volaya
Oud Lover
Posts: 12
Registered: 11-18-2020
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Modulations/Sayr for taqsim in Zikrayati
Hi all,
I am currently learning Zikrayati, and I would like to get some suggestions about how to develop its internal taqsim.
The song arrives to the taqsim part playing bayati in G, and the last part after the taqsim starts in nahawand in C. What is the usual (or most
canonical) way to play that taqsim and go from one point to another? Listening to several renditions of the tune, I found different alternatives, with
more or less modulations. While all of them sound great to me, I would like to know your opinions about the most common way of doing it, so I can have
a "safe" starting point.
Thanks a lot!
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Brian Prunka
Oud Junkie
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Registered: 1-30-2004
Location: Brooklyn, NY
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The best thing you can do is listen and internalize the sound of different options, and then in your taqsim, try to listen to your "mind's ear" for
guidance where to go next. This is challenging, especially at first, but it solves 90% of the problems associated with improvising. Thinking in
terms of rules, theory and other abstract mental concepts rather than in sound will always end up sounding somewhat forced or contrived, even when
it's "correct."
That said, it can be helpful to have some theoretical or conceptual frameworks to work with as guideposts! As long as one understands that the goal is
ultimatelu improve your ability to listen and focus, there's nothing wrong with some 'training wheels' so to speak.
So to that end, the 'safe' and 'canonical' way to get from bayati 5 to nahawand 1 simply utilizes nahawand 8:
Q. If you think bayati, what is the most common place to go?
A. Nahawand on 4
Q. If bayati is on G, what is 4?
A. C (G A B C - 1 2 3 4)
So if you just go straight from bayati G to to nahawand on the C above, then you are back in nahawand and you just have to descend
from 8 to 1. In this case, you typically would use a little B natural to solidify the nahawand on the high C (or even A natural as well). Then when
descending back to 1 you would use more Bb (and Ab).
For the descent you can use the stock chromatic phrase that Qasabgi used, or some variation, or not (though I'd recommend learning it, as it's almost
a part of the composition at this point).
As you note, there are a lot of other possibilities, so once you feel comfortable doing it this way (and following your ear), you can try
incorporating some other options.
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volaya
Oud Lover
Posts: 12
Registered: 11-18-2020
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Many thanks your the ideas, Brian!
Actually, I try to follow my ear, and I come up with phrases and ideas that sound kinda good to me, but since arabic music is not what I would call my
"native" style of music, I am always afraid of that not sounding "true" or "correct" to someone who has his/her ear fully rooted in the arabic musical
tradition. That's why I ask for the theory as well, to try to ensure that I am not going the wrong way. Similar to what happens when you speak a
foreign language, I guess... :-)
In any case, those ideas that you mention are really useful. Thanks again for your help!
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