Difference between revisions of "Levantine-Egyptian wasla"
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'''Genres:''' | '''Genres:''' | ||
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+ | (see http://www.maqamworld.com/forms.html for more details on the following) | ||
''Instrumental:'' | ''Instrumental:'' | ||
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* Bashraf. Another Ottoman form, using a long rhythmic cycle of 48 beats. | * Bashraf. Another Ottoman form, using a long rhythmic cycle of 48 beats. | ||
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+ | * Longa. A fast instrumental composition in 2/4 | ||
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+ | * Tahmila. A composition featuring improvisations on various instruments, in turn. | ||
''Vocal:'' | ''Vocal:'' |
Revision as of 17:46, 29 January 2008
Ensemble: takht
- mutrib or mutriba (vocal soloist)
- madhhabgiyya (chorus)
- qanun (plucked zither)
- nay (reed flute)
- kamanja (spike fiddle; later violin)
- riqq (tambourine)
Genres:
(see http://www.maqamworld.com/forms.html for more details on the following)
Instrumental:
- taqsim, Instrumental improvisation in maqam bayati, performed on the oud by Gomâa Muhammad Ali
- Sama`i el-Aryan, in maqam Bayati. Note the "rondo" form: a taslim (refrain) in the home maqam alternates with khanat (variable melodic sections), each in a different maqam. The sama`i iqa` (rhythmic cycle) is sama`i thaqil in 10/8, except for the last khana, which is often in triple meter. The sama`i was introduced by the Ottomans, probably in the 19th century.
- Bashraf. Another Ottoman form, using a long rhythmic cycle of 48 beats.
- Longa. A fast instrumental composition in 2/4
- Tahmila. A composition featuring improvisations on various instruments, in turn.
Vocal:
- layali and mawwal, performed in maqam Bayati, by Ibrahim el-Haggar & Sami Nussair, Cairo (1991). From UNESCO AUVIDIS.
Mawwal text: "I try to smile, though my heart weeps. How could I but weep under such tribulations? but I smile to conceal my tears."
- muwashshah
- example #1: Lamma Bada
- example #2: Fika kullima ara hasan
- qasida
- dawr