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David.B
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Maqam Nakriz, questions ?
I first came on the forum to talk about Nakriz (Nikriz) and I'm back on the subject because I'm not satisfied by my old analysis. So I'm going to work
in real time and ask you, point after point, what is not clear for me.
I hope you'll be able to help me 
My first question is about starting notes, not really used nowadays, but I wonder if you know the starting for this maqam ? Here I have GG C Eb G,
it's used at the beginning of the longa and at the beginning of the taksim, so I wonder...
My second question is about this phrase :
[emphasis on Hijaz] C, BB C BB, C D C BB AA# BB C BB AA# BB C D... [emphasis on Nahawand G]
How do you understand the AA# ?
The only explanation I found is in Marcus dissertation at page 583 where he gives different "notes below the tonic indicated by theorists and
present-day musicians" :
AA# BB / C D Eb F# G A Bb c (from the lower to the highest note)
Could you confirm, or infirm ? Anything else ?
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mrkmni
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Hi David,
Do you know this website?
http://maqamworld.com/maqamat/nawa-athar.html#nikriz
As far as I know the maqam starts on C then D then Eb F#....as shown on the website..
There is a famous song of Warda on this maqam...
But honestly I dont like the maqam becase it is either nahawand or Hijaz. mixing both brings terrible melody...
but that is a personal opinion ofcourse ...
regards,
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John Erlich
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How about the "Nikriz Sirto"?
http://www.last.fm/music/Yorgo+Bacanos/_/Nikriz+Sirto ...or...
http://www.youtube.com/watch?v=4uI896qlcaY&feature=PlayList&... ...or...
Sample or buy download here: http://www.amazon.com/Yasemin-Necati-Celik/dp/B000056W1F
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David.B
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Hi mrkmni,
Yes I know maqam world, and if you check out the longa Nikriz, this is the longa I'm studying and the starting notes are GG C Eb G. This is the way
you enter in the maqam and not the beginning of the scale. For example you enter into Shadd `Araban on G with a touch of F# or C, this is a
convention, an old fashion.
I don't know the song by Warda, if you've got the tittle give it to me, I'll check out the beginning.
Yes Hijaz is really strong in Nakriz and it's tricky to keep on C, but almost all the time you play on the second jins, Nahawand on G ; the first jins
is used almost only on final cadences. Also I don't judge if it's nice or not, it's a part of the maqam system and I'm studying it like a good
schoolboy 
John, next time on my computer I check out your links 
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David.B
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John,
Thanks for the for the link, I'm listening to the YouTube one. Nice ! It reminds me good a piece interpreted by Mounir Bachir too, am I right ? But
Nikriz Sirto is Turkish/Greek and doesn't share the same scale as the Arab Nakriz :
http://www.neyzen.com/images/notalar/nikriz/nikriz_sirto_tanburi_ce...
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David.B
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About this phrase :
I first thought about a chromaticism but the AA is absent.
Also, AA# can't be a dint because the movement is continuous.
New question :
What do you understand by "precadential accidental" ?
For example, G A Bb, c db c, d, Bb A G (db as a dunt which function as precadential accidental within Nahawand tetra.).
Does it suppose we should have a big rest on G or could we consider an intermediary rest on G before a bigger one on C (Nakriz) ? In other words I
wonder if a precadential accidental is used before a final cadence on the maqam we play or if it also works for intermediary cadences on secondary
maqamat ? In the former case it means the "db" from our example is just a temporary modulation to Nahawand Murassa`, isn't it ?
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David.B
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Here I have an other phrase where the accidental, A, can't be seen as a chromaticism neither a dint :
A Ab G, F Eb D, C C (of course I don't wrote ornaments in my written phrases for clarity. If it's necessary I can record them)
I guess the A introduce a modulation from Nahawand to Nahawand Kabir which is the next maqam...
Tell me if you already heard this kind of introduction to a new maqam by following this way, where two different notes (Ab and A) from two different
maqamat (Nahawand and Nahawand Kabir) are played together ?
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David.B
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Today a new phrase is bothering me. Long and tricky so I recorded it :
http://www.4shared.com/file/166128130/38e61930/07_-_Nakriz_0523.htm...
Before we have a strong cadence on Nakriz and at 00:40 a BB natural which leads to Nahawand.
At the beginning I see the Qarar on c like an ornament because the focus is on the Bb. So I wonder about the Bb : Is it a directional note which leads
to the G (Nahawand on G), or is it a modulation ? The only maqam I found with this scale : BBb C D Eb F# G A Bb, is the the maqam Tarz Jadid in the
`Ajam fasilah which share the same notes like Nakriz. The "chord" BBb D G, at 00:36 could confirm such a maqam. Does anybody know this maqam ? Any
records of it ? I already know the Tarz Jadid in the Nahawand fasilah, it's called Grand Nahawand in Lebanon and minor melodic in West. You might have
an other name for this one in the `Ajam fasilah. If you've got an other opinion about this piece just tell me, I would feel less alone 
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David.B
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Right now I'm at the end.
Here it is my own transcription of the Longa,
http://www.4shared.com/file/166560768/e462d5cc/Longa_Nakriz.html
which you can hear there :
http://www.4shared.com/file/166560679/8bbcbe2c/07_-_Nakriz_0637.htm...
Between 00:23 and 01:14 I guess this is impro... Has anyone already heard this Longa, I wonder if it's traditional ?
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David.B
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My own analysis of :
http://www.mikeouds.com/audio/real/george_abyad_nakriz.rm
00:00
GG C Eb G -> idem at the beginning of the Longa at 06:45
00:05
Unfolding on the second jins -> Nahawand G
00:31
Qarar on D -> Hijaz
00:35
BB as a dint to C within Nahawand tetrachord on GG
00:42
AA# as a note below the tonic in maqam Nakriz (Arab Music Theory in the Modern Period, page 583)
00:49
Nahawand G
01:04
BB natural -> Nakriz
01:15
Nahawand G
01:45
Qarar on c which leads to Nahawand on GG
01:52
Nahawand GG
02:00
Nahawand G
02:05
Nahawand GG
02:12
Nahawand G
02:50
BB natural -> Nakriz
03:02
Nahawand G
03:09
E# as a dint to F# within Hijaz tetrachord
03:11
E# idem
03:14
db -> 2 points of view :
- db as dunt to c which function as a precadential accidental
- db as the first note of Hijaz tetrachord on c in Nahawand Murassa` on G
03:19
db -> idem
03:24
Mix of C, GG and CC as a drone of G which leads to Nakriz
03:43
Nahawand
03:48
G strings stopped on A, then this succession of notes : A Ab G -> introduction of Nahawand Kabir
03:55
Tremolo on A -> Nahawand Kabir
04:08
Ab (and B) -> Nahawand (Hijazi)
04:17
Nakriz
04:34
E -> Tarz Jadid on G (Nahawand fasilah)
= Grand Nahawand on G
= Melodic minor on G
04:40
Nahawand G
04:50
Nakriz
04:54
B used chromatically within Nahawand on G tetrachord
05:23
Qarar on c -> Nakriz on high register or ornament of the Bb
Bb -> Directional note to G (Nahawand G) with the leading tone F# at 05:45 or maqam Tarz Jadid in `Ajam fasilah
05:57
“Chord” BBb D G -> Tarz Jadid in `Ajam fasilah ?
06:01
BB which leads to Nahawand
06:11
Glissando F -> Gb as a precadential accidental within maqam Nahawand
06:15
AA natural -> directional note + BB natural = double “leading tone” to C within maqam Nahawand
06:24
F# -> Nakriz
06:45
Longa
My own score of the Longa :
http://www.4shared.com/file/166560768/e462d5cc/Longa_Nakriz.html
Feel free to comment, my purpose is to learn and alone it's far away from perfection. Also many things can be discuss as many different points of
view, only the author of this taksim has the key for every notes...
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myeyes2020
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David,
This is super! Thanks for sharing.
Would someone be so kind as to explain what is a "dunt" and a "preaccidental?"
thanks,
Adel
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David.B
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No problem Adel, I'm happy to have some feedback
A dunt is a note just above an other one which is not in the maqam, for example if you hear F Gb F within maqam Nahawand (when no note is added it
means the tonic is C, the "standard" Nahawand) Gb does not belong to Nahawand and it's a dunt to F which belong to the maqam. This kind of note is
really useful because it cuts the natural attraction from C to G and creates a imbalance where the oud player starts a come back on C, this is the
cadence, until the rest on the tonic C.
So the note is accidental (not in the maqam) and precadential (it announces the final cadence on the tonic of the maqam).
Just try it, play something on Nahawand and you should focus on G (Kurd tetrachord). When you want to stop play F Gb F (with a glissando for example)
and you will fall softly to the C...
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myeyes2020
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Thanks David,
I can't wait to try it. I must say, I haven't visited this forum in a while and this post was an enjoyable pleasant surprise and academic learning
experience. Looking forward to studiying your work on this piece in more detail
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mrkmni
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Hi David,
I think the warda song is "Garrab Nar elghira"
http://www.youtube.com/watch?v=ZPva8_W7OI0
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David.B
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Adel, "academic" ! That's the word I use to speak about George Abyad
I did the same on Shadd `Araban :
http://www.mikeouds.com/messageboard/viewthread.php?tid=9746#pid665...
mrkmni, thanks for the link ! I converted it to mp3 for further studies...
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David.B
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Quote: Originally posted by mrkmni  | Hi David,
I think the warda song is "Garrab Nar elghira"
[url]http://www.youtube.com/watch?v=ZPva8_W7OI0 |
[/url]
Wow, so difficult for me to get the notes from voices or synthesizer ! I can grab some interesting things, like a progression with half steps and some
notes which don't belong to the maqam (modulations ? accidentals ?). Are you able to play it on oud ?
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mrkmni
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Hi David,
We can paly any song with an oud.
I have a good news for you, I found a Bashraf Nikriz for someone called Dimitri...
You are right; except the first phrase all the rest is the scale downward from G to C... even the song of warda has a lot resemblense to this
pesrev...
I am planning to post it with my playing soon Inshallah...
But I am stick now with a lounga nahawand very sweet.
regards,
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David.B
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Hi mrkmni (I don't even know your first name...),
Aargh, I only work on oud and my ear is monomaniac. If you're able to play it on oud just do something simple (on this thread) to get the principal
notes, that's what I'm not able to do. Of course don't feel obliged to do it. I would be happy to dig a bit more this maqam by analyzing some short
phrases.
About Nahawand lounga, I know this famous one :
http://www.maqamworld.com/realaudio/clips/nahawand/nahawand_longa_j...
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David.B
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Yes about Dimitri :
http://www.oud.gr/greek.htm
I met him on Facebook !
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mrkmni
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Hi David,
It is not that Dimitri, it is Dimitri Kandemir, not sure if he is greek, but he is the composer of the bashraf...
yes, that is lounga; I posted the note.
Well I should correct; we do not know the pesrev composer.
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David.B
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At last I managed to record myself :
http://www.4shared.com/file/209205561/320bc987/Taksim_Nakriz_Take_2...
This is my own cover of the taksim Nakriz from "Taksims oud" by George Abyad.
This is a student work far away from an artistic piece built in a recording studio, so feel free to criticize...
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mrkmni
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Hi David,
This is the same than the video?
the sound is better.
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David.B
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Hi mrkmni,
This is my last take. The oud and the strings are different but the way I recorded myself is the same : MiniDisc recorder + little (Sony) microphone ;
excepted for the connexion between the MD player and the computer, I changed the standard cable for a gold plated one. BTW, the most significant thing
is that the link above is MP3 and not video...
PS
I changed my mood
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martino2010
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Hi, all , I am really impressed by your exchanges, I think I am going to learn a lot, martino
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David.B
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