Takht Odeon / Bashraf Qaddi-r-rasd قد الرصد (?) & Taqsim Mushtarak in Saba

Takht Odeon
Bashraf Qadukal Saad (?) (maqam mahur) + Taqsim mushtarak in maqam Saba
Odeon matrix EX946 / 987. order# 31011 / 31054
1904

Hag Sayyed El Souweisi on Oud, Abdel Aziz El Qabbani on Qanun, & Ali Abdu Saleh on Nay.

إقتباس:

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المشاركة الأصلية بواسطة AlfLeila

Bashraf Qadukal Saad (?) (maqam mahur)

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This is indeed a tricky one in more than one regard. I have to say first that I was always puzzled by the way the term bashraf is used to designate certain instrumental pieces like bashraf bulbulu-l-'afrah and its use here is even more puzzling. To me, this sounds like a sort of "reverse dulab" or "anti-dulab" as it is more of a conclusive dulab and, as a matter of fact, if my memory serves me well, it does come at the end of some sung pieces ('adwar; qasa'id) in rast mode or its "derivatives" (I do realise that it is not wise to resort to this kind of simplifications in presence of musicologists and music professionals). You recently explained why this kind of compositions is called mahur, but for me it remains part of, say, the rast family. I tried to decipher what is written on the disk label taking into account this fact, even though it's not easy to decipher, and my own reading is qaddi-r-rasd , knowing that rasd is another spelling of rast.

إقتباس:

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المشاركة الأصلية بواسطة أبو علاء

[SIZE=3]This is indeed a tricky one in more than one regard. I have to say first that I was always puzzled by the way the term bashraf is used to designate certain instrumental pieces like bashraf bulbulu-l-'afrah and its use here is even more puzzling. To me, this sounds like a sort of "reverse dulab" or "anti-dulab" as it is more of a conclusive dulab and, as a matter of fact, if my memory serves me well, it does come at the end of some sung pieces ('adwar; qasa'id) in rast mode or its "derivatives"

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Interestingly enough I have a few records that are only taqsim and the like, and the odeon or baida labels read 'Bashraf'. probably a marketing anomaly. we see here as well the side with taqsim saba also reads 'bashraf'.. Although it's entirely possible (and has been the case) where the taqsim portions of the bashraf are cut out entirely to fit the recording within the allotted space, and it comes across sounding like a doulab instead. here in particular it would make sense to have the taqsim in between each repeating khana. it remains a mystery to me lol.

إقتباس:

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المشاركة الأصلية بواسطة أبو علاء

You recently explained why this kind of compositions is called mahur, but for me it remains part of, say, the rast family. I tried to decipher what is written on the disk label taking into account this fact, even though it's not easy to decipher, and my own reading is qaddi-r-rasd

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this title makes more sense. though mahur is part of the rast family (identical scale, just a matter of emphasis).