PDA

مشاهدة جميع الاصدارات : Tanburi Cemil Bey - Selected works



AlfLeila
20-11-2011, 22:56
I'm suprised there's so little uploaded on the great Tanburi Cemil Bey. I'll do my best to post files little by little.

will start off with a Pesrev in Nuhuft.

its scale: lower jins Bayati on A-husseini, upper jins Ajam on D-muhayyar. may also be translated as lower jins Bayati on A-husseini, upper jins Nahawand on E-jawab busalik. depends which notes are emphasized. this maqam is often accompanied with modulation between upper jins ajam & rast on D-muhayyar.

there are sources which reverse the jins, placing ajam on D-duqah as the lower jins (alternating with rast), and bayati on A-husseini as upper jins.

other sources break down the maqam as bayati on A-husseini, hijaz on D-muhayyar. which is simply a transposition of Bayati-Shuri to A-husseini.
though all examples of this maqam i've heard utilize the first 2 methods explained.

-AlfLeila

AlfLeila
24-11-2011, 09:01
Taksim in Mustear (the arabic musta'ar)

its scale: lower jins Mustaar on E half flat-sigah, upper jins Nahawand on G-nawa.
the lower jins Mustaar is a 3 note jin tricord very similar to sigah. the difference: sigah tricord notes are E half flat, F, G. mustaar's are E half flat, F sharp, G.

this maqam is almost identical to the Iraqi maqam Awshar (sigah on sigah, nahawand on nawa). the only difference is the sharpened F-jiharka note.

-AlfLeila

AlfLeila
24-11-2011, 22:27
taksim in maqam Sultani Yegah.

the scale of sultani yegah is identical to nahawand kabir, transposed to G-nawa tonic.
its scale: lower jins Nahawand on G-nawa, upper jins Hijaz on D-muhayar.

-AlfLeila

AlfLeila
27-11-2011, 00:55
taksim in maqam Suzidil.

the scale of suzidil is identical to hijaz kar, transposed to A-husseini tonic.
its scale: lower jins Hijaz on A-husseini, upper jins Hijaz on E-jawab busalik.

-AlfLeila

AlfLeila
22-12-2011, 05:33
taksim in maqam Isfahan.

its scale: lower jins Bayati on D-duqah, upper jins Nahawand on G-Nawa. this is the usual scale of Bayati. what sets Isfahan apart from Bayati is her sayir. although this is an ascending-descending maqam, the development of nahawand on nawa is where most of Isfahan's exhibition is endured before settling on its tonic. which leads us to Isfahan's second cardinal attribute: its descent. though certainly not compulsory, lower jins rast on duqah are utilized as secondary jins to the bayati, where the F-jiharkah (now a transposed sigah note) will be emphasized. the maqam will always finally close on bayati.

-AlfLeila

Najib
31-12-2011, 01:00
Dear AlfLeila,

Can you please let us know the source of these mp3s?

Thanks

AlfLeila
01-01-2012, 11:08
thanks najib. i thought no one cared for these files..

i got these along with a trove of pre-1940's turkish recordings from some turkish university professor; i forget his name.. my co-worker is turkish, she did me a great favor in speaking with one of her old university teachers who put her in contact with this person. upon her last trip to istanbul i gave her an external hard drive (and some cash ;) ) etc..

i'll do my best to post more, i just need to find time to listen through them..

Najib
02-01-2012, 13:42
Thanks for the reply, I am familiar with the old recordings of Tanburi Cemil Bey, I just wanted to make sure that these are not copied from Traditional Cross Roads CDs because they published scores of Cemil Bey's work and we don't want to put what's commercially available here. This is why there aren't many recordings of Cemil Bey on the forum.

Most of the recorded 78 rpms are commercially available. If they are genuinely collected and not via internet then that's fine.

AlfLeila
02-01-2012, 23:45
well noted najib. and thanks for the 'traditional crossroads' info (they have a decent catalog), i just purchased all 3 cds off amazon, i'll make sure to post only files not included in these releases.