditionnelle”, Scheherazade Hassan, Mouton éd. & Ecole des Hautes Etudes en Sciences Sociales, en langue française, 1980). Anwar Subhi Rashîd continued his musical resarch in Ancient Mesopotamia. Symposiums, congress and festivals are organised regularly. Symphonic orchestras were created but commercial music never gave up its rights. Musicians are no longer looked on with disgrace and musicophobia is waning. Major state dignitaries are emeritus lute players, church cantors and devoted patrons, backing musical research and publications. Violation of copyrights is severly fought. The written press keeps its readers informed of world musical events. Do the advantages compensate the disadvantages? So many parameters suggest a structure that is capable of self-preservation and self-generation, an incredible machine with dialectical interaction that travels through centuries, empires, peoples and artists: always different, always the same. Baghdad can rise from the past, fall under the trecherous Mongols, become an Ottoman city, resuscitate in the age of oil: through all this its music survives and imposes itself.
By Bernard Moussali
The musical tradition of Baghdad descends from a complex Arab tradition which is influenced by a number of cultures: Turkish, Persian, Kurdish, and even Indian. This school brings into play classical modes, as defined by a series of indissociable elements, parts of which are found in the Syrian-Egyptian and Ottoman schools. Each mode, each utterance, has its coloring and mood, calling on synaesthesia, magic and faith, in a charismatic and apocalyptic framework. The harmony thus obtained is called insijam and can only be reached in a state of internal mystical exaltation. The effect on the audience is called tarab, a musical emotion which transports the soul to exaltation.
The artists call this form al-maqâm al-'irâqî (modal composition of Iraq) which is also played in Mosul and Kirkuk at festivals and private concerts. Modes and rhythms are not always called by the same name and do not always have the same characteristics. There is no clear separation of the profane and the sacred in this melody mode and it can be found in most religious music of Mesopotamia (Muslim, Jewish, Christian, Gnostic, Schismatics or Heretics). The repertory is often transposed in a mystical language to preserve its esoteric nature. All of the communities of Iraq participate in a same aesthetical goal: Arabs, Kurds, Turkmen, Armenian, Mandian, Sabian, Jacobites, Syricacs, Assyrians, Tchetchens, Georgians, Zoroastrians, Zanzibarans, Indians, adorers of Satan and Yezidis.
Contrary to other traditions, the singers of the maqâm are called qari’ (reciters), like the reciters of the Quran, probably to recall the sacred element of their art. Vocal suites are often interpreted during rituals invoking God (dhikr), accompanied by dances: Mesopotamia is the country of the tariqa of Qadiriyya and Rifa'iyya. There are vibrations in al-A'zami’s voice that recall the rituals of the Sunnite brotherhoods and the commemorations of the martyr Husayn at Karbala’ (Ardu l-karbi wa-l-bala’, the land of suffering and misfortune). There are always spectacular shows of faith at the Great Mosque/Mausoleum of al-Kadhimayn in Baghdad where the worshippers interpret the ta'ziya in a travesty (Shiite mystery). They mutilate their heads, backs and bellies, in rhythm, accompanied by the clinking of chains, the incredible whirring of metal bars used for this flagellation and of the “yatagans” (daggers) slicing through the air. The old and terrible maxim: “The spirit triumphs over the pains of the body, vile matter and perpetual suffering” comes as an ironic response to the fulmination of theologians and jurisconsults. It is therefore not surprising that Mesopotamia is the land of the ordeal and talion, the immemorial land of the Sufi, dervishes and faqirs. These mystical rituals generally end in bursts of laughter, expressing the hope of Resurrection.
The instruments, the tone of voice, technique, and terminology are not traditionally unified. For example, the mode is called tawr (cycle) in Bedouin music. There are some seventy Arab scales or melodic modes and some fifty melodic pieces. The root generates a number of verbs and substantives: istaqama (to be in good shape or pregnant in dialect), qawm (home, stay, tribe, people, from which goum in dialect of the Maghreb and goumier in the French military jargon), qawma (station, pause between two prayers, revolution, trouble, male erection), qawâm (size), al-qiyam bi-l-Lah (the constant cult of God), al-qiyam li-l-Lah (the return of God), al-qiyama (the Resurrection), qayyum (one of the ninety nine attributes of God: eternal, who exists on his own), al-qayyima (the true religion), qima, (price, value of something), iqamat al-salat (the accomplishment of prayer) iqtama (to mutilate by cutting the nose), taqwim (recovery, rectification), taqwim al-bilad (land register) qa’im maqam (lieutenant), qa’im al-zawiya (rectangle), qa’im al-sayf (handle of a sword), miqwam (handle of a cart) etc...
The basic idea behind this root is that of a stopping point, a standing station, a construction on a certain site. The word designates a “place” in the first simple verbal form: maqam, muqam or muqama (plural being maqamat, or muqamat, occurring twenty times in the Quran). First used to mean the stay, the place and time, the place, the dignity and rank, then
sacred or prophetic place (maqâm of Ibrahim at Ka'aba of Mecca) is transposed in literary vocabulary to designate an erudite genre (maqama: meeting, assembly) in saja' (rhythmic and rhyming prose), a rhetoric contest of literary circles where an illustrious marginal defends and illustrates the Arab language by showing his listeners a subtle science of words and syntax, in search of the rare, the bizarre, the surprising, the archaic, the unexpected and even the obscure. Badi' al-Zaman al Hamadhani (968-1007) and al-Qasim b. 'Ali al-Hariri (1054-1122) stood out in this genre during the Middle Ages, followed by a number of others until the nineteenth century.
The term maqam is used by the mystics to designate the different stages of initiation into the brotherhood: tahzim (entry into the brotherhood), dhikr jali (ritual invoking of God out loud), dhikr khafi (interior ritual), inkhitaf (stage of sensorial transport), dhikr al-hadhra (collective ritual), hal (ecstasy), wajd (enstasy) and others, according to the secrets passed down by the head of the brotherhood.
The maqam entered musical vocabulary sometime in the middle of the eleventh century AD, thanks to the Syrian theorist, al-Saydawi al-Dimashqi (Kanz al-tarab wa-ghayat al-arab fi madh sayyid al-'arab wa-l-'ajam, the treasure of musical emotion by the recitation of praise to the Lord of the Arabs and Foreigners). The long poem written by this theorist has a curious system of notation of ranges, probably inspired by the presence of numerous Crusades in Palestine and the invention of Guy of Arezzo (11th century). His poem was noted in many anthologies, of which Shibab al-Din Muhammad al-Hijazi (c. 1793-1857) in the nineteenth century (Safinat al-mulk wa-nafisat al-fulk, the Arch of the Lord and the precious nave).
Today, the maqam is mostly used in Arab and Turkish-speaking countries. It is almost synonymous with naghma (root nghm, nasalisation and melody) and is considered more theoretical. The ancient terms of lahn (Arab error, then foreign melody, then melody), isba' (finger), shadd (transposition), avaz (air), sawt (voice) or tab' (character) are out of date, although the Northern and Eastern parts of Arabia still use the word sawt, while the Maghreb is more inclined to tab'. The Turkish-speaking populations of Central Asia use the term mugam (Azerbaïdjan) and makom (Turkmenistan).
In this mode, musical scales (sullam) have unequal degrees (darajat) of importance; regulating the process (sayr) of the melodic mode and its specific ornaments. The mode is also characterised by opening vocalisations (tahrir or badwa), situating the mode and the singer’s voice, a collection of melodic modes in pieces called qit'a, wasla, jalsa or gufte; an emphasized and understood ascent to the high notes (meyana) or low notes (qarar); cries (sayha) returning to the initial scale; final vocalisations (taslim); modulating syllables (alfaz) introducing the modulations and transpositions. The rhythm is closely linked to the mode which is traditionally accompanied by a pulsation. All modes do not follow this stereotypical order, with some including only certain phases, in spite of academic efforts to create uniformity. There are short instrumental versions that exist, and tradition has it that it was two brothers, Dawud (1910-1976) and Salih 'Ezra al-Kuwaiti (1908-1986) who undertook to interpret the complete versions on Radio Baghdad in the 1930’s.
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This music is also generally characterised by the tragic modulation of the vocals, highpitched voices (takhnis), pecking (buhha), strictly coded sobbing, intervals, technical vocabulary, rhythms (several versions) specific instruments, specific craftsmanship in lute-making, a poetic repertory in classical, median and dialectical Arab, distinct from the legendary Arab-Andalusian heritage. Strict dietetics, an accepted and sought out musical therapy and a particularly expressive chironomy. The songs were generally interpreted in an alternating duo (tanawub), making for a variation in tone and tessitura, while giving the singers a chance to rest. This technique began before the Islamic period and the Book of Songs talks of the beautiful song of Two Grasshoppers (al-Jaradatan). One sings the deep bass notes (sawt al-bam) while the other sings in a high octave (sawt al-zir). Classical music of the Maghreb employs this technique which is widespread in popular and sacred music throughout Arabic countries.
These complete versions are done in classical or dialectical Arab, Persian, Osmanli Turk, Turkmen, Kurdish and Hebrew. Some are without meaning, as in scholarly Indian or Western Medieval music. Certain modes have shorter versions which are used as melodic pieces. The language, Arabic or another, of the poems follows strict rules, but the masters generally do not adhere to them.
The modes and original modulations (maqam or naghma, in several versions) are organised in semi-improvised compositions which are either profane or mystical. These compositions follow one other in the vocal suites (fasl, radif in Persian) according to an order established by the great masters (mu'allim, ustä or ustadh), in complex musical styles. They often include unknown or little used modes. Preludes (bashraf or muqaddima) and interludes (sama'i) constitute the instrumental parts. Ritornellos (dulab) can be interpreted at the beginning of the suites or at the end of the song to recall the initial mode after modulations. Only the rhythm and the duration differ.
Modes are generated by several means: linking of modes by their common notes (idafat al-angham), divergence of the composition of modes (ikhtilaf fi tarkib al-maqamat), additions of modes (ziyada 'alä nagham), different interpretations or paths of a melody (ikhtilaf bi-l-qasr aw al-madd or ikhtilaf bi-sayr al-lahn), transposition of modes to another degree (taswir al-maqamat 'alä daraja mukhtalifa or qalb al-'ayan). These processes are all very ancient and are called tarkib (composition) in the 'Abbassid school and mürekkep makam in the Ottoman school.
The traditional ensemble (Chalghi Baghdadi in osmanli) is made up of a santur (zither, strings are struck) or a qanun (zither, strings are plucked), a joza (rebec or spike fiddle), a clay drum (tabla) or kettle drum (naqqara) and a tambourine with cymbals (daff zinjari). Starting in the 1920’s, the qanun, like the lute, became favored under the influence of Muhammad al-Qubbanji and other masters. The crystalline sound of the qanun is considered as more precise than the santur which leaves an echo. The lute underpins the low notes and was for a long time the prerogative of the Christian lute-maker Hanna al-'Awwad. The naqqarat was abandoned, then reintroduced by Munir Bashir.
Iraqi modes of Baghdad according to Hajj Hashim Muhammad al-Rajab (al-Maqam al-'Iraqi, Baghdad 1983) and the mufti Jalal al-Din al-Hanafi (al-Fath magazine, Baghdad, 1939)
C: Classical Arabic; D: Archaic dialectical Arabic of Baghdad, from High or Low Mesopotamia; P: Persian; T: Osmanli Turkish; TM: Turkmen; K: Kurdish; and R: rhythm, with the name being stated.
Râst (C and R: Wahda in part): Râst Hindî (C and R: Wahda), Râst Turkî (C or T and R: Wahda), Mansûrî (C and R: Samâh and Yugrug), Hijâz Shaytânî (C and R: Wahda), Jubûrî (D and R: Yugrug) and Khanâbât (C or P and R: Yugrug) and somtimes Sharqî Isfahan (D and R: Wahda);
Bayyât (C, P or T): Nârî (D and R: Ay Nawâsî), Tâhir or Bâbâ Tâhir (C and R: Ay Nawâsî), Mahmûdî (D and R: Yugrug), Seigâh or Sîkâh (C and R: Samâh and Yugrug), Mukhâlaf or Sikâh A'raj (D) and Hlélâwî (D);
Hijâz or Hijâz Dîwân (C and R: Wahda in part): Qûriyyât (C or Tm and R: Yugrug), 'Uraybûn or 'Arîbûn 'Ajam (C or P and R: Yugrug), 'Uraybûn 'Arab (D and R: Yugrug), Ibrâhîmî (D and R: Ay Nawâsî) and Hadîdî (D and R: Yugrug);
Nawä (C and R: Samah and Yugrug): Maskîn (D and R: Wahda), 'Ajam 'Ushayrân (C), Penjgâh (C) and Râshidî (D and R: Jurjîna) and Qarya Bâsh;
Husaynî (C): Dasht al 'Arab or al-'Irâq (C or P and R: Wahda), Urfâ (D and R: Wahda or Wahda Tawîla), Arwâh or Râhat al-Arwâh (C), Awj (C), Hakîmî (D and R: Yugrug), Sabâ (C and R: Wahda) and Tshahârgâh (C), and sometimes the Bayyât al-'Ajam (C or P and R: Yugrug) and the 'Alî Zubâr.
Modes traditionally not included in the suites: Jammâl (C), Humâyûn (C), Nawrûz 'Ajam (C or P and R: Yugrug), Bashîrî or Nîm Bashîrî (C and R:Jurjîna), Dashtî or Dasht al-'Ajam (C), Huwayzâwî (C), Hijâz Atchugh (C or T and R: Wahda), Bayyât 'Ajam (C or P and R: Yugrug), Mathnawî (C or P), Sa'îdî or Sa'îdî Mubarqa' (C and R: Yugrug), Khalwatî (C and R: Yugrug), Awshâr (C or P), Tiflîs (T and R: Yugrug), Nahâwand (D), Bherzâwî (D and R: Yugrug), Muqâbal (D and R: Yugrug), Sharqî Isfahân or Sharqî Râst (D and R: Wahda), Râst Penjgâh (D or C), Sharqî Dûkâh (D and R: Wahda), Hijâz Kâr Kurd or Ibtikâr (D), Hijâz Kâr (D), Bâjilân (D), Qatar (D or K), Gulgulî (Dand R: Yugrug) Lâmî (D or C), Qazzâzî or Qazzâz (D or C) and Madmî (D and R:Yugrug).
Others are more rarely heard such as the Hayrân, Shushtârî, Akbarî, the Nâhuft al-'Arab, Zamzamî, Ramal, Salmak, Abû 'Atâ, Qajar and Mâ’ranâ, which have almost disappeared. The Lâmî became widely know from the recording made by Muhammad al-Qubbânjî by Baidaphon at the end of 1928, but which was also recorded by Gramophone in the same year.
Modal pieces founded on melody formulas: B: Bayyât; H: Hijâz; Hu: Husaynî; °I: °Iraq; M: Mansûrî; Mu: Mukhâlif; R: Râst; S: Sîkâh N: Nawä; Na: Nahâwand; Ng: Nagrîz and T: Tshahârgâh.
Lâwûk (N, T, Na or Hu), Zanbûrî (R), Sîkâh Balabân (S), Mukhâlif Kirkûk (°I), Sîkâh 'Ajam (S), 'Udhdhâl (Mu), Seh Reng or Muthallatha (Mu, S, and R, Yugrug), Musta'âr, Adhirbayjân (S), Sîkâh Halab (S), Mâhûrî (T), 'Alî Zubâr or 'Arazbâr (T and B), 'Ushashî (H), 'Abbûsh or 'Iraq (B), Bayyât al-Aghawân (B), Qariyah Bâsh or Qaryat Bâsh (B), 'Umar Galah (B and S), Bakhtiyâr (T and S), Nihuft or Nihuft (T, S or H), Nihuft al-'Arab (B), 'Ushayshî or 'Ashîshî (B or H), Qâtûlî (S, M or R), Hijaz Dunadî (H), Hijâz Gharîb (M or B), Aydîn (T or Ng), Shâhnâz (H), Bûseh Lîk (B or Na), Hijâz Madanî (H, N, Ng or R), Jassâs (°I), Sufyân (S), Sîsânî (R), Qazzâz (B and S), Khalîlî (B or R), Zunjurân (R), Nagrîz (H), Kûyânî (B), Muthaggal (B), Khâbûrî (B), Rukbânî (B), °Irâq (H), Bayyât Shûrî (B), Salmak (B), Sunbula (S), Zangana (S), Bahrânî (R), Janâzî (R), Dawarân (B), Maw'a (B), Mugatta' (B), Muthallath (B), Jalsa (R or B), Rukbânî (B) and Yatîmî (B, R or Na).
Certain artists ('Abd al-Latif b. Shaykh al-Layle, 1819-1899) distinguished themselves by introducing modulations (Gapangi) to modes that did yet have any. Others developed modulations into modes (Qazzâz, controversial origin). If a note is held too long it can change the mood of a modal piece and give rise to a new modulation or even a new mode. Traditionalists reproved the great masters, who were energetically followed by their disciples and their public. There are certain names that are the same in Iran, but their modes and melody formulas are not the same.
Rhythms used today: Jûrjîna 10/16 in two versions, Wahda 4/4, Wahda Tawîla, Bamb or Sawt 4/4, Wahda Maqsûma 2/4, Yugrug 'Irâqî 12/4, Ay Nawâsî 18/8, Samâh 36/4, Samâ'î Dârij or 2/4 walse and Sangîn Samâ'î 6/4. There are older denominations which were presented at the Cairo Congress of 1932 by two master Percussionists ('Ulaylâwî 10/8, Hachcha 6/8, Muthallath 8/8, Sharqî 4/4 and Sha'bâniyya 5/8).
Modulating syllables or words: There are a large number of modulating syllables, devoid of any particular meaning other than a complaint (Oweh, Ah, Ouf) in dialectical Arabic (Ya bah, O my father), in classical (Allah ya dayim, God, Oh eternal), in Persian (Yar, Love), in Osmanli (Eki kuzum, you are as precious as my eyes) and in Hebrew (Hallelujah). It is said that an eighteenth century British traveller who went to a maqam concert, sincerely thought that the singer was in pain, and handed him some medicine. Some verses are a resurgence of ancient poems, complete or incomplete form. The other languages are subject to dispute. In any case, the great masters use them as they like.
The Baghdad school is also heavily permeated with a style that is both archaic and refined, probably very close to the style of the Golden Age of the Umayyads and Abbassids. Deben Bhattacharya and Simon Jargy were the first to research the question, but their successors have not managed to further our knowledge. We can only assemble pieces of outdated materials that are behind an aesthetics that is still highly attractive. Historians generally agree that this music developed from the fifteenth century and was influenced by both the Persian and Ottoman cultures. The musical history of the maqâm al-'iraqi and the genealogy of those interpreting it were explored in depth in the twentieth century by historians, in spite of the political turmoil and darkness which shrouds large sections of this cultural heritage.
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The first recordings of the Baghdad school were made on cylinders in the last years of the nineteenth century, of Mulla 'Uthman al-Mawsili and Ahmad Zaydan. Between 1908 and 1939, Baidaphon (Bayda Abna’ 'Amm), Gramophone, Odéon, Homocord and Sudwä made recordings, followed by Iraqi producers (al-Hakkak and Chaqmaqchiphon). The most important recordings were made by Baidaphon which organised a meeting of musicians from a number of Arab regions in its studio in Berlin in 1928, the first pan-Arab encounter. The 'Azzuri Harun al-'Awwad ensemble of Baghdad (Ezra Aharon, lute player, violinist and qanun player, born 1900, emigrated to Palestine in 1934) accompanied the lively Tunisian singer Marguerite, called Hbiba Msika.
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The poetic repertory:
A number of poems are extracted from the Book of Songs of Abu al-Faraj al-Isfahani, psalms translated into Aramean (often from the apocryphal books of the Old and New Testaments) and anthologies that are related to the cabbala which were collected by rabbis (Isra’il Naggara). The melancholy shadows of Abu Nuwas and al-Mutannabbi obsessively haunt the memory of a number of poets of the river Tigris. Their imagery is constantly making connections with the sea, in distant memory of the Sumerians, the fish god Ohannes and Sinbad the Sailor who was in search of the pearl on the lost islands. Courtly love is illustrated by classical qasida, which are monometric and monorhyming verses written by major or minor poets.
The dialectical peste, are strophic, light and characterised by somewhat spicy language. Certain authors developed exquisite pieces, sung in literary circles (majalis adabiyya), gymnasium (zur khana), cafés (qahwat khana), tea houses (chay khana) and taverns (khammara), such as 'Abd al-Ghaffar al-Akhras al-Baghdadi (the stutterer of Baghdad, 1806-1873), the sayyid Muhammad Sa'id al-Habbubi (1849-1915), al-Hajj Zayir al-Najafi, al-Mulla Zuhayr al-Jadir, and Khidr al-Ta’i (19th century). Among the neoclassical poets of the twentieth century are the Egyptians, Ahmad Shawqi (1868-1932) and Hafiz Ibrahim (1871-1932), the Lebanese Illiyya Abu Madi, the Iraqis Ma'ruf al-Rusafi, Muhammad al-Jawahiri and many more.
The takhmis is a neo-classical quintain of three hemistiches which includes an ancient and famous verse in the middle and at the end of the quintain, usually in a b a a b. The long vowels are extended to allow for modulations or transpositions. The alfaz come within the verse or at the end of hemistiches. There are also poems which are embedded within other poems to allow for the requirements of the mode and rhythm.
The mawaliya form of poetry emerged from the new city of al-Wasit in Iraq around the eighth century AD. This form of poetry, now called mawwal, is a song in which non-Arab servants, slaves or free men, deplore their Arab lords. The mawwal follows a specific meter that does not follow the declination nor the syntax of the Quran or of classical poetry and became an important part of Arabic literature.
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The mawwal musabba' was originally a popular form of song of Mesopotamia, using a specific meter and mode: starting with a septain of hemistiches often having a double meaning, with two rhymes which are almost homophone and homographic (a a a b b b a). The poet generally describes the torments of passion in these verses. Pleading and interjections enhance the semantic fibre and open the way to modulations. The poetry has its corresponding melody. Traditional expressions are placed at the beginning of the septains: “Men yom fargak (since the day of your departure), “ya zain el-awsaf” (You, whose beauty is perfect), “Ya man bi-husnak” (You, whose beauty), “Li khillatan” (I have a friend) etc. Some of these poems are very hard to decipher, as only their author knows the real meaning behind them. This natural reserve is explained by the Bedouin modesty, tribal vendettas and the price of blood.
The modal compositions are separated by peste (from the Persian, link), quatrains and refrains. These are transitions during which the chorus comes in. Their role is to give the recitor a rest, after the great efforts required by the maqâm. The peste also act as a trigger, a catharsis. They are always rhymic, sung in dialect or in Arabic. They are generally gay or ironical, often jumbling and making reference to legendary beauties and symbolic places. These compositions sometimes talk of political events and the authors are excellent satirists and ironists. These were originally considered as being songs for women, but men quickly claimed their share. However, a high-pitched voice traditionally opens the octave above the chorus in recognition of the origin. This is also found in the classical music of Syria-Egypt and the Maghreb.
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The famous song, “Fog en-nakhel” (Above the palm trees) is none other than a profane version of the sacred hymn “Fog al-'arsh” (Above the throne), attributed to Mulla 'Uthman al-Mawsili. The Hebraic hymns of Babylon collected by Avraham Zvi Idelsohn (1882- 1938) and Amnon Shiloah in the twentieth century, like in many Arab countries, were often composed from profane melodies, and vice versa. They are still recited in the Babylonian synagogues of Israel. The Christian psalms of Mesopotamia and of Adiabenia have these same characteristics and develop in particular the urfawi style, which stemmed from ancient Aramean melodies of Palestine. Then there are quatrains (abudhiyyat et 'atabat, in two forms, furganiyyat or hawawiyyat, of separation or union) or septains (mawawil sab'awiyya) written in archaic dialect and full of esoteric meaning. There are other forms, but these are mostly interpreted during popular concerts: maslawiyya, khaburiyya, rukbani, murabba', nayil, suwayhili, burdana. A number of anthologies have been edited recently.
The main interpreters:
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Bedouin Abu Humayyid (1817-1881), the Mulla Hasan al Babujachi (1774-1841), the leader in his time of the Baghdad school; the Turkmenian Rahmat Allah Shiltagh (1798-1872); of Khalil Rabbaz (1826-1905); the unforgettable falsetto voices of Hazzan Israil b. al-Mu'allim Sasun (1842-1891), Rubin Rajwan (1851-1927) and Salman Moshe (1880-1955); the Christian cantor Antun Dayi (1861-1936); the ustä Mahmud al-Khayyat (1872-1926), the leader of the tailor’s guild; Qadduri al-'Aysha (1813-1896) famous for his great art; Rahmin Niftar (1833-1928); Hafiz Mahdi al-Shahrabani (1894- 1959), grand master of the hanafite recitors of the Quran of the Great Mosque of the Sayyid 'Abd al-Qadir al-Gilani; Hajj Yusuf al-Karbala’ i (1897-1951); the Mulla 'Uthman al-Mawsili (1854-1923) blind prodigy, a talented composer, protégé of the great master rifa'i Muhammad Abu al-Hudä and the Sultan 'Abdül-Hamid II; his disciple al-sayyid Ahmad 'Abd al-Qadir al Mawsili (1877-1941) a descendant of the prophet; one of the heros of the falsetto traditions Rashid al-Qundarji (1886-1945); the Jewish cantor Yusuf Huraysh (1884-1976) grandson of the Austrian rabbi Eli 'Assar b. Salif Khalif, the erudite al-Hajj Jamil al-Baghdadi (1877-1953), the pigeon breeder Najim al-Din al-Shaykhli (1893-1938) chosen to write the glorifications of God on the highest of minarets (al-tamjid 'ala l-mana’ir) in spite of his good looks and popularity among the veiled women of the harem; of the Hajj 'Abbas Kambir al-Shaykhli (1883-1971) the Afghan famous for the magical power of his voice; Hasan Khéwké (1905-1962); protege of king Ghazi, the unforgettable Muhammad al-Qubbanji (1901-1989) and his remarkable pupils Nazhim al-Ghazali (1920-1963) and Yusuf 'Umar (1918-1986), Ahmad Musa (1905-1968) whose deep voice was like ocean waves; Husayn Isma'il al-A'zami (1952), Salim Shibbeth (1908); Hasqil Qassab; Filfil Ilyas Gurji (deceased 1983); and Ya'qub Murad al-'Imari, all four refugied in Israel from 1951.
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There are just a few women in this singing school but those who did take part excelled with their usual brio and refinement. Among these voices are Salima Murad (called Salima Pacha, 1900-1970), Siddiqa al-Mullaya (Siddiqa Salih Musa 1900-1970), Munira 'Abd al-Rahman al-Hawazwaz (1895-1955), Zakiyya Georges from Alep (1900-1966), Badriyya Umm Anwar, Jalila Umm Sami, Zuhur Husayn, al-Sitt al-Mutahajjiba, Khanum, Sultana Yusif, Ruti al-Mandalawiyya and her sister Bahiyya. This school benefited from the patronage of state officials such as Nuri al-Sa'id, after king Ghazi disappeared (1939) and after the arrival of the regent 'Abd al-Ilah. This music was governed by strict etiquette, required by the courtly ceremonials. The popular aspect of certain interpretations enhances the interest and serves to reveal the extraordinary impact. Na'im Kattan spoke of these arcanes of traditional society.
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The musicians of Mesopotamia joined in guilds at an early stage. They fought several battles to preserve their rights from the Iraqi radio and television. They travelled widely, importing the melodies, modes and techniques learned abroad. Their art is a modal Tower of Babel that can be analysed over close to a millenium and a half, thanks to a series of treaties on acoustics, theories, practices and historical approaches. These poets left their verses to posterity, often incorporated into ancient anonymous repertories. They are difficult to understand as they are generally chronograms or anagrams using a mystical science of the alphabet mixed with a large degree of humor.
The major musicians:
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The musicians are generally from religious minorities and they distinguish themselves by using a very particular technique. The music is of the tradition of the ustä (masters) Yusif Hugi Pataw (1886-1976, santur), Salih Shumayyil Shmuli (1890-1960, joza), and Yahuda Moshé Shamash (1884-1972, tabla) who emigrated to Israel in 1951. The traditions of the Bassun, Yuna and al-Kuwayti families still exist in Israel. The tradition of Ibrahim Adham al-Qilarinetshi (around 1850-1932) is represented in Syria and Lebanon. Many of these musicians, wishing to pass on their art to their descendants and would sometimes put the umbilical cord of their first son in the sound box of their instrument.
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Zithers can be traced back to the ancient Mesopotamia. The santur (onomatopea meaning 100 strings in Indian) is made up of a sound box which is often thick, iron or wood pegs and strings made of gut or bronze. Two ivory mallets, sometimes wrapped in silk, are used to strike the strings. The qanun has a much thinner sound box, wooden pegs. The strings used to be made of gut but are now made of plastic or nylon with copper wiring. A silk cloth can be laid across the strings for a more muted, almost intimate sound. The musician would wear a ring with an eagle’s feather on each index finger to pluck the strings. Today, these have been replaced by plastic sticks or shirt stays. Qanun means “law” or “canon” in Greek and Arabic, reflecting the Arab’s interest in ancient Greece and thinkers such as Pythagorus. The qanun was brought to Europe after the crusades. We assume that the harpsichord stemmed from the qanun with the adaptation of a keyboard. Embellishments, trillos and drumming are part of the tradition of the santur players, Hugi Pataw (1848-1933), Yusif Pataw, and Rahmat Allah Safa’i (first half of the twentieth century), and qanun players Yusif Bedros Aslan (1844-1929), Gabriel Iskandar (1859-1919), Sion Ibrahim Cohen (1895-1964), Ibrahim Dawud Cohen, Shawul Zangi, Shlumu Shamash, Nubar efendi (188°-1954) and Yusif Meïr Za'rur al-Saghir (1901-1986).
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Abu Salim Nahum Yuna (1878-1955), Salih Shumayyil Shmuli (1890-1960) and Ephraïm Bassun were the great masters of jawza (joza or djozé, in dialect), an extremely difficult instrument to play. The instrument lays on the right hand thigh if the musician in right handed, or on the left hand thigh if he is left handed. The instrument is a spike viola or rebec, having four strings which are played with a bow. The body is made of half a hollowed out coconut, which is where it gets its name, joza meaining nut in dialect. The coconuts are imported from India. Apricot tree or other fruit tree wood is also used to make the instrument. The bow uses horse hair. The strings are made of silk, nylon or various metals. A special varnish (spirto damalog) is used, the secret composition of which is passed down through generations. The traditional tuning is 'Ajam 'Ushayran, Dukah, Nawä, Kurdan (depending on the singer’s ambitus). After a free overture, the joza generally plays a measured part which develops with an accumulation of embellishments, trillos, transpositions and modulations. The joza follows the arabesques described by the singers in a constant dialogue. The instrument provides the acid nasal sound to the maqâm and makes it possible for the singer to always situate his voice within the mode.
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'Abbas ibn Kadhim Qarah Juwayyid (1840-1910), Hasqil ibn Shuta ibn Meïr (1840-1919), Harun Zangi and his son Sha’ul (1890-1956), Ibrahim ibn 'Ezra ibn Moshe Shasha, Yahuda Moshe Shamash, Ibrahim Salih and Husayn 'Abdallah were also great dumbak players (also called dumbukk or tabla baghdadiyya), a clay drum, traditionally stretched with a fish skin from the Tigris river. Today, certain musicians prefer an aluminum body and a plastic skin which do not deform in the heat in humidity. However, this trend is being fought because it changes the delicate nature of certain cycles and requires a constant and strenuous physical effort to play.
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The evolution of the maqâm and the permanence of its quintessence:
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The maqâm of Iraq underwent deep change in the twentieth century, mirroring the changes in society. The maqâm was broadly diffused throughout southern Mesopotamia. Nâzim al-Ghazâlî made the songs of Baghdad popular all the way to Tunisia. Foreign poems and language were banished in a nationalistic movement. An academic school was born,in part from the pedagogical efforts of people like shaykh 'Ali al-Darwish al-Mawlawi of Aleppo (1872-1952), the lute player Sharif Muhyi al-Din b. Haydar Targan of Istanbul (1892-1967), of the Hashemite royal family, the specialist in muwashshahat Ruhi al-Khammash of Palestine (1923-1998), Hashim Muhammad al-Rajab (1921-2003) and Munir Bashir (1932-1997) of Iraq. Certain Turkish musicologists were consulted: Refik bey Fersan (1892-1965), Mes’ud Cemil bey Tel (1902-1965) and Necdet Varol. Soviet experts of Azerbaijan and Tadjikistan were invited, as well as the Tunisian historian Sâlih al-Mahdî.
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The state took charge of the retirement pension of the musicians and institutions took the role of the traditional patrons. The ancient cafés ('Azzawi, Qadduri al-'Aysha, Shahbandar and many others) are reconstituted in the Museum of Baghdad. Lute-makers are encouraged and subsidised. The rudiments of music and computer generated music are now admitted. Television and radio series were recorded and widely broadcast. Teaching manuals with casettes and videos came on the market as well as anthologies of poems and modal compositions, measured or not. Intisar Ibrahim Muhammad continued the bibliographical research started in 1978 (Masadir al-Musiqa al-'Iraqiyya 1900-1978, Sources Bibliographiques de la Musique Irakienne (Baghdad 1979).
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Starting in 1971, serious research revealed the complexity and diversity of all the musical instruments of Irak. (“Les instruments en Irak et leur role dans la société traditionnelle”, Scheherazade Hassan, Mouton éd. & Ecole des Hautes Etudes en Sciences Sociales, en langue française, 1980). Anwar Subhi Rashîd continued his musical resarch in Ancient Mesopotamia. Symposiums, congress and festivals are organised regularly. Symphonic orchestras were created but commercial music never gave up its rights. Musicians are no longer looked on with disgrace and musicophobia is waning. Major state dignitaries are emeritus lute players, church cantors and devoted patrons, backing musical research and publications. Violation of copyrights is severly fought. The written press keeps its readers informed of world musical events. Do the advantages compensate the disadvantages? So many parameters suggest a structure that is capable of self-preservation and self-generation, an incredible machine with dialectical interaction that travels through centuries, empires, peoples and artists: always different, always the same. Baghdad can rise from the past, fall under the trecherous Mongols, become an Ottoman city, resuscitate in the age of oil: through all this its music survives and imposes itself.
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Wednesday, July 15, 2009
المقامات العراقية
عبد الوهاب بلال *
المقامات العراقية هي لون من الوان الغناء الشعبي العربي في العراق، التي صيغت الحانها في العراق، فغناها المطربون البغداديون. و المقامات العراقية هي عبارة عن مجموعة من الالحان الشعبية المنسجمة و التي تعددت انغامها و تنوعت الوانها مما اصبح لها الاثر الكبير في الغناء العراقي، و الذي له الصدارة على جميع انواع الغناء في البلاد.
و قد استطاعت المقامات العراقية ان تبلور الشخصيه البغدادية من خلال رؤى نغمية عربية أصيلة يتجسد فيها الحس البغدادي الاصيل. و البغدادي يرتوي من هذا الزخم النغمي الذي يعبر بكل صدق عن احساسه و شعوره اللذين يشكلان ظاهره يتميز بها البغدادي بأصالته العريقة،
و قد اصبحت اصولها و قواعدها ثابتة بما يسمى المقامات العراقية و لكل مقام تكوين و جذب خاص به، و هذه المقامات العراقية كانت و لا تزال تغنى في العراق، و كل مطرب من مطربي المقامات العراقية اذا غنى مقاما ما فأنه لا يختلف في غنائه عن مطرب آخر من حيث جوهر المقام من ناحيه المضمون و الشكل فنيا بما فيه من الأسس الفنية. اذ ان تحرير المقام و مياناته و تسليمه لا تتغير عند جميع المغنين، الا انه قد يحمل بعض الاختلاف الطفيف من حيث الالوان التي تدخل على المقامات العراقية.
الاسس الفنية للمقامات العراقية:
يمتاز الغناء العراقي الاصيل المعروف بالمقامات العراقية بأسس فنية خاصة درج عليها مغنو المقام العراقي جيلا بعد جيل، و المقام العراقي عرف لدى المغنين البغداديين بأسلوبه الغنائي الخاص، و الذي يسير عليه المغني في الغناء. و من هذه الاسس الفنية التي ينفرد بها المقام العراقي البدء بالغناء، و الذي يسمى بالتحرير او الابتداء. و هناك بعض المقامات و تسمى مقامات البدوة او البدوات و هي:
البيات، الراست، السيكَاه، الحجاز، الصبا، النوى، المنصوري، الخنبات، البنجكَاه، الحسيني، العجم، الاوج، الاوشار، الدشت، العريبون عجم، و الابراهيمي.
و كلها مقامات تغنى مع الشعر العربي الفصيح بأستثناء المقام الاخير الابراهيمي فهو من المقامات التي تغنى مع الشعر الشعبي الزهيري. و مقامات البدوة يكون تحرير قسم منها من الطبقة المرتفعة (الجواب) و القسم الآخر من الطبقات المنخفضة اي القرار
١- التحرير
التحرير عبارة عن البدء بالغناء من المقام وفق اصول متعارف عليها، و الذي يبدأ به المغني عادة بكلمات مميزة و ينفرد كل مقام بكلمات و الفاظ معينة تكون هي المميزه للمقام الى جانب نغم المقام. و هذا ما يميز المقامات العراقية في الاداء عن بقيه الالوان الغنائية العربية المتعارف عليها في البلاد العربية و بضمنها العراق.
و التحرير هو البداية التي يجب ان يتعلمها مغني المقام العراقي، و التحرير في غناء المقامات العراقية يعني البدء بالغناء بأسلوب معين يختلف عن اي لون آخر من الغناء العربي، و هذا ما يعطي الغناء العراقي ابعادا فنية خاصة لا نجد مثيلا لها في غناء البلاد العربية الاخرى.
٢- الاوصال
تلعب الاوصال دورا بارزا و كبيرا في تلوين المقامات العراقية، و الاوصال هي عبارة عن مجموعة من الالحان المتنوعة في المقامات العراقية.
و الاوصال تتكون من مجموعة من الاجناس المختلفة و القريبة من المقام الذي يغنيه المطرب، و يغني مطرب المقامات العراقية هذه الاوصال في كل مقام من المقامات العراقية وفق اصول متعارف عليها. و المقامات العراقية تتكون من المقام الاساسي، بالاضافة الى عدة قطع و اوصال، و هي تكون معا وحدة متكاملة لا تتجزأ. و هذه القطع و الاوصال تلون المقام بنغمات اضافية الى جانب النغم الرئيسي للمقام، و البناء الفني للمقامات العراقية يعتمد على المفهوم الجمالي للنعم و التناسق النغمي بين النغم الاساس و بين نغم الاوصال التي تدخل في صلب المقام من ناحية، و بين نغم المقام من ناحية اخرى، و بذلك يتكون الشكل الفني للمقام العراقي،
و هذه الابعاد النغمية تلعب دورا طيبا في اغناء المقام بنغمات اخرى قريبة من المقام و تنسجم معه، فتعطي المقام قوة و ابداعا كبيرا، و يعرف الاستاذ حمودي الوردي الاوصال حيث يقول:
"ان الالوان التي تدخل المقامات العراقية تسمى باسماء مختلفة، فمنهم من يسمي اللون بالقطعة، و منهم من يسميه بالوصلة، و منهم من يسميه بالكفتة. و ان كل لون من هذه الالوان او القطع سمي باسم خاص به، و هي في الحقيقه عبارة عن اجناس موسيقيه متعارف عليها في الموسيقى العربية، و قد دخلت في المقامات العراقية لغرض اضفاء طابع التلوين على نغم المقام."
٣- القرار
هناك جوانب فنية اخرى تدخل في المقامات العراقية و هي الاوصال و القرارات و التي عادة تدخل بعد التحرير مباشرة الى ما قبل التسليم حيث يختتم به المقام. و من هذه الاسس الفنية التي تلعب دورا بارزا في الابداع في اداء المقامات العراقية هي ما تعرف بالقرارات.
فالقرارات هي الطبقات الصوتية المنخفضة التي يستقر عليها المغني في اداء المقامات العراقية، و الاراضي الواطئة هي درجات صوتية معينة يتوقف فيها المغني بعد صعوده الى طبقات صوتية عالية، ثم يهبط الى الطبقات المنخفضة التي تسمى (القرار) و الاستقرار عليها.
و هذه القرارات لها اصولها الفنية في الاداء الغنائي للمقامات العراقية التي يجب ان يتعلمها كل من المطرب و الموسيقي (العازف) الذي يصاحب المغني في اداء المقامات العراقية.
٤- الميانه
تعتبر الميانه من الأسس الفنية البارزه في غناء المقامات العراقية ايضا، فالمغني بعد ان يبدأ في غناء التحرير و ما يتبعه من الاوصال الغنائية التي تدخل في المقام الذي يؤديه ينتقل الى غناء الطبقات المرتفعه (الجوابات) التي هي عباره عن الميانه.
و الميانه يغنيها المغني بعد ان ينتهي من اداء التحرير و الوصل الداخله في المقام عند الاسترسال في الغناء، وذلك في آخر وصله من الوصلات التي يختارها المغني، و التي تأتي في المقام حيث يرتفع صوت المغني بالنسبه الى المقام الذي يغنيه بصوره تدريجيه ثم يعود الى درجته الطبيعيه الى نفس المقام و يستمر المغني في غنائه، و في بعض المقامات يؤدي المغني اكثر من ميانه واحده.
و بطبيعه الحال ان الميانه الاولى تختلف عن الاخرى التي يغنيها. و ان اداء الميانات يتطلب الاحساس العميق للمقام. و الميانه تختلف في مقام عن الآخر، و كما توجد ميانات عالية جدا و تسمى (جواب الجواب) و ذلك بما فيها من الفروق الاساسيه في الاداء، و اداء الميانه لها اسسها و التي تتطلب المقدره الفنية والصوتيه معا لدى مغني المقامات العراقية.
٥- التسليم
و التسليم او (التسلوم) في المقامات العراقية، و يعني بذلك اختتام المقام اي الفاصل الذي يسلم به المغني اداء المقام الذي يغنيه. و التسليم في المقامات العراقيه لا تسير علي وتيره واحده في جميع المقامات و انما لكل مقام تسلومه الخاص، و المغني البارع يجب ان يتقن اصول التسليم لكل المقامات الاساسيه و الفرعيه. و ان يطلع على اسلوب الاداء في التسليم للمقامات المختلفه لانها الختام للمقامات العراقية.
و هذه هي الأسس التي يعتمد عليها الغناء العراقي المتمثل في المقامات العراقية و التي يجب ان يضبط قراءتها المغني لكي يكون مستعدا لاداءها و هي: التحرير، الاوصال، القرارات، الميانات، التسليم.
* استاذ تاريخ و نظريات و تحليل الموسيقى العربية في معهد الفنون الجميله ببغداد سابقا
Wednesday, July 8, 2009
Hamed al-Sa'adi حامد السعدي
Maqam Dasht and peste "Rabbeitak Zghayrun Hasan"
Hamed al-Sa'adi
c. 1990s, Baghdad, Iraq.
The Maqam Dasht is derived from the Maqam Husayni and is sung, without rhythmic accompaniment, to a poem in classical Arabic. It includes the following modulating pieces (qita'): hijaz gharib, lami, husayni. The poetry sung here is a takhmis by Sayyid Ja'far al-Sayyid Hamad al-Hilli (1861-1898) of a poem by Muhammad Sa'id al-Habbubi (1849-1916). Performed by Hamed al-Sa'adi.
- Measured instrumental introduction.
- Instrumental piece on the joza introducing the maqam. (0:46)
- Vocal tahrir presenting the dasht mode. (1:49)
- Instrumental piece on the santur picking up the tahrir melody. (2:42)
- Several verses of the poem in dasht mode interspersed with musical interludes on the santur and joza. (3:13)
- Meyana in the higher register descending from the sahm degree to the muhayyar. (8:46)
- Final teslim on the nawa degree. (10:57)
- Traditional peste "Rabbeitak Zghayrun Hasan" in bayat mode. (next video)
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Rabbeitak Zghayrun Hasan ("I raised you since you were young, Hasan"), traditional Baghdadi peste in bayat mode and 6/4 sengin sama'i rhythm. Composed by Mulla 'Uthman al-Musili (1854-1923). Performed by Hamed al-Sa'adi.
rabbeitak zghayrun hasan * laish inkaritni
Hamed 'Ashur Daghir al-Sa'adi was born in the Bab al-Sheikh district of old Baghdad in 1956. He grew up in a traditional working-class neighborhood where the Iraqi Maqam was popular. During his youth, he listened intently to maqam recordings and attended performances of masters such as Rashid al-Qundarchi, Najm al-Sheikhli, Muhammad al-Qubbanchi, Hasan Khaiwka and Yusuf Omar. Since then he has professionally performed and recorded maqam performances both abroad and in Iraq, where he currently resides. Muhammad al-Qubbanchi (d. 1989) described him as the "best link in the continuity of the art of the Iraqi Maqam over the ages," and Yusuf Omar (d. 1987), who had a great influence on al-Sa'adi's traditional style of singing, purportedly named him as his successor before he died. Hamed Al-Sa'adi is perhaps the only surviving maqam singer capable of performing the entire repertory today.
Hamed al-Sa'adi
c. 1990s, Baghdad, Iraq.
The Maqam Dasht is derived from the Maqam Husayni and is sung, without rhythmic accompaniment, to a poem in classical Arabic. It includes the following modulating pieces (qita'): hijaz gharib, lami, husayni. The poetry sung here is a takhmis by Sayyid Ja'far al-Sayyid Hamad al-Hilli (1861-1898) of a poem by Muhammad Sa'id al-Habbubi (1849-1916). Performed by Hamed al-Sa'adi.
مقام الدشت فرع من مقام الحسيني و يغنى بدون ايقاع بالشعر العربي الفصيح ، تدخل في اداءه القطع التاليه: الحجاز غريب، اللامي، الحسيني. اداء قارئ المقام حامد السعدي و فرقه الجالغي (السنطور: غازي محسوب، الجوزه: صهيب الرجب، الطبله: فاضل السعدي). الشعر تخميس للشاعر السيد جعفر الحلي النجفي (١٨٦١-١٨٩٨) لقصيدة العلاّمة السيد محمد سعيد الحبوبي (١٨٤٩-١٩١٦)م. الشكر للأخ محمد العمر على التسجيل.
يا يوسف الحسن فيك الصب قد ليما * و لو رأوك هَووا للأرض تعظيما
بمن حباك فنون الحسن تتميما * لُحْ كوكباً وامشِ غُصناً والتفتْ ريما
فإن عداك آسمُها لـم تَعْدُك السِّيمـا
و من عناصري أنت معدود كخامسها * و من حواسي أنت معدود كسادسها
يا صورة الحسن جلت عن مجالسها * فلو رأتك النصارى في كنائسها
مصوراً لربّـعت فيك الأقانيـما
شهد بثغرك لم تبرد به كبد * عقارب الصدغ في حافاته رصد
تبدي ثلاثاً لكن لم تنلك يد * وجه أغرّ و جيد زانه جيَد
و قامة تخجل الخطى تقويما
- Measured instrumental introduction.
- Instrumental piece on the joza introducing the maqam. (0:46)
- Vocal tahrir presenting the dasht mode. (1:49)
- Instrumental piece on the santur picking up the tahrir melody. (2:42)
- Several verses of the poem in dasht mode interspersed with musical interludes on the santur and joza. (3:13)
- Meyana in the higher register descending from the sahm degree to the muhayyar. (8:46)
- Final teslim on the nawa degree. (10:57)
- Traditional peste "Rabbeitak Zghayrun Hasan" in bayat mode. (next video)
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Rabbeitak Zghayrun Hasan ("I raised you since you were young, Hasan"), traditional Baghdadi peste in bayat mode and 6/4 sengin sama'i rhythm. Composed by Mulla 'Uthman al-Musili (1854-1923). Performed by Hamed al-Sa'adi.
بسته بغدادية "ربيتك زغيرون حسن" من نغم البيات و ايقاع سنكَين سماعي ٤/٦. الحان الملا عثمان الموصلي و اداء قارئ المقام حامد السعدي
ربيتك زغيرون حسن * ليش انكرتني
بعيونك الوسعات حسن * موزر صبتني
لا تظن انا ناسيك حسن * لو كَركَع الخام
عالكَبر لو مريت حسن * اتحرك عظام
كاس الامل مكسور حسن * كسرة على كسرة
و اللي كسره هيهات حسن * يكَدر يجبره
امان امان
bi-'yunak il-was'at hasan * mouser sibitni
la tdhin ana nasik hasan * lo garga' il-kham
'al-gabur lo marait hasan * atharak i'dham
kas il-amal maksur hasan * kasra 'la kasra
wi-lli kisara hayhat hasan * yigdar yujubra
aman aman
*
(I raised you young, Hasan
Why have you abandoned me?
Like a Mauser rifle, Hasan
with your big eyes, you wounded me. Refrain
Don't think I have forgotten you, Hasan;
Even if you passed by my grave, Hasan
You would move my bones.
Refrain
The cup of hope is broken, Hasan
Broken into pieces;
And the one who broke it, Hasan
Cannot put it back together.)
Vocals: Hamed al-Sa'adi
Santur: Ghazi Mahsub
Joza: Suhayb al-Rejab
Tabla: Fadhil al-Sa'adi
*
Maqam Hijaz Shaytani
Hamed al-Sa'adi
c. 1990s, Baghdad, Iraq
The Maqam Hijaz Shaytani (transposition of the hijaz on G) is a short piece derived from the Maqam Hijaz and is sung to a poem in classical Arabic, accompanied by the 4/4 wahda rhythm. The poetry sung here is attributed to the Abbasid era jurist Imam Muhammad bin Idris al-Shafi'i (8th century). It is followed by a rhythmic peste, al-Nawm Muharram ("sleep is forbidden to my eyes"), in hijaz mode and 4/4/ wahda rhythm, composed by Mulla 'Uthman al-Musili.
Maqam Hijaz Shaytani
Hamed al-Sa'adi
c. 1990s, Baghdad, Iraq
The Maqam Hijaz Shaytani (transposition of the hijaz on G) is a short piece derived from the Maqam Hijaz and is sung to a poem in classical Arabic, accompanied by the 4/4 wahda rhythm. The poetry sung here is attributed to the Abbasid era jurist Imam Muhammad bin Idris al-Shafi'i (8th century). It is followed by a rhythmic peste, al-Nawm Muharram ("sleep is forbidden to my eyes"), in hijaz mode and 4/4/ wahda rhythm, composed by Mulla 'Uthman al-Musili.
مقام الحجاز شيطاني (جنس حجاز على درجه النوى صول) العراقي فرع من مقام الحجاز ويغنى بالشعر العربي الفصيح مع ايقاع الوحده ٤/٤. اداء قارئ المقام حامد السعدي. الشعر منسوب للامام محمد بن ادريس الشافعي (٧٦٧-٨٢٠). تتبعه بسته بغداديه "النوم محرم" من نغم الحجاز وايقاع الوحده ٤/٤، من الحان الملا عثمان الموصلي.
إذا المرء لا يرعاك إلا تكلفا * فدعه ولا تكثر عليه التأسفا
ففي الناس إبدال وفي الترك راحة * وفي القلب صبر للحبيب ولو جفا
إذا لم يكن صفو الوداد طبيعة * فلا خير في ود يجئ تكلفا
فما كل من تهواه يهواك قلبه * ولا كل من صافيته لك قد صفا
itha l-mar'u la yar'ak illa takkalufa * fe-da'hu wa-la tukthir 'alaihi l-ta'asufa
fe-fi l-nasi abdalun w fi l-tarki rahatun * w fi l-qalbi sabrun lil-habibi wa law jafa
itha lem yakun safwu l-widadi tabi'atan * fe-la khaira fi widdin yaji'u takkalufa
fe-ma kullu men tahwahu yahwaka qalbuhu * wa-la kullu men safaitahu leka qad safa
(If their caring for you is conditional,
Leave them and do not lament their friendship.
Friends can be replaced and with abandonment comes comfort,
And in the heart there is patience for the cruel beloved.
If purity of heart is not in their nature,
Then there is no good in intimacy that comes forced.
Not all whom you desire have passion for you in their heart,
Nor all whom you have trusted are as sincere.)
بسته النوم محرم:
النوم محرم لأجفاني * لما حبيبي جفاني
يا ويلي ويلي ما ما يطيب * جرح اللي بكَلبي
يا ربي داكتب هذا النصيب * انا و حبيبي الاولي
in-nawm muharram li-ajfani * lamma habibi jafani
ya waili waili ma ma yitib * jarh illi b-galbi ma yitib
ya rabbi d-iktib hatha il-nasib * ana w habibi l-awalli
(Sleep is forbidden to my eyes,
Since my love has abandoned me. Refrain
Woe on me, this wound will never heal
The wound in my heart will never heal.
Refrain
Oh God, why don't you write it as my destiny
To be with my first love.)
Vocals: Hamed al-Sa'adi
Santur: Ghazi Mahsub
Joza: Suhayb al-Rejab
Tabla: Fadhil al-Sa'adi
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حامد عاشور داغر السعدي ولد عام ١٩٥٦ في محلة باب الشيخ في بغداد و تربى في بيئة بغدادية محافظة على التقاليد البغدادية الاصيلة. كان يستمع منذ طفولته إلى أصوات كبارمطربي المقام من أمثال رشيد القندرجي ونجم الشيخلي و محمد القبانجي وحسن خيوكة و تأثر كثيرا باداء يوسف عمر. اهتم حامد السعدي بفن المقام العراقي منذ مرحلة الشباب المبكر هو يجيد قراءة جميع المقامات العراقية الاساسية والصعبة وكذلك مقامات أصبحت اليوم في عداد المقامات المنسية. وصفه الأستاذ محمد القبانجي بأنه "أفضل حلقة لتواصل المقامات العراقية في سلسلة المراحل الزمنية" و قال عنهُ قارئ المقام الراحل الأستاذ يوسف عمر "اعتبر قارئ المقام الشاب حامد السعدي خليفتي من بعدي
Tuesday, June 23, 2009
Maqam 'Ajam 'Ushayran - Yusuf Omar مقام عجم عشيران - يوسف عمر
Maqam 'Ajam 'Ushayran
Yusuf Omar
Private concert, 1978
Baghdad, Iraq.
This basic maqam uses the 'ajam mode, transposition of the tchahargah on B flat, which is sometimes called 'ajam 'ushayran in reference to its lower tonic B flat. It is sung to classical Arabic poetry without rhythmic accompaniment. Poetry by Egyptian poet Ahmad Shawqi (1868-1936) and Iraqi poet and philosopher Jamil Sidqi al-Zahawi (1863-1936).
مقام العجم مقام اساسي يرتكز على درجه العجم و يسمي احيانا بالعجم عشيران لأنه يسلم على درجه العجم العشيران. يغنى بالشعر العربي الفصيح بدون ايقاع. اداء يوسف عمر و شعوبي ابراهيم الاعظمي على الجوزه و محمد زكي درويش على السنطور من حفل خاص عام ١٩٧٨. الشعر لأحمد شوقي (١٨٦٨-١٩٣٢) و جميل صدقي الزهاوي (١٨٦٣-١٩٣٦). تتبعه بسته بغدادية قديمة "لابس ضريبي" من نغم العجم و ايقاع اليكَركَ ٤/١٢
أحنينا الى ضفاف الغدير * ام نزوعا الى ديار الطيورٍ
ولتكن يا ناي قد حرمت عيشا * ضاحكا بين يانعات الزهورٍ
فلك اليوم من فمي نغمات * ناطقات عن لوعتي و زفيري
مات فيك الهوى وضاعت أمانٍ * كنا احلى من ابتسام الثغورِ
كنت تصغي الى شجي الاغاني * فأسمع اليوم أنَتي و زفيري
أحمامة غنت بجانب دجلة * لم يبقى مستمع اليك فطيري
يا عندليب الروض القى من الربى * بعض القصيد كشاعر مشهورِ
- Measured instrumental introduction.
- Unmeasured introduction on the santur and joza. (0:29)
- Tahrir in 'ajam mode on the words "faryade men jenejanem". (0:46)
- Instrumental part on the santur picking up the tahrir melody. (1:16)
- Five verses in 'ajam mode interspersed with improvised pieces on the santur and joza. (1:44)
- continued in part 2.
- A verse in 'ajam mode ending in bayat on the dukah degree. (0:27)
- Cadenza jalsa proceeding by movements from B flat towards D then from G towards the lower B flat. (0:59)
- Meyana in bayat mode composed of three parts sung to the words "nazenine men", "jahane men", "ouh", and followed by a descent towards the tonic B flat on the words "umide man". (1:34)
- Piece "Saba" including two sung verses in saba mode followed by a return to 'ajam. (2:57)
- Two verses in 'ajam mode ending with a descent to the dukah degree. (4:50)
- Final teslim, a descent from B flat to the one an octave lower. (7:11)
- Peste "Labis Dhireebi", ancient traditional song (author unknown) in 'ajam mode and 12/4 yugrug rhythm. (7:34)
أغنية لابس ضريبي
لابس ضريبي آه ويلة ويلة * فوكَ الحبر الزبون
سافر حبيبي آه ويلة ويلة * و اهلي فلا يدرون
بيني و بينك آه ويلة ويلة * حتى الهوى ما فات
لايكَ العينك آه ويلة ويلة * كحل الحجر يا هواي
نايم لو واعي آه ويلة ويلة * حجي الحجيته وياك
للنجم راعي آه ويلة ويلة * خليتني يا هواي
Download Maqam 'Ajam 'Ushayran in mp3 format.
Download Labis Dhireebi in mp3 format.
*
Maqam 'Ajam, peste "Chitalni Akhal al-'Ain" and "Nar bi Wajnitak Lo Nur"
Yusuf Omar
Private concert, 1978
Baghdad, Iraq.
Two traditional Baghdadi pestes in 'ajam mode.
- Chitalni Akhal al-'Ain ("The dark-eyed beauty has killed me"), author unknown, 12/4 yugrug rhythm.
- Nar bi Wajnitak Lo Nur" ("Is that fire glowing from your cheeks?"), composed by Muhammad al-Qubbanchi, lyrics by Mulla 'Abbud al-Karkhi (1861 - 1946), 6/8 sengin sama'i rhythm.
- جتلني اكحل العين، اغنيه بغداديه قديمه من نغم العجم و ايقاع اليكَركَ ٤/١٢
جتلني اكحل العين * ضحك و بَين سٍنه
حبس كَلبي بالمحبس * ابو حجل اليرنه
لابس جتايه خضرة * نازع جتايه خضرة
ايدي و ايدك للبصرة * حبيبي ما اجوز منه
لابس جتايه ام عروك * نازع جتايه ام عروك
ايدي و ايدك لكركوك * يا ابو حجل اليرنه
- نار بوجنتك لو نور، اغنيه من نغم العجم و ايقاع سنگين سماعي ٨/٦ من الحان محمد القبنجي و كلمات الملا عبود الكرخي
نار بوجنتك لو نجم * لو شامة مأخوذة برسم
رضوان لو شافك يهم * ما نظر مثلك بالحور
نار بوجنتك لو نور
بالحور مثلك ما نظر * كل الحسن بيك انحصر
وجنات الك شبه الكَمر * كل عكَل بيك مسحور
نار بوجنتك لو نور
مسحور بعيون الشهل * نشوان من ريكَه و ثمل
يتغنج بطوله العدل * حلو الشمايل مغرور
نار بوجنتك لو نور
منقوش ليلو و بشذر * جيده و جفوفه و الصدر
مكتوب عالوجنه سطر * حج و احرم و فوت زور
نار بوجنتك لو نور
زور و تهنى بحجتك * مغفورة عندي زلتك
كَتله ارد اشمن وجنتك * كَال اجتنب بيه محذور
نار بوجنتك لو نور
كَال الحذر مني اجتنب * حج و امحي عنك كل ذنب
كَتله ابسنه الوجنه * كَال الزلف بيه ناطور
Vocals: Yusuf Omar (d. 1987)
Santur: Muhammad Zaki Darwish
Joza: Shaoubi Ibrahim al-A'dhami (d. 1991)
Download Chitalni Akhal al-Ain in mp3 format.
Download Nar bi Wajnitak Lo Nur in mp3 format.
Yusuf Omar
Private concert, 1978
Baghdad, Iraq.
This basic maqam uses the 'ajam mode, transposition of the tchahargah on B flat, which is sometimes called 'ajam 'ushayran in reference to its lower tonic B flat. It is sung to classical Arabic poetry without rhythmic accompaniment. Poetry by Egyptian poet Ahmad Shawqi (1868-1936) and Iraqi poet and philosopher Jamil Sidqi al-Zahawi (1863-1936).
مقام العجم مقام اساسي يرتكز على درجه العجم و يسمي احيانا بالعجم عشيران لأنه يسلم على درجه العجم العشيران. يغنى بالشعر العربي الفصيح بدون ايقاع. اداء يوسف عمر و شعوبي ابراهيم الاعظمي على الجوزه و محمد زكي درويش على السنطور من حفل خاص عام ١٩٧٨. الشعر لأحمد شوقي (١٨٦٨-١٩٣٢) و جميل صدقي الزهاوي (١٨٦٣-١٩٣٦). تتبعه بسته بغدادية قديمة "لابس ضريبي" من نغم العجم و ايقاع اليكَركَ ٤/١٢
أحنينا الى ضفاف الغدير * ام نزوعا الى ديار الطيورٍ
ولتكن يا ناي قد حرمت عيشا * ضاحكا بين يانعات الزهورٍ
فلك اليوم من فمي نغمات * ناطقات عن لوعتي و زفيري
مات فيك الهوى وضاعت أمانٍ * كنا احلى من ابتسام الثغورِ
كنت تصغي الى شجي الاغاني * فأسمع اليوم أنَتي و زفيري
أحمامة غنت بجانب دجلة * لم يبقى مستمع اليك فطيري
يا عندليب الروض القى من الربى * بعض القصيد كشاعر مشهورِ
- Measured instrumental introduction.
- Unmeasured introduction on the santur and joza. (0:29)
- Tahrir in 'ajam mode on the words "faryade men jenejanem". (0:46)
- Instrumental part on the santur picking up the tahrir melody. (1:16)
- Five verses in 'ajam mode interspersed with improvised pieces on the santur and joza. (1:44)
- continued in part 2.
- A verse in 'ajam mode ending in bayat on the dukah degree. (0:27)
- Cadenza jalsa proceeding by movements from B flat towards D then from G towards the lower B flat. (0:59)
- Meyana in bayat mode composed of three parts sung to the words "nazenine men", "jahane men", "ouh", and followed by a descent towards the tonic B flat on the words "umide man". (1:34)
- Piece "Saba" including two sung verses in saba mode followed by a return to 'ajam. (2:57)
- Two verses in 'ajam mode ending with a descent to the dukah degree. (4:50)
- Final teslim, a descent from B flat to the one an octave lower. (7:11)
- Peste "Labis Dhireebi", ancient traditional song (author unknown) in 'ajam mode and 12/4 yugrug rhythm. (7:34)
أغنية لابس ضريبي
لابس ضريبي آه ويلة ويلة * فوكَ الحبر الزبون
سافر حبيبي آه ويلة ويلة * و اهلي فلا يدرون
بيني و بينك آه ويلة ويلة * حتى الهوى ما فات
لايكَ العينك آه ويلة ويلة * كحل الحجر يا هواي
نايم لو واعي آه ويلة ويلة * حجي الحجيته وياك
للنجم راعي آه ويلة ويلة * خليتني يا هواي
Download Maqam 'Ajam 'Ushayran in mp3 format.
Download Labis Dhireebi in mp3 format.
*
Maqam 'Ajam, peste "Chitalni Akhal al-'Ain" and "Nar bi Wajnitak Lo Nur"
Yusuf Omar
Private concert, 1978
Baghdad, Iraq.
Two traditional Baghdadi pestes in 'ajam mode.
- Chitalni Akhal al-'Ain ("The dark-eyed beauty has killed me"), author unknown, 12/4 yugrug rhythm.
- Nar bi Wajnitak Lo Nur" ("Is that fire glowing from your cheeks?"), composed by Muhammad al-Qubbanchi, lyrics by Mulla 'Abbud al-Karkhi (1861 - 1946), 6/8 sengin sama'i rhythm.
- جتلني اكحل العين، اغنيه بغداديه قديمه من نغم العجم و ايقاع اليكَركَ ٤/١٢
جتلني اكحل العين * ضحك و بَين سٍنه
حبس كَلبي بالمحبس * ابو حجل اليرنه
لابس جتايه خضرة * نازع جتايه خضرة
ايدي و ايدك للبصرة * حبيبي ما اجوز منه
لابس جتايه ام عروك * نازع جتايه ام عروك
ايدي و ايدك لكركوك * يا ابو حجل اليرنه
- نار بوجنتك لو نور، اغنيه من نغم العجم و ايقاع سنگين سماعي ٨/٦ من الحان محمد القبنجي و كلمات الملا عبود الكرخي
نار بوجنتك لو نجم * لو شامة مأخوذة برسم
رضوان لو شافك يهم * ما نظر مثلك بالحور
نار بوجنتك لو نور
بالحور مثلك ما نظر * كل الحسن بيك انحصر
وجنات الك شبه الكَمر * كل عكَل بيك مسحور
نار بوجنتك لو نور
مسحور بعيون الشهل * نشوان من ريكَه و ثمل
يتغنج بطوله العدل * حلو الشمايل مغرور
نار بوجنتك لو نور
منقوش ليلو و بشذر * جيده و جفوفه و الصدر
مكتوب عالوجنه سطر * حج و احرم و فوت زور
نار بوجنتك لو نور
زور و تهنى بحجتك * مغفورة عندي زلتك
كَتله ارد اشمن وجنتك * كَال اجتنب بيه محذور
نار بوجنتك لو نور
كَال الحذر مني اجتنب * حج و امحي عنك كل ذنب
كَتله ابسنه الوجنه * كَال الزلف بيه ناطور
Vocals: Yusuf Omar (d. 1987)
Santur: Muhammad Zaki Darwish
Joza: Shaoubi Ibrahim al-A'dhami (d. 1991)
Download Chitalni Akhal al-Ain in mp3 format.
Download Nar bi Wajnitak Lo Nur in mp3 format.
Wednesday, June 17, 2009
Maqam Mahmudi - Yusuf Omar مقام محمودي - يوسف عمر
Maqam Mahmudi and Peste "Sadoni wu Inhallait"
Yusuf Omar
Private concert, 1975.
Baghdad, Iraq
مقام المحمودي فرع من مقام البيات يرتكز على درجه الدوكَاه (ري) و يصور على اي درجة كانت. يغنى بالموال البغدادي الزهيري و موسيقاه خاضعه لايقاع اليكَركَ ٤/١٢ من التحرير الى التسليم. تدخل في اداءه قطع الجبوري، السيكَاه، المكَابل، المثلثه، العمر كَله، القوريات، القريباش، الجهاركَاه، و الآيدن. تتبعه بسته قديمة "صادوني و انحليت" من نغم البيات. اداء يوسف عمر مع عازف الجوزه شعوبي ابراهيم الاعظمي و عازف السنطور محمد زكي درويش من حفله خاصه في عام ١٩٧٥. .
The Maqam Mahmudi is derived from the Maqam Bayat and is sung to a colloquial Baghdadi mawwal (zuhayri) in the higher register accompanied by the 12/4 yugrug rhythm. It includes the following modulating pieces: Juburi, Seigah, Mugabal, Mthaltha, 'Umar Gallah, Quriyat, Qaryabash, Jahargah and Eiden. Followed here by an ancient traditional peste "Sadoni wu Inhallait" in bayat mode and 6/4 sengin sama'i rhythmic accompaniment.
- The maqam starts with a badwa (sayha) in mahmudi mode to the words "la wallah ya 'uyuni".
- A verse of the zuhayri in mahmudi mode, descending from the sahm degree to the muhayyar. (0:23)
- A verse in juburi (bayat) mode. (0:45)
- A verse in mahmudi mode. (1:24)
- Instrumental interlude in bayat mode. (1:45)
- A verse in mahmudi mode ending in seigah. (2:03)
- Musical interlude in bayat mode. (3:00)
- A verse in juburi mode followed by a piece called "Umar Gallah" sung to the words "eluleh luleh luleh" (3:19)
- A piece called "Mugabal" (bayat) sung to the words "manaweil aweil waweil weil" (4:13)
- Instrumental interlude in bayat mode. (4:30)
- A vocal piece called "Mthaltha" (bayat on muhayyar degree) sung to the word "akh" followed by a musical interlude. (4:57)
- A verse in mahmudi mode followed by a piece called "Eiden". (5:32)
- A verse in jahargah mode repeated twice. (6:15)
- A vocal piece called "'Ali Zubar" sung to the words "diyéh, yé, yé" followed by the taslim in bayat mode. (7:01)
- Peste "Sadoni wu Inhallait", an ancient traditional song in bayat mode and a 6/4 sengin sama'i rhythm. (7:24)
Zuhayri mawwal:
ya men gharamak hirag jojai wajj fani
w-hrem 'uyuni lidhidh an-nom wa-jfani
mali amal bil-'umur ba'da wa-jifani
wi-mdam'i ma 'urfat 'al-khadd mini wi-shjara
wi-sh'alat galbi bi tannur il-gharam ishjara
hayim w la tis'al 'an hali minni ishjara
kuf il-malam w khalli il-biyya wi-chfani
الزهيري:
يا من غرامك حركَ جوجاي وجفاني
و حرم عيوني لذيذ النوم و اجفاني
مالي امل بالعمر بعداه و جفاني
و مدامعي ما عرفت عالخد مني و اشجره
و اشعلت كَلبي بتنور الغرام اشجره
هايم و لا تسأل عن حالي مني اشجره
كف الملام و خلي البيه و جفاني
بسته "صادوني و انحليت" أغنية قديمة من نغم البيات مع ايقاع سنكَين سماعي ٤/٦:
صادوني و انحليت ما بعد اوالف * داده ما بعد اوالف
ما صابني من هواي غير السوالف * داده غير السوالف
مظلومة تلفانة يا سيد داده * مظلومة مظلوم
كلجن يا مظلومات للكاظم امشن * داده للكاظم امشن
عد سيد السادات فكن حزنجن * داده فكن حزنجن
مظلومة تلفانة يا سيد داده * مظلومة مظلوم
sadoni wi-'nhallait ma ba'd awalif * dada ma ba'd awalif
ma sabini min hwai ghair is-suwalif * dada ghair is-suwalif
madhluma talfana ya sayyid dada * madhluma madhlum
kulchen ya madhlumat lil-kadhum imshen * dada lil-kadhum imshen
'id sayyid is-sadat fukken hizinchen * dada fukken hizinchen
madhluma talfana ya sayyid dada * madhluma madhlum
Vocals: Yusuf Omar (d. 1987)
Santur: Muhammad Zaki Darwish
Joza: Shaoubi Ibrahim al-A'dhami (d. 1991)
Download Maqam Mahmudi in mp3 format.
Download Sadoni wu Inhallait in mp3 format.
Yusuf Omar
Private concert, 1975.
Baghdad, Iraq
مقام المحمودي فرع من مقام البيات يرتكز على درجه الدوكَاه (ري) و يصور على اي درجة كانت. يغنى بالموال البغدادي الزهيري و موسيقاه خاضعه لايقاع اليكَركَ ٤/١٢ من التحرير الى التسليم. تدخل في اداءه قطع الجبوري، السيكَاه، المكَابل، المثلثه، العمر كَله، القوريات، القريباش، الجهاركَاه، و الآيدن. تتبعه بسته قديمة "صادوني و انحليت" من نغم البيات. اداء يوسف عمر مع عازف الجوزه شعوبي ابراهيم الاعظمي و عازف السنطور محمد زكي درويش من حفله خاصه في عام ١٩٧٥. .
The Maqam Mahmudi is derived from the Maqam Bayat and is sung to a colloquial Baghdadi mawwal (zuhayri) in the higher register accompanied by the 12/4 yugrug rhythm. It includes the following modulating pieces: Juburi, Seigah, Mugabal, Mthaltha, 'Umar Gallah, Quriyat, Qaryabash, Jahargah and Eiden. Followed here by an ancient traditional peste "Sadoni wu Inhallait" in bayat mode and 6/4 sengin sama'i rhythmic accompaniment.
- The maqam starts with a badwa (sayha) in mahmudi mode to the words "la wallah ya 'uyuni".
- A verse of the zuhayri in mahmudi mode, descending from the sahm degree to the muhayyar. (0:23)
- A verse in juburi (bayat) mode. (0:45)
- A verse in mahmudi mode. (1:24)
- Instrumental interlude in bayat mode. (1:45)
- A verse in mahmudi mode ending in seigah. (2:03)
- Musical interlude in bayat mode. (3:00)
- A verse in juburi mode followed by a piece called "Umar Gallah" sung to the words "eluleh luleh luleh" (3:19)
- A piece called "Mugabal" (bayat) sung to the words "manaweil aweil waweil weil" (4:13)
- Instrumental interlude in bayat mode. (4:30)
- A vocal piece called "Mthaltha" (bayat on muhayyar degree) sung to the word "akh" followed by a musical interlude. (4:57)
- A verse in mahmudi mode followed by a piece called "Eiden". (5:32)
- A verse in jahargah mode repeated twice. (6:15)
- A vocal piece called "'Ali Zubar" sung to the words "diyéh, yé, yé" followed by the taslim in bayat mode. (7:01)
- Peste "Sadoni wu Inhallait", an ancient traditional song in bayat mode and a 6/4 sengin sama'i rhythm. (7:24)
Zuhayri mawwal:
ya men gharamak hirag jojai wajj fani
w-hrem 'uyuni lidhidh an-nom wa-jfani
mali amal bil-'umur ba'da wa-jifani
wi-mdam'i ma 'urfat 'al-khadd mini wi-shjara
wi-sh'alat galbi bi tannur il-gharam ishjara
hayim w la tis'al 'an hali minni ishjara
kuf il-malam w khalli il-biyya wi-chfani
الزهيري:
يا من غرامك حركَ جوجاي وجفاني
و حرم عيوني لذيذ النوم و اجفاني
مالي امل بالعمر بعداه و جفاني
و مدامعي ما عرفت عالخد مني و اشجره
و اشعلت كَلبي بتنور الغرام اشجره
هايم و لا تسأل عن حالي مني اشجره
كف الملام و خلي البيه و جفاني
بسته "صادوني و انحليت" أغنية قديمة من نغم البيات مع ايقاع سنكَين سماعي ٤/٦:
صادوني و انحليت ما بعد اوالف * داده ما بعد اوالف
ما صابني من هواي غير السوالف * داده غير السوالف
مظلومة تلفانة يا سيد داده * مظلومة مظلوم
كلجن يا مظلومات للكاظم امشن * داده للكاظم امشن
عد سيد السادات فكن حزنجن * داده فكن حزنجن
مظلومة تلفانة يا سيد داده * مظلومة مظلوم
sadoni wi-'nhallait ma ba'd awalif * dada ma ba'd awalif
ma sabini min hwai ghair is-suwalif * dada ghair is-suwalif
madhluma talfana ya sayyid dada * madhluma madhlum
kulchen ya madhlumat lil-kadhum imshen * dada lil-kadhum imshen
'id sayyid is-sadat fukken hizinchen * dada fukken hizinchen
madhluma talfana ya sayyid dada * madhluma madhlum
Vocals: Yusuf Omar (d. 1987)
Santur: Muhammad Zaki Darwish
Joza: Shaoubi Ibrahim al-A'dhami (d. 1991)
Download Maqam Mahmudi in mp3 format.
Download Sadoni wu Inhallait in mp3 format.
Saturday, June 6, 2009
Maqam Sharqi Dukah ('Ushaq) - Yusuf Omar
Maqam Sharqi Dukah ('Ushaq) and Peste "Dizzani"
Yusuf Omar and al-Chalghi al-Baghdadi
Baghdad, Iraq (date unknown).
The Maqam Sharqi Dukah is derived from the Maqam Bayat, transposition of the bayat on the nawa degree. It is also called Sharqi 'Ushaq or 'Ushaq because it is often sung transposed on the muhayyar degree, and in Mosul it is called Sharqi Nawa. It is sung to a colloquial Baghdadi mawwal (zuhayri) with its music accompanied by the 4/4 wahda rhythm. It includes the following modulating pieces: arwah, 'ushaysh, urfa and husayni.
مقام الشرقي دوكَاه فرع من مقام البيات و يصور على درجة النوى. يسمى ايضا الشرقي عشاق او العشاق لأنه يغنى على درجة المحير، و في الموصل يسمى بالشرقي نوى. يغنى بالموال البغدادي (الزهيري) و موسيقاه خاضعة لإيقاع الوحده ٤/٤. تدخل فيه قطع الارواح، العشيش، الأورفه و الحسيني. من اداء يوسف عمر و فرقة الجالغي البغدادي (عبد الله علي، شعوبي ابراهيم، عبد الرزاق مجيد، كنعان صالح) تتبعه بستة قديمة "دزني واعرف مرامي" من نغم البيات وايقاع سنكَين سماعي.
الزهيري:
يا من لك الله من جور التصابي راح
عندي رضابك شهد لولا حظيت راح
ساعة الأنكثت مدمى اليودك راح
و اشوف كلبك علينا بالتجافي نوى
وبلابل الشوكَ غنت من فراكَك نوى
تكَدر تواصل حبيبك بعد ذاك النوى
بليله وتريح الذي بهواك عكَله راح
- Instrumental introduction in bayat mode.
- Tahrir to the words "la wallah galbi la billah ya ya ya ghanim" introducing the sharqi dukah mode. (0:36)
- Several verses of the zuhayri in sharqi dukah mode interspersed with musical interludes. (1:37)
- A piece called "Arwah" (husayni) consisting of a verse in arwah mode, followed by a piece called "'Ushaysh" (bayat) sung to the words "wiyay wiyay akh akh akh". (5:32)
- A piece called "Urfa". (7:17)
- Musical interlude in urfa mode. (7:40)
- A piece called "Husayni" followed by the taslim in bayat mode. (8:43)
- Traditional peste "Dizzani" in bayat mode.
Zuhayri mawwal:
ya man lak allah min jur it-tasabi rah
'indi ridhabak shahad lo la hdhayit rah
sa'at il-ankathit madma l-yiwidak rah
wa shuf galbak 'alaina bit-tijafi nuwa
wu blabil ish-shog ghannat min furagak nawa
tigdar tiwasil habibak ba'ad thak in-nawa
b-laila wu tireeh ilithi b-hwak 'agla rah
Traditional ancient peste "Dizzani" in bayat mode and 6/4 sengin sama'i rhythmic accompaniment.Composed by Mulla 'Uthman al-Musili.
بسته بغدادية قديمة "دزني واعرف مرامي" (الحان الملا عثمان الموصلي) من نغم البيات وايقاع سنكَين سماعي ٤/٦. من اداء يوسف عمر و فرقة الجالغي البغدادي (عبد الله علي، شعوبي ابراهيم، عبد الرزاق مجيد، كنعان صالح)
دزني و افهم مرامي * صادوني صيد الحمامي
دزني و على البستانِ * و العيون عيون الغزلانِ
يا حلو حبك سباني * يذبحونك وانا شعليه
دزني و افهم مرامي * صادوني صيد الحمامي
لو يشوفونك عمامي * يذبحونك وانا شعليه
يا ليل يا ليل * يا نور عينيه
دزني و على السطوحِ * و الزلف عالخد يلوحِ
يا حلو عذبت روحي * يذبحونك و انا شعليه
دزني و اعرف مرامي * باكَوني بوكَ الحرامي
لو يشوفونك عمامي * يذبحونك وانا شعليه
يا ليل يا ليل * يا نور عينيه
Peste:
dizzani wi-fhem maram i * sadoni sayd il-hamami
dizzani wi-'la 'l bustani * wi-l-'uyun 'uyun il-ghizlani
ya hilu hubbak sabani * yidhbahunak wa-na sh'alayya
dizzani wi-fhem marami * sadoni sayd il-hamami
lo yishufunak 'amami * yidhbahunak wa-na sh'alayya
ya lail ya lail ya lail * ya nur 'ainayya
dizzani wi-'la 'l-sutuhi * wi-l-zilif 'al-khadd yiluhi
ya hilu 'adhabir ruhi * yidhbahunak wa-na sh'alayya
dizzani wi-'ruf marami * bagoni bog il-harami
lo yishufunak 'amami * yidhbahunak wa-na sh'alayya
ya lail ya lail ya lail * ya nur 'ainayya
Vocals: Yusuf Omar (d. 1987)
Santur: Abdallah Ali
Joza: Shaoubi Ibrahim al-A'dhami (d. 1991)
Tabla: Abdul Razzaq Majid
Raqq: Kan'an Mohammed Salih
Download Maqam Sharqi Dukah in mp3 format.
Download Dizzani in mp3 format.
Yusuf Omar and al-Chalghi al-Baghdadi
Baghdad, Iraq (date unknown).
The Maqam Sharqi Dukah is derived from the Maqam Bayat, transposition of the bayat on the nawa degree. It is also called Sharqi 'Ushaq or 'Ushaq because it is often sung transposed on the muhayyar degree, and in Mosul it is called Sharqi Nawa. It is sung to a colloquial Baghdadi mawwal (zuhayri) with its music accompanied by the 4/4 wahda rhythm. It includes the following modulating pieces: arwah, 'ushaysh, urfa and husayni.
مقام الشرقي دوكَاه فرع من مقام البيات و يصور على درجة النوى. يسمى ايضا الشرقي عشاق او العشاق لأنه يغنى على درجة المحير، و في الموصل يسمى بالشرقي نوى. يغنى بالموال البغدادي (الزهيري) و موسيقاه خاضعة لإيقاع الوحده ٤/٤. تدخل فيه قطع الارواح، العشيش، الأورفه و الحسيني. من اداء يوسف عمر و فرقة الجالغي البغدادي (عبد الله علي، شعوبي ابراهيم، عبد الرزاق مجيد، كنعان صالح) تتبعه بستة قديمة "دزني واعرف مرامي" من نغم البيات وايقاع سنكَين سماعي.
الزهيري:
يا من لك الله من جور التصابي راح
عندي رضابك شهد لولا حظيت راح
ساعة الأنكثت مدمى اليودك راح
و اشوف كلبك علينا بالتجافي نوى
وبلابل الشوكَ غنت من فراكَك نوى
تكَدر تواصل حبيبك بعد ذاك النوى
بليله وتريح الذي بهواك عكَله راح
- Instrumental introduction in bayat mode.
- Tahrir to the words "la wallah galbi la billah ya ya ya ghanim" introducing the sharqi dukah mode. (0:36)
- Several verses of the zuhayri in sharqi dukah mode interspersed with musical interludes. (1:37)
- A piece called "Arwah" (husayni) consisting of a verse in arwah mode, followed by a piece called "'Ushaysh" (bayat) sung to the words "wiyay wiyay akh akh akh". (5:32)
- A piece called "Urfa". (7:17)
- Musical interlude in urfa mode. (7:40)
- A piece called "Husayni" followed by the taslim in bayat mode. (8:43)
- Traditional peste "Dizzani" in bayat mode.
Zuhayri mawwal:
ya man lak allah min jur it-tasabi rah
'indi ridhabak shahad lo la hdhayit rah
sa'at il-ankathit madma l-yiwidak rah
wa shuf galbak 'alaina bit-tijafi nuwa
wu blabil ish-shog ghannat min furagak nawa
tigdar tiwasil habibak ba'ad thak in-nawa
b-laila wu tireeh ilithi b-hwak 'agla rah
Traditional ancient peste "Dizzani" in bayat mode and 6/4 sengin sama'i rhythmic accompaniment.Composed by Mulla 'Uthman al-Musili.
بسته بغدادية قديمة "دزني واعرف مرامي" (الحان الملا عثمان الموصلي) من نغم البيات وايقاع سنكَين سماعي ٤/٦. من اداء يوسف عمر و فرقة الجالغي البغدادي (عبد الله علي، شعوبي ابراهيم، عبد الرزاق مجيد، كنعان صالح)
دزني و افهم مرامي * صادوني صيد الحمامي
دزني و على البستانِ * و العيون عيون الغزلانِ
يا حلو حبك سباني * يذبحونك وانا شعليه
دزني و افهم مرامي * صادوني صيد الحمامي
لو يشوفونك عمامي * يذبحونك وانا شعليه
يا ليل يا ليل * يا نور عينيه
دزني و على السطوحِ * و الزلف عالخد يلوحِ
يا حلو عذبت روحي * يذبحونك و انا شعليه
دزني و اعرف مرامي * باكَوني بوكَ الحرامي
لو يشوفونك عمامي * يذبحونك وانا شعليه
يا ليل يا ليل * يا نور عينيه
Peste:
dizzani wi-fhem maram i * sadoni sayd il-hamami
dizzani wi-'la 'l bustani * wi-l-'uyun 'uyun il-ghizlani
ya hilu hubbak sabani * yidhbahunak wa-na sh'alayya
dizzani wi-fhem marami * sadoni sayd il-hamami
lo yishufunak 'amami * yidhbahunak wa-na sh'alayya
ya lail ya lail ya lail * ya nur 'ainayya
dizzani wi-'la 'l-sutuhi * wi-l-zilif 'al-khadd yiluhi
ya hilu 'adhabir ruhi * yidhbahunak wa-na sh'alayya
dizzani wi-'ruf marami * bagoni bog il-harami
lo yishufunak 'amami * yidhbahunak wa-na sh'alayya
ya lail ya lail ya lail * ya nur 'ainayya
Vocals: Yusuf Omar (d. 1987)
Santur: Abdallah Ali
Joza: Shaoubi Ibrahim al-A'dhami (d. 1991)
Tabla: Abdul Razzaq Majid
Raqq: Kan'an Mohammed Salih
Download Maqam Sharqi Dukah in mp3 format.
Download Dizzani in mp3 format.
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