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Author: Subject: Maqam Dalanshin - a bit of explanation?
Rambaldi47
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[*] posted on 8-6-2014 at 10:24 AM
Maqam Dalanshin - a bit of explanation?


I'd like to ask about the way this maqam came to be.
In compositions of adwar as Bustan Gamalak, I seem to hear
the majority of the recording concentrated on Saba, and it's
evident both in the intro taqsim and madhab/dawr, but then
only at the end, with a very abrupt shift, going down to Rast.

I suppose some composers had more successful compositions
in this maqam, and other borrowed maqamat such as Bastanikar,
than others, but it just doesn't seem to sound or work as well as
in compositions in other maqamat. Saba is perhaps the problematic,
limiting component.

Dawr "Bustan Gamalak" - sheikh Yusuf al-Manyalawi




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nile pirate
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[*] posted on 8-7-2014 at 04:08 AM


Hello there
without emphasising the saba jins on husseini it would be a straight forward rast, composers do not want to sound common and sometimes overdo it. In my humble opnion it should not be counted as a separate maqam but rather a transient chromatic colouring same as sazkar and other rast derivatives
try
Dawr Eshna we shofna by Moh Othman/Abdu Alhamoli- you may find a smoother transition from saba to rast

https://www.youtube.com/watch?feature=player_detailpage&v=nI7d2-...
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spartan
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[*] posted on 8-7-2014 at 10:09 PM


If you categorize maqams from their seyir phrasing you may have 3 families:
1. Ascending
2. Descending
3. Both Ascending-Descending

But since seyir it isnt a theoritical invention, but a practice, it seems that there is another seyir that appears in very few maqams. In this particular seyir, the tonic and the final jin appears slowly, or even at the end. Just like it is hiding, and revealled little by little.
This is the case of maqams like Bastanikkah, Rahat Al Arwah or Dalnishin. At the last one the focus is on Saba at Huseyini pitch. At the end Rast 5chord appears.


In D' Erlanger's book (In French "La Music Arabe" p. 88) it's written :
"Melodic Movement : Starting from high c (Kurdan) play both Saba and Bayati from Huseyni pitch. Then go higher playin Bushalik in D and Cargah in F.
Descending with Rast in C Kurdan and Bushalik in G Nawa at one melodic movement.
Finally passing from Rast in C (tonic) with B quarter tone as pivot .

sorry for my broken english!
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Rambaldi47
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[*] posted on 8-11-2014 at 10:27 AM


Much appreciated, spartan and nile pirate.

This is a very useful analysis by Sami Abu Shumays of the madhab, as recorded by
Saleh Abdel Hay:
http://www.maqamlessons.com/analysis/ijma3shufna.html

I also love dawr Fouadi Amro 'Agib.
Sheikh Yusuf al-Manyalawi has a masterful 18min long recording of it
but I can't really find it online.




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Alfaraby
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[*] posted on 8-12-2014 at 06:06 AM


Shaleh Abdol Hay in Maqam Dalanshine; 2 parts:

1) https://www.youtube.com/watch?v=zHEJV8p_MH8
2) https://www.youtube.com/watch?v=fuj5KTT_qlw

As much as I can recall, the most famous piece in Dalnshine is in Ya Mal El Sham

Enjoy
Yours indeed
Alfaraby




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Rambaldi47
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[*] posted on 8-15-2014 at 05:59 AM


Thanks, Alfaraby. Awesome short wasla in Dalanshin.
One question though. Do they shift and end in 'Ajam
after the move to Rast? It's an intriguing combination.




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