الوصلة الشّرقيّة

[Hattouma]

شكرا أخ أبوعلاء على مجهودك وشكرا للاخ نجيب صاحب التسجيلات
لاحظت ان هذا التسجيل- بخلاف ملف ابو علي-يبدأ ببشرف قرباتك
والذي رفعه بمنتدى زرياب الأخ أحمد الصالحي
اذا صح ظني فالوصلة ناقصة
هذا هو الملف،اسمع 26 تانية الأخيرة

نوع من أنواع توارد الأفكار ...رفعته الآن في قسم الموسيقى...عزيزي

[Khair Ahmed]

نوع من أنواع توارد الأفكار ...رفعته الآن في قسم الموسيقى...عزيزي

merci Hatim.

[أبو علاء]

وصلة بياتي شوري لماري جبران
موشّح حبّي دعاني للوصال
ليال من المقام
دور فرح فؤادي وتهنّيت (زكريا أحمد)

[Najib]

Sigah vs Huzzam

Hatem,

I’m sorry for the delay, it has been a busy week indeed.

Basically Sikah and Huzzam are often confused in literature.

It will be easy to define Sikah first.

When we come to Sikah there are several overloaded definition.

1st the note Sikah which is mi half bemol in Arabic music. Half bemol means that it is in between normal and bemol, and doesn’t mean an accurate place. The reason why I’m saying that is that the note Sikah when played as part of Makam Rast is slightly higher than when it’s played as part of Makam Sikah!!! (This is not the case in Turkish music)

So we move here to the Sikah Trichord which is:

Mi – Half bemol (called sikah)
Fa – Normal (called chargah)
Sol – Normal (called Neva)

And this trichord is commonly used as part of makam sikah and part of makam Huzzam.

So it’s what happens after the Sol that is interesting.

If we go for a mineur tune Sol la Si (bemol) Do (busalik in Turkish) then we are playing Sikah..

If we go for a Hicaz tune Sol la (bemol) Si Do then we are playing Huzzam.

In Arabic music Huzzam is used much much more than Sikah.

However in Byzantine music (a music I’m very lucky to practice) Sikah is used more than Huzzam, and not surprisingly the way Sikah is used in Byzantine music matches the Ottoman Music way.

Of course there are several ramification of the two makams but that becomes tooo specialised.

Salamat
Najib

[Hattouma]

Thanks Najib , I left music learning long time ago (which was purely western anyway) and I have many questions ofcourse it is very interesting subject but do not want to bother people with my ignorance ,so will not hold a long discussion now on such a subject where my knowledge is still minimal
just not to confuse anyone
-Seems though that in Iraq They do call the Huzam ""Sika Iraq"" ! ( which is Sika + Hegaz )
-but the Maqam "" Iraq "" as far as we are here concerned is like Abu Alaa indicated before is (Sika + Bayati ) ....
-Sika you descibe above is the real or ""main"" Sikah

[أبو علاء]

Thanks Najib for your explanations. I was already aware of the fact that the main feature of huzam consisted in that slight "shift to the left" to produce hijaz in the second part of the scale, but I liked much your description of the moving "mi" tone versus a so-called fixed bemol one. I find it a far more true description than the one usually provided in manuals written by western minded musicians. Yet, our uncertainty concerned more the distinction between huzam and 'iraq as Hatim put it. I would have liked a similar "scientific" explanation concerning 'iraq and 'awj maqams

.

[أبو علاء]

وصلة بياتي شوري لصالح عبد الحي
دولاب
تقسيم كمان
موشّح حبّي دعاني للوصال
ليال من المقام
دور ضيّعت مستقبل حياتي (سيّد درويش)

[أبو علاء]

وصلة راست لماري جبران
سماعي طاطيوس (جزء يسير)
موشّح صحت وجدا يا ندامى
ليال من المقام
دور أصل الغرام نظره (محمّد عثمان)
موشّح يا من لعبت به شمول

[أبو علاء]

وصلة نهاوند لماري جبران
دولاب
موشّح لمّا بدا يتثنّى
ليال من المقام
دور إن عاش فؤادك (محمّد عثمان)

[أبو علاء]

وصلة راست لرياض السّنباطي
تقسيم وليال من المقام
موشّح يا شادي الألحان
موشّح صحت وجدا
رباعيّات الخيّام

الحقيقة أنّنا هنا نخرج عن عرف الوصلة التّقليديّة بما فيه توقّع ابتدائها بمقدّمة آليّة واشتمالها على الموّال وعلى الدّور، ولكن يظلّ قالب الوصلة بصيغته التّركيبيّة المستندة إلى وحدة المقام وانتقاله من الغناء المرتجل المرسل (دون إيقاع) إلى الغناء الموضوع لحنه سلفا والموقّع هو المرجع الجماليّ الّذي اعتمده المطرب الملحّن العظيم في هذه السّهرة الخاصّة.