This stuff is hard! But very cool. I can't wait to go back a few lessons and really work more of that practice into my body, voice, ears and fingers, especially pathways involving Saba.
I've been waiting for this! Bastanikar was one of my favorites when I was exploring Maqam World. That part where you explored Kurd and Saba Zamzam was interesting and I look forward to your video on the latter. Quick question: One of the listening examples on Maqam World for Bastanikar is "Muwashah Anshidi Ya Saba". I tried to search that one a long time ago and couldn't find the full version anywhere. Not knowing Arabic makes things difficult. Do you have a link for this piece? Thanks!
Thank you very much for this invaluable lesson! 👏👏👏👏 Would you consider the "Wahabt Omri Lel Amal" / "وهبت عمري للأمل" (Sheikh Imam's song, covered by Maryam Saleh, ruclips.net/video/zpf_R4TU8YY/видео.html) in Bastanikar? Also, in Ahl il-Hawa, by Oum Kulthoum, there's a section that I think goes to Bastanikar (wa-yisaluk ya leil).
Thank you! Wahabt Omri lil Amal is a great example of Bastanikar - thanks for introducing it to me. Maryam's voice is lovely but once the discordant lebanese piano started I couldn't keep listening (personal preference - no offence to those who like it or to the musician in question) so I went to the original: ruclips.net/video/QLcGs-eosOE/видео.html Aside from a nice development on Saba that resolves down to Sikah, the song also uses a lot of Bayati on 3, Ajam on flat-8, a section in hijaz on 3, a section in Rast on 6, leading to Bayati on 10.... anyway a nice full development of the maqam exploring almost all of the pathways I discussed in this lesson.
As for Ahl il-hawa, great observation. I'd say the brief section in Bastanikar actually starts in the previous phrase: والشمس بعد الليل تطلع عليهم نور The first part of that line (والشمس بعد الليل ) continues the Sikah/Huzam of the previous section but the second part (تطلع عليهم نور) is where we first hear the Saba that continues in the line you mentioned: ويسألوك ياليل امتى تعود ياليل Which resolves back to the Sikah tonic from the Saba. It's also worth noting the broader context here - this is one brief exploration of only a part of Bastanikar, occuring in the broader context of Huzam. Note that the very next line: ناس من قلوبها تقول ياليل uses Mustaar, and then the line after that: وناس على الأرغول تقول ياليل is a beautiful example of Mukhalif. So rather than being truly "in" maqam Bastanikar, this is just a brief taste of Bastanikar (which doesn't use its full sayr) in the context of a long exploration of Sikah/Huzam. Furthermore even that Sikah/Huzam is occuring in a very interesting broader context - it's all on the third scale degree of Rast, which is the ultimate resolution of the song at the end. Yet even that Rast is a modulation on the same tonic from the Nahawand that opens the whole song. And the Rast itself gets its own full treatment, getting Bayati on 5 (arguably Maqam Nairuz), as well as Nahawand and Upper Rast on 5. If I had to pick a maqam for the whole song I'd probably say Rast rather than Nahawand, even though the Nahawand is extensive. But we don't really get a full exploration of Maqam Nahawand - as soon as we get the first modulation to Bayati on its 5th, we're already moving to Maqam Rast. Note the similarity in large scale structure to Abdel-Wahhab's composition Fakkaruni, which starts in Nahawand before revealing that the song is actually in Rast - and which also then moves up in a later section to the Sikah/Huzam on the 3rd of Rast. These long songs explore maqam in a very deep way, sometimes extending and expanding the maqam to build one maqam "inside" another, often in multiple layers. Did you see my previous lesson in Maqam Iraq, where I show how Sirt il-hubb gives us a full Maqam Bayati, rather than just Jins Bayati, on the third of Sikah?
@@abushumays Thank you so much for sharing the original, which I've not heard prior to hearing Maryam's cover! I have the same preference regarding the inclusion of piano here. Having your analysis handy while listening to Sheikh Imam's original is immensely helpful!
@@abushumays I think I better understand now your meaning of what is a maqam. We shouldn't confuse a brief modulation from Saba to Sikah - be it in a taqasim, mawwal or a song - as a true example of maqam Bastanikar. The overall progression and development of a song exploring most or all of the maqam pathways, as demonstrated in your examples and Sheikh Imam's song, are what determines the categorization of a piece to a certain maqam. You've shown clearly that Ahl il Hawa may open in Nahawand but it ultimately concentrates on Rast, develops it in a large scale strcture, and resolves to it, much like the stunning compoistion Fakkaruni. I have watched your lesson on Maqam Iraq (actually posted a comment on instagram, expressing how much I've learned and enjoyed the combination of theory anchored in practice with analyzed examples, @nathandahan30 ). But I would like to watch it again, along with your newly uploaded lesson on Maqam Sikah Family, to anchor myself within that frame of mind. I truly appreciate you and your hard work and I hope that very soon I will be able to support you on Patreon. It is not something I take for granted that a brilliant musician of your calibre would take the time to make and share these invaluable lessons (and even answer my questions, which I hope are not too long or tiresome).
got a kick out of the "two extra beats" part haha genius
That is a powerfull lesson, thank you so much !
Amazing as always master Sami! Regards from Argentina!
Dr. ALFRED LIVES IN YOU SAMI
bless ur hands
Aww thanks so much Ernie - and thanks for watching these lessons
This stuff is hard! But very cool. I can't wait to go back a few lessons and really work more of that practice into my body, voice, ears and fingers, especially pathways involving Saba.
👏👏👏👏
I've been waiting for this! Bastanikar was one of my favorites when I was exploring Maqam World. That part where you explored Kurd and Saba Zamzam was interesting and I look forward to your video on the latter.
Quick question: One of the listening examples on Maqam World for Bastanikar is "Muwashah Anshidi Ya Saba". I tried to search that one a long time ago and couldn't find the full version anywhere. Not knowing Arabic makes things difficult. Do you have a link for this piece? Thanks!
ruclips.net/video/FfIp70LnZno/видео.html and this is the version that's on the website
Does the chart mean we can follow any combination and they maqam will still be bastah nikar?
Thank you very much for this invaluable lesson! 👏👏👏👏
Would you consider the "Wahabt Omri Lel Amal" / "وهبت عمري للأمل" (Sheikh Imam's song, covered by Maryam Saleh, ruclips.net/video/zpf_R4TU8YY/видео.html) in Bastanikar?
Also, in Ahl il-Hawa, by Oum Kulthoum, there's a section that I think goes to Bastanikar (wa-yisaluk ya leil).
Thank you! Wahabt Omri lil Amal is a great example of Bastanikar - thanks for introducing it to me. Maryam's voice is lovely but once the discordant lebanese piano started I couldn't keep listening (personal preference - no offence to those who like it or to the musician in question) so I went to the original: ruclips.net/video/QLcGs-eosOE/видео.html
Aside from a nice development on Saba that resolves down to Sikah, the song also uses a lot of Bayati on 3, Ajam on flat-8, a section in hijaz on 3, a section in Rast on 6, leading to Bayati on 10.... anyway a nice full development of the maqam exploring almost all of the pathways I discussed in this lesson.
As for Ahl il-hawa, great observation. I'd say the brief section in Bastanikar actually starts in the previous phrase:
والشمس بعد الليل تطلع عليهم نور
The first part of that line (والشمس بعد الليل ) continues the Sikah/Huzam of the previous section but the second part (تطلع عليهم نور) is where we first hear the Saba that continues in the line you mentioned:
ويسألوك ياليل امتى تعود ياليل
Which resolves back to the Sikah tonic from the Saba.
It's also worth noting the broader context here - this is one brief exploration of only a part of Bastanikar, occuring in the broader context of Huzam. Note that the very next line:
ناس من قلوبها تقول ياليل
uses Mustaar, and then the line after that:
وناس على الأرغول تقول ياليل
is a beautiful example of Mukhalif.
So rather than being truly "in" maqam Bastanikar, this is just a brief taste of Bastanikar (which doesn't use its full sayr) in the context of a long exploration of Sikah/Huzam.
Furthermore even that Sikah/Huzam is occuring in a very interesting broader context - it's all on the third scale degree of Rast, which is the ultimate resolution of the song at the end. Yet even that Rast is a modulation on the same tonic from the Nahawand that opens the whole song. And the Rast itself gets its own full treatment, getting Bayati on 5 (arguably Maqam Nairuz), as well as Nahawand and Upper Rast on 5.
If I had to pick a maqam for the whole song I'd probably say Rast rather than Nahawand, even though the Nahawand is extensive. But we don't really get a full exploration of Maqam Nahawand - as soon as we get the first modulation to Bayati on its 5th, we're already moving to Maqam Rast.
Note the similarity in large scale structure to Abdel-Wahhab's composition Fakkaruni, which starts in Nahawand before revealing that the song is actually in Rast - and which also then moves up in a later section to the Sikah/Huzam on the 3rd of Rast.
These long songs explore maqam in a very deep way, sometimes extending and expanding the maqam to build one maqam "inside" another, often in multiple layers. Did you see my previous lesson in Maqam Iraq, where I show how Sirt il-hubb gives us a full Maqam Bayati, rather than just Jins Bayati, on the third of Sikah?
@@abushumays Thank you so much for sharing the original, which I've not heard prior to hearing Maryam's cover! I have the same preference regarding the inclusion of piano here.
Having your analysis handy while listening to Sheikh Imam's original is immensely helpful!
@@abushumays I think I better understand now your meaning of what is a maqam. We shouldn't confuse a brief modulation from Saba to Sikah - be it in a taqasim, mawwal or a song - as a true example of maqam Bastanikar. The overall progression and development of a song exploring most or all of the maqam pathways, as demonstrated in your examples and Sheikh Imam's song, are what determines the categorization of a piece to a certain maqam. You've shown clearly that Ahl il Hawa may open in Nahawand but it ultimately concentrates on Rast, develops it in a large scale strcture, and resolves to it, much like the stunning compoistion Fakkaruni.
I have watched your lesson on Maqam Iraq (actually posted a comment on instagram, expressing how much I've learned and enjoyed the combination of theory anchored in practice with analyzed examples,
@nathandahan30 ). But I would like to watch it again, along with your newly uploaded lesson on Maqam Sikah Family, to anchor myself within that frame of mind.
I truly appreciate you and your hard work and I hope that very soon I will be able to support you on Patreon. It is not something I take for granted that a brilliant musician of your calibre would take the time to make and share these invaluable lessons (and even answer my questions, which I hope are not too long or tiresome).