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الموضوع: Mahmoud Tabrizi-Zadeh & Djamchid Chemirani

  1. #11
    تاريخ التسجيل
    Sep 2005
    الإقامة
    البلاد المنخفضة.....Netherlands
    المشاركات
    8

    إفتراضي

    إقتباس المشاركة الأصلية بواسطة 3amr
    this guy is just amazing.

    I mean, if you bayati, this is nothing short of heaven.

    Small remark: anybody notice that both the persian kementche, and the turkish kemence, both replicate exactly the traditional way of singing in their respective musical cultures?

    I'm wondering who imitates who, the voice or the instrument. My guess is the voice came first because the ney for example also plays in this manner, where as the ud and kanun have their own set of ornaments which are distinct from the singing style.

    I don't know if I'm making sense, but the point is, this guy is amazing.


    smart remark Amr also that of Zeryab did not pass unnoticed ..one cannot help but see how Shawwa's kamanga is unique ..and how this kamanche also resembles the voice techniques
    i don''t know much about the instrument techniqus either ,but i can imagine the material change (not only in the violin ,ud ..but also the percussion instruments ...etc )made playing more convenient for the players but had some side effects in the sound ,it is still however the players to blame for losing the tradition ...
    what do you think of Nidaa Abu Mrad's ?

  2. #12
    تاريخ التسجيل
    Mar 2006
    الإقامة
    California
    المشاركات
    7

    إفتراضي

    I haven't heard any of Mr. Mrad's work unfortunately, so I can't judge. (my main source of arabic music is the two forums, zeryab (mostly for iraqi music), and this one (for everything else)), meaning that buying CD's is rather difficult.

    as for your remark about blaming the players, I agree in case of violins, because using metal strings is simply bad taste when there are artificial gut replacements which are widely used in the west.

    as for imitating vocal techniques, I believe that declined along with the vocal techniques themselves (how many singers these days can do 3irab like Fathiyya Ahmad?), due to a general decline in interest in the legacy of the Nahda age in egyption classical music. (Jamil Bashir is a glowing example of good violin playing in a classical iraqi context).

    again, Shawwa was unique because:
    1- the tarab music he played was something he was brought up with, due to his direct exposure, and long experience accompanying singers that were nothing short of legends.
    2- his technique was completely uninfluenced by western ways of violin playing, and therefore included all kinds of ornaments which he himself had invented. (note: foregoing western technique leaves everything to chance, either you get bad habits and poor technique, or if you're a genius like shawwa, or Cinucen with the oud, you can create a technique that fits the music you're working with.)

    this discussion is quickly growing beyond anything I can claim to be knowledgible about, and hence, the points above are mostly based on assumptions.

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