watch this

Wow... I love the way his fingers wait for his other hand to play the bass drone before he begins playing again... but all in a split second! He has amazing brain control, not to mention musical talent!! Thanks for the vid Leon, do you know any more like this?

Hi Maran and the others

That's a fantastic roll at 3.14, Ara throws these glorious lines in when you least expect it - a real master.

Hi Udi Owain, how are you, great to see you the other day, lovely to see your playing again - a real pleasure. I watched this again an I see what you mean, he kind of draws space into a very very fast tempo, I think it is so dynamic.

Cheers fom a very hot South coast

Leon

Hi Udi Leon! I am good thanks, yourself? It was great seeing you, your playing (and your Oud ) again too! You absolutely astonish me with your ability to make so many sounds on the Oud. Somtimes I heard Turkish, Armenian, Greek, and Arabic all in one phrase. I've been meaning to U2U you and flood you with compliments, but I haven't had time

Something I noticed with Richard's playing, is that he kind of lifts his fingers really fast and high off the notes after he has hit them... is there a reason or is it just technique?

Cheers from... er, a very hot North coast... but overcast!

Hi Owain

Thanks for the compliments - all taken with full gratitude, its hard to be objective sometimes, you are very kind

Check this interview with Richard H on youtube

http://www.youtube.com/watch?v=yuCXl_9XTZY&feature=related

see from 3.40 onwards, listen to that tone, really strong but then watch how he curls his fingers round to use his nail. I think that percussive lift to the finger relates to this ...

but what a tone !!!

Leon

Hi Jonathan

Is that how Udi Hrant gets that astounding soulful and sustained 'howl' from his oud - what a teacher to have though.

I was just watching John Bilezikian doing similar and amazing feats of soulful and sustained tone and his fingering looks similar just here

http://www.youtube.com/watch?v=na6vaN6AMVk&feature=related

just listen that sound and the passion in those held glissandos/carpmas i the first 40 seconds

Late night surfing with oud in hand ... time for bed ... everyone else is asleep

Leon

Hi Jonathan

I agree, I love this version, what's interesting is that I can hear the folk roots emerging from the underlying structure of the piece. His tone is astonishing and the picking hand so relaxed.

Here's a different version I've just seen, this time a Huseyni Taksim, but beautifully played by Cinucen Tanrikorur

http://www.youtube.com/watch?v=M2_Y49QKmpQ

Beautiful phrasing and 'ornamentation' (I don't like that phrase - sounds like something you bolt on to a dodgy style!! - but you know what I mean).

Leon

Quote: Originally posted by Jonathan

I could go on forever about how beautiful Bilezikjian's playing is. It is absolutely brilliant. Soulful. 100% spot-on intonation. And, perhaps just as important, he breathes new life into every composition he plays. Here's one of my favorites, Husseini Saz Semai: http://www.youtube.com/watch?v=JUbDxEbIzWE In Bilezikjian's hands, it is not some museum piece--it is a living, breathing composition that continues to develop. It is not some slavish copy of the original composition. I can't help but smile every time I hear it. I have been blessed to hear him perform the song live a number of times, and the man continues to develop the composition each time he plays it. Brilliant.