مشاهدة جميع الاصدارات : Teskim Muhayyar Kurdi

26-01-2007, 16:47
I thought it would be a crime to put away the Kalan Ud double CD without sharing this gem with you.

Udi: Cinucen Tanrikorur of course.

27-01-2007, 03:10
ثمة نقاش في مكان آخر من المنتدى حول الآه مقياساً
وأقول بصدق أن من ينتزعها مني قلائل وفي أوقات قلائل،
العزيز نجيب
آه وألف آه
من هذا التقسيم البديع.
أرجو أن تنتبه فيه إلى تفاوت الإيقاع، مع السيطرة الكاملة على المستمع وعلى الخط المقصود حتى في لحظات الصمت
وإلى ما أحبه حين تبرز خلجات الروح التي تخرجه من الميلودي إلى الرش على عدة أوتار، ويبرز تفاوت النبرات في القوة والشدة، وصولاً إلى لسعة الهارمونيك الحارقة في النهاية
قفلة غير استعراضية ولكن، في محلها، تنتزع آهاً عميقة...وصامتة!

27-01-2007, 12:54
I can't but agree with you.

Specially the last sentence, yes there is no showmanship in Tanrikorur's playing.

However I sometimes feel that all the schools of Ottoman string playing (be it Ud, Saz, Tanbur) have precipitated in the playing of this self-didact genius.

27-01-2007, 15:03
Let me start by saying that that was the best taksim I have ever heard.

It was also the best sounding oud I have ever heard (the bass was so tight, it was simply painful), if this is what Dincer's ouds sound like, then I am more than prepared to spend some money on one (once I have some money to spend). I am wondering what Najib is still doing without one of those :D.

About Cinucen's technique, he did say many times that he modelled his oud playing on the style of tanbur playing, but naturally, there are other elements in their. His technique however is the strangest I have every seen, I mean, have you seen the mizrap grip? It looks like a recipe for repetitive strain injuries, yet the man was able to play until the end.

Anybody notice that he tended to play more towards the sound hole later in his career, whereas in his young recordings, you get this strong tight sound from playing near the bridge.

27-01-2007, 19:32
My dear 3amr,

If you have a listing (chronological) of his recordings please post it. Then we can compare what you were saying about being closer to the centre of the Ud later on.

27-01-2007, 19:59
I am afraid I don't have such a list, although I am sure our turkish friends could find one.

I was speaking merely from listening, I mean, compare the taksim you posted, with the ocora disc. Of course, it could be a conscious choice and not a general trend, this is supported by the fact that in a part of an MBC video interview with him when he was pretty old, he plays very close to the bridge. It could be a way of controlling dynamics and texture, I believe this might be a better theory.

Anyways, I tried plucking like he did, it does produce a huge amound of volume which I did not expect to come out of my poor oud, I wonder what it might do on a high tension turkish oud.