Відео

Thanks for your comment

nope

Sounds great.

This is a potential solution, but will not work well if you have to modulate back to LA natural or have to play a song after that uses La natural. But yes, you could do that.

It's a high quality French Polish that is used musical instruments. It can even improve the sound. acousticguitar.com/guitar-guru-what-is-french-polishing-and-is-it-worth-it/ While it's not generally used on traditional ouds, it is something that more and more people are demanding these days. I also prefer the old school unfinished soundboard, but that's just me.

Right on!

Thanks

thanks

thanks

Thanks!

Thanks for your comment

Thanks!

Glissento, seslerinide duyabilme imkanımız varmı.. thanks.

That was the first composition of Arabic music I ever learned.

Yes, you can but you have to know the correct tension to choose the thickness of the strings. It's best to ask someone like oudstrings.com

Yes, of course.

Yes, there has been much cross sharing of culture back and forth, but unfortunately there is no sole originator of this music whether Greek, Arabic, or Persian. Arabs always had their own music before they ever encountered Greeks. Barbiton has no relation to the Oud. Read these sources which explain the confusion about this: en.wikipedia.org/wiki/Barbiton

This is a banger fs 💯💯💯💯

It's musescore.

No, minor tuning changes occur with geared tuners just as much as traditional pegs. But these are easier to turn and prevent the string from completely unraveling if a peg accidentally gets too loose. This oud is made by Yildirim Palabiyik and Sultan Instruments company.

Thanks I'll fix it

The link is fixed. 🌹🙏

I use different strings from time to time. On this oud kurschner string is used. But I use la Bella lute strings and Aquila lute strings, and Daddario ej95a

No idea.

I have no idea. I would need another one made exactly the same way but with pegs to compare. I recently put brand new strings on and it sounds great.

Awj/Eviç is one of those old maqams that's easier to think of as a mode of the fundamental diatonic scale with some added chromaticism than in terms of ajnas. For the sake of clarity, I'll start by attempting to spell the main scale of the maqam using ajnas. Note that I won't be able to confine the ajnas to one octave. 1) Sikah trichord: Bd C D 2) Bayati tetrachord: D Ed F G 3) Rast pentachord: G A Bd C D Now, let's look at it from a different perspective. Let's take the fundamental diatonic scale from C (Rast): C D Ed F G A Bd C. This was the main scale of maqam music, and all primary maqams were modes of this scale. For example, the mode starting on D was maqam Dügah/Hüseyni. The rest of the modes had their finalis (or dominant) on one of the other scale degrees: Sikah started from Ed, Jiharkah from F, etc. Maqams Iraq and Awj were modes of the fundamental scale that start on the Bd below C (Rast): Bd C D Ed F G A Bd Awj doesn't really use proper tetrachordal/pentachordal ajnas, but rather follows the diatonic scale and emphasizes parts of its ajnas (ajnas Rast and Bayati). Now, there are two kinds of chromaticism happening in the modern forms of maqam Awj, whereby it detracts from the diatonic scale of Rast/Bayati: 1) The F is often sharpened to F#, whereby we get a Hijaz on D. This is not the Hijaz we know from modern Arab music, however, but an older Hijaz with a 3/4-tone second degree, which conforms to the intonation of modern Iranian dastgahs Homayun and Chahargah: D-Hijaz (old): D Ed F# G 2) The tonic (Bd) sometimes gets the leading tone A#, which is very characteristic of the Turkish style and works best if the Bd is a little sharp. Curiously, the F#, itself a chromatic note, can also get a leading tone of its own (F), and so a kind of a chromatic Hijazkar is created on F#: (F) F# G A# Bd The exact intonation of these chromatic leading tones is unclear, especially in the Arabic style, where they're thought of more as grace notes than as actual parts of the scale. Note that the chromatic variant of Awj with the F# and D-Hijaz: Bd, C, D, Eb, F#, G, A(#), Bd is much more common in modern Arab music than the purely diatonic Awj, just like maqam Sikah is mostly heard with jins Hijaz on G, rather than as a diatonic mode on the third of maqam Rast. However, just like a more proper term for Ed-Sikah with G-Hijaz is Huzam, a more proper term for Bd-Awj with D-Hijaz is Rahat al Arwah. Unfortunately, terminological consistency isn't a facet of modern Arab music. Also, even though the D-Hijaz should theoretically be played with the Ed second, modern Arab music practice dictates a regular, though perhaps slightly sharper, Eb.

@@Zaphod313 thank you for the detailed response, my friend. I don't understand musical theory that much unfortunately. I've learnt Maqamaat by ear only for vocal purposes, and haven't learnt on an instrument. But I hope this comment will be helpful to others.

@@fusuyreds1236 I think that the main point is that the maqam itself has a complicated history and a complex structure, so it's no wonder you had trouble identifying the ajnas. It's also difficult to explain in simple terms, because it's not a simple maqam, and it uses several overlapping scales. My practical suggestion would be to just treat it as a transposition of Sikah/Huzam and listen to pieces to get a feel for it and learn its seyir (melodic progression). Good luck in your studies.

@@Zaphod313 thank you! I've been learning Maqamaat by ear for Koran recitation for many years now. Very interesting art, as the melody has to be in line with the strict rules of recitation. Restricts creativity, sure, but very interesting to hear how reciters structure their performances to create beautiful pieces while sticking to the rules.