how wonderful! thank you from all my heart and a warm welcome to my world !

​@MayaYoussefMusic, my pleasure, thank you, really. Out of curiosity, that middle piece you played, was it symbolic to the national anthem mawtini?

Yes, that's correct! I don’t have a clear explanation for why this is the case with Turkish qanuns. However, in Arabic qanuns, the theory aligns closely with the number of levers. Our most prominent theorist, Al Farabi, in his book Al Musiqi Al Kabir, divided the tone into four quarters, which is reflected by the four levers on Arabic qanuns.And yes, because Middle Eastern music-especially Arabic music, which I specialize in-is primarily passed down through oral tradition, there are often quirky elements like this

The 53 tones per octave/9 commas per whole tone model is erroneous. Without getting into the rabbit hole of music theory, history, and politics, let me just say that this model was never meant to describe actual practice. Rather, it essentially prescribes conformity to Western intonation. It's pure coincidence that it is granulated enough to approximate the crucial 'neutral' or 'middle' seconds somewhat well with its 7 and 6-comma steps, but these specific intervals are actually unrecognized in the music theory that uses these 53 equal divisions of the octave, and they are never notated. It is irrelevant either way, because it was never applied on a real instrument. In reality, there are different levels of finesse to the Turkish tonal system, with different instruments having different "tonal resolutions". The Turkish qanun is definitely the most fine-tunable among the fixed-pitch kind, with its division of the whole tone into 12, coming from a division of the octave into 72 equal parts. In Byzantine music theory, these same 1/72 steps are called not commas, but moria. This division allows one to play seven different melodic intervals in the space of a whole tone: 6/12, 7/12, 8/12, 9/12, 10/12, 11/12 & 12/12. Historically speaking, all of these except for the 6/12 semitone and the 12/12 whole tone would be categorized as different inflections or 'shades' of the middle/neutral second, meaning Turkish music uses 5 of them, while Arabic music uses only 1. The reason for this incredible elaboration in Turkish music was a high degree of Western influence, whereby using the 7/12 and 11/12 inflections enable one to play scales with consonant major & minor thirds, close to just intonation. The 9/12 is the same as the Arabic 3/4, while the 8/12 is a special low inflection usually used in cadences in specific maqams, and 10/12 is a bit sharper, used as the 2-3 in maqam Rast, so that its third is a bit more consonant. But no other Turkish fixed-pitch instrument is able to produce such a palette of tones within a single performance. The modern tanbur, for example, has 4 different inflections of the middle second at most, while the lavta for ergonomic reasons usually sticks to 3. At the very least, 3 distinct middle seconds are required for a proper performance of Turkish classical music: two of them, the sharper and the flatter, effect roughly pure minor and major thirds within a scale, while the middle one effects a true neutral third, like the Arabic 3/4-tone. Naturally, fluid pitch instruments like the oud or the violin will be the most flexible.

hey @osamaathman29 thanks for your question. In terms of your first question: if it is bayati re (d) How can we confirm that we moved to Nahawand sol (G) ; the answer is a change in interval. to be literal the note si (b) becomes bemol (flat) instead of si half bemol (b half flat) which is rast. the WHOLE chain is maqam bayati. HOWEVER, Arabic music 99% of the time is a shift in specific building blocks vs a shift in the ENTIRE maqam (which is a widespread misconception) . Lastly the most important thing is to know that you can start a maqam from ANY note (la si or literarly anything ) but what will not change is the intervals. I suspect that is what is confusing you ..hope that makes sense and is helpeful ?

@@MayaYoussefMusic you are absolutely right, but From some previous teacher, I was taught there are originally 2 forms of Bayati Re , one is playing jins Bayati followed by Rast and the other was playing Jins Bayati then followed by jins Nahawand , sourced from Maqam world website by Sami Abu Shumays and he personally shared his own insights with me that you can play a taqsim by either playing Bayati-Rast or Bayati-Nahawand or mix them all at once in a taqsim

@@MayaYoussefMusic I appreciate your feedback and congrats

@@osamaathman229 hi osama , we are in agreement:) you mentioned Nahawand do and La in your earlier comment which got me confused. If you look at this video I have used both Nahawand and Rast in the branch as both are part of Bayati's core structure. In taqsim you always use ALL of the building blocks in maqam core structure. hope thats clear now :)

@@osamaathman229 you are welcome and thank you :)

In terms of finding someone who teaches the same as me, I am not sure any one teaches maqam and taqsim the way I do. Please bare in mind I have been developing the Taqasim Mastery Method over the past 5 years. While some aspects of it are not new, the biggest bulk of it is developed by me so you literarly can't find it anywhere else. The beauty of this method is that it speaks to the fundamentals of taqsim for ALL instruments. If you would like to work with me, I would love to help:) please submit an application to explore how I can help you here www.taqasimmastery.com/program . I look forward to hearing from you :)

thank you so much. I am very proud of Ibada and how far she came in a very short time. <3

🙏🏼💚

More than modes, also some adjinaz

I am Egyptian...I went to Greece once, I thought I was in Egypt with a different language 😂

glad it was helpful !

🙏🏼💚 very proud of Lene

Thank you so much 🙏🏼🤍

Thank you so much 🙏🏼🤍