| Pages:
1
2
3 |
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
is it possible to get them up somewhere downloadable? Everyone should have them... this stuff is GLOBAL ART HERITAGE.
|
|
|
Reda Aouad
Oud Junkie
Posts: 553
Registered: 1-2-2009
Location: Lebanon
Member Is Offline
Mood: No Mood
|
|
| Quote: | Originally Posted by bibo10
Reda, how did u get ur hands on these!!! |
I was arranging my files again :P
| Quote: | Originally Posted by Edward Powell
is it possible to get them up somewhere downloadable? Everyone should have them... this stuff is GLOBAL ART HERITAGE |
I sent Mike a U2U waiting for his reply to create a section dedicated for Al Qasabji on his website.
|
|
|
Reda Aouad
Oud Junkie
Posts: 553
Registered: 1-2-2009
Location: Lebanon
Member Is Offline
Mood: No Mood
|
|
This an article (in Arabic) on Al Qasabji entitled "Al Qasabji.. the oppressed genius?" from "Al Akhbar" lebanese newspaper (March 26, 2008), 42 years
after he passed away.
|
|
|
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
| Quote: | Originally posted by Reda Aouad
This an article (in Arabic) on Al Qasabji entitled "Al Qasabji.. the oppressed genius?" from "Al Akhbar" lebanese newspaper (March 26, 2008), 42 years
after he passed away. |
Wouldn't it be great to have a page dedicated to Him, and have this article translated?!
|
|
|
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
one thing I really liked in this one is how he often uses a small modulation to the "masri sazkar" tetra-chord. THIS IS REALLY REALLY ARABIC AND YOU
WONT FIND IT IN OTTOMAN/GREEK music...
It is like: DO - RE - MI (1/4b) - FA (1/4b)
wierd, eh?
you find this all the time in Egyptian folk!
|
|
|
Reda Aouad
Oud Junkie
Posts: 553
Registered: 1-2-2009
Location: Lebanon
Member Is Offline
Mood: No Mood
|
|
FA 1/2b or FA 1/4#?! Never heard of this tetrachord.
|
|
|
Reda Aouad
Oud Junkie
Posts: 553
Registered: 1-2-2009
Location: Lebanon
Member Is Offline
Mood: No Mood
|
|
Raqsat (The Dance of) Sayyid Mohammad - Bayat:
http://www.wikifortio.com/813152/Raqsat%20Sayyid%20Mohammad%20-%20B...
And here is the music sheet
|
|
|
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
| Quote: | Originally posted by Reda Aouad
FA 1/2b or FA 1/4#?! Never heard of this tetrachord. |
Fa 1/4b !!!
I think you will not find this one in ANY book! But it is very widely used, especially in folk music.
Beautiful!
Listen for it.
|
|
|
katakofka
Oud Junkie
Posts: 811
Registered: 1-24-2008
Location: Cleveland
Member Is Offline
Mood: Gypsy
|
|
| Quote: | Originally posted by Edward Powell
one thing I really liked in this one is how he often uses a small modulation to the "masri sazkar" tetra-chord. THIS IS REALLY REALLY ARABIC AND YOU
WONT FIND IT IN OTTOMAN/GREEK music...
It is like: DO - RE - MI (1/4b) - FA (1/4b)
wierd, eh?
you find this all the time in Egyptian folk! |
This is a jins siga on D. Same thing can be done on G (LA 1/4 and Si 1/4), on C too ( C, D 1/4, Mi 1/4) doing jins siga on G and C respectively. I
love those since they are unusual. In one of my videos on youtube you see that I have done it on F (G 1/4 and A 1/4) and C in the music called birdy
namnam.
At 2.48 min the music began in that video
http://www.youtube.com/watch?v=ZWLTua4DcJQ&feature=channel_page
|
|
|
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
| Quote: | Originally posted by katakofka
This is a jins siga on D. Same thing can be done on G (LA 1/4 and Si 1/4), on C too ( C, D 1/4, Mi 1/4) doing jins siga on G and C respectively. I
love those since they are unusual. In one of my videos on youtube you see that I have done it on F (G 1/4 and A 1/4) and C in the music called birdy
namnam.
At 2.48 min the music began in that video
http://www.youtube.com/watch?v=ZWLTua4DcJQ&feature=channel_page |
|
|
|
Mike
Super Administrator
Posts: 1568
Registered: 12-3-2002
Location: California, USA
Member Is Offline
Mood: Happy
|
|
hey guys,
wow...a huge thanks to Reda for sharing these gems with us all. i'd love to make a page dedicated to Ustaz Qasabji. let's do it. i'll be in contact
with you Reda....
thanks again,
mike
|
|
|
katakofka
Oud Junkie
Posts: 811
Registered: 1-24-2008
Location: Cleveland
Member Is Offline
Mood: Gypsy
|
|
| Quote: | Originally posted by Edward Powell
one thing I really liked in this one is how he often uses a small modulation to the "masri sazkar" tetra-chord. THIS IS REALLY REALLY ARABIC AND YOU
WONT FIND IT IN OTTOMAN/GREEK music...
It is like: DO - RE - MI (1/4b) - FA (1/4b)
wierd, eh?
you find this all the time in Egyptian folk! |
Matar mhammad used to do that a lot too
check that
http://www.youtube.com/watch?v=nNF7QNHSi4c&feature=channel
in which he's doing jins siga on G at min 4:40. as indicated in the annotation
|
|
|
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
Wow, Matar is NUTS!
This kind of microtonalism really makes you wonder about the REAL POSSIBILITIES! Truly, the distance between C and C# is VAST! ...A LOT of wasted
space in there!
|
|
|
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
| Quote: | Originally posted by Mike
hey guys,
wow...a huge thanks to Reda for sharing these gems with us all. i'd love to make a page dedicated to Ustaz Qasabji. let's do it. i'll be in contact
with you Reda....
thanks again,
mike |
BRAVO!
I really hope someone can translate that article!
|
|
|
mavrothis
Oud Junkie
Posts: 1674
Registered: 6-5-2003
Location: NJ/NYC
Member Is Offline
Mood: big band envy
|
|
Thank you for all the clips! He is one of my all time favorite players and composers!
Take care,
mavrothis
|
|
|
Butrous
Oud Maniac
Posts: 60
Registered: 12-23-2006
Member Is Offline
Mood: No Mood
|
|
Reda Aouad,
Sent you U2U.
|
|
|
Reda Aouad
Oud Junkie
Posts: 553
Registered: 1-2-2009
Location: Lebanon
Member Is Offline
Mood: No Mood
|
|
Hi Guys.
I sent Mike the recordings, the articles, some pictures and few more files I didn't post here.
We will all be waiting for him to post the files on this website, so as to preserve this amazing heritage and treasure Al Qasabji left us.
Thank you Mike.. We all owe you big one for this great forum
I have been member in this forum for the past 3 months, and so far I have learned from the members more than I could have learn in decades on my own,
and Im sure all the future members, beginners and pros, will benefit as well, as it is a huge resource of information. I hope we all keep on sharing
our experience and knowledge throughout this forum which brings oud lovers, players and makers together not as ever before. We can never reward you
enough for the contribution you have made in uniting the oud community and offering people access to a continuously evolving knowledge base.
THANK YOU
|
|
|
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
YES!
THANKS MIKE!!!
|
|
|
Mike
Super Administrator
Posts: 1568
Registered: 12-3-2002
Location: California, USA
Member Is Offline
Mood: Happy
|
|
Got the email Reda...I'll work on this as soon as I can my friend. I'm excited about this. I haven't really had an update to the website in a LOOOONG
time. This is gonna be good. Thanks again!
|
|
|
charlie oud
Oud Junkie
Posts: 694
Registered: 11-19-2007
Location: Newcastle upon tyne. UK
Member Is Offline
Mood: chords prefer frets
|
|
I'd never heard of this player before, his music has a "Golden age" feel about it, plenty of soul and depth. Thankyou Reda 
|
|
|
Reda Aouad
Oud Junkie
Posts: 553
Registered: 1-2-2009
Location: Lebanon
Member Is Offline
Mood: No Mood
|
|
Charile are you serious ?!
He's one of the composers for Um Kulthoum. He heard her sing for the first time in 1923 (she was 25 years old) on some theater in Egypt - she used to
sing poems to praise the prophet Mohammad. He was astonished by her sound. The year after he offered her a song entitled "2al 7elif ma ykallemnish"
(he swore not to talk to me) without her knowing that he composed it at first. Then it was the start of her glorious era after he formed her musical
band and composed some of her songs for years, until the mid 40's, mixing between the traditional arabic maqamat and the western style. Then came a
time (around 1945) when she started refusing his compositions and turned to Ryad Al Sonbati and others. She even got him off the lead of her band. He
remained a oud player in her band (and not the leader) till the last day of his life just to make some earnings!! What a humiliation eh?
|
|
|
Edward Powell
Oud Junkie
Posts: 1212
Registered: 1-20-2008
Member Is Offline
Mood: g'oud
|
|
Really!? I had no idea about this story... you mean it was Qasabji who discovered her, composed her first hits, put together her band, and was the
leader of this band?
I guess that means he must have been pretty well known before OK?
Why did she demote him..... . . .I guess that was around the time when she
'finally' started working with Waheb?
|
|
|
Reda Aouad
Oud Junkie
Posts: 553
Registered: 1-2-2009
Location: Lebanon
Member Is Offline
Mood: No Mood
|
|
Well.. sort of demoted him. I don't know why and I don't know if she really wanted to humiliate him, but I doubt that she had bad intentions. She
maybe just wanted to change style and introduce new spirit to her songs.
Al Qasabji's father was a oud teacher and a composer for several singers of that time. Mohammad loved the oud since his early years (as you may
guess). He was at first a student of Islamic Religion at Al Azhar and then turned to a teacher of Islamic Fiqh (doctrine), but didn't stop his musical
studies at the same time. Then he just dedicated his time to music. His first composition was "Malish maleek fi el 2albi gherak" (you are the only
owner of my heart - literally speaking). It was sung by Zaki Mourad, the father of Layla Mourad. And this is when he started his professional musical
career (Im sorry I dont know exactly in what year). He has been considered by the renowned musicians and critics as the best "modernist" in Egyptian
music back then.
In 1927, he had his group composed of Sami Al Shawwa (violin), Mohammad El Ouqad (Qanun) and him on oud of course. Then he introduced to it a cello
and a contrabass as an act of modernism and escaping of the traditional box. He composed hundreds of pieces, including music for movies and theatrical
plays.
After he died in late 1996, Um Kulthoum kept his wooden chair empty behind her when performing on stage, valuing his precious contribution to her
musical journey (until she died in 1975).
And the best part of the story: he taught Ryad El Sonbati, Mohammad Abd El Wahhab and Farid El Atrach !!
|
|
|
Reda Aouad
Oud Junkie
Posts: 553
Registered: 1-2-2009
Location: Lebanon
Member Is Offline
Mood: No Mood
|
|
And for some who may not know.. Um Kulthoum's band included an electric guitar, a cello and an accordion - that if I didn't miss any other "western"
instrument.
|
|
|
DaveH
Oud Junkie
Posts: 526
Registered: 12-23-2005
Location: Birmingham, UK
Member Is Offline
Mood: No Mood
|
|
http://www.aljadid.com/music/NewUmKulthoumBiographySearchesBehindth...
As has been noted on these forums before, just because you're a diva, it doesn't mean you always have to be nice...
|
|
|
| Pages:
1
2
3 |
![[*]](images/xmbprobrown/default_icon.gif){kind=icon}
