Maqam Lesson 22: Jins Husayni دروس في المقام - جنس حسيني

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[@fihrilkamal7296]

Awesomem, Bayati Husayni is my favorite maqam, and this video explain a lot of things, I'm almost overwhelmed, I will watch it multiple times.

[@Benjiroyoface]

love coming back to these after finally getting the book!

[@camtaylormusic]

Woah this is one of my favourite videos of yours now. As soon as I heard that example of Husayni with a resolution from 5-4 in Nahawand down to Kurd on 1 I thought of the parallel with western harmony, e.g. resolving a secondary dominants, e.g. V of V resolving to V, and then hearing that in relation to the tonic and bringing it all home to I. How wonderful to demonstrate all of this so clearly. I think this is the first time I'm really clicking with Kurd as well, and it's definitely helping with Hijaz and Bayati. I was trouble with all three of these, as I kept hearing the Ghammaz as being stronger than the tonic, since melodies tend to hang around there so often, and also not being able to shake my hangovers from minor tonalities in western music, where things like phrygian and phrygian dominant, feeling like they can always swing back and resolve into natural and harmonic minor respectively. I've been wanting to ask for quite a while what is the best way to really make the tonic feel like home and the ghammaz feel secondary in these three in particular, but I think this video is helping enormously. Another question I had which is probably bigger in scope than can be communicated on my phone in a KZbin comment, is what you've referred to a couple of times in this video - does it help to make the connection in which ajnas share "the same notes" or "almost the exact same notes"? Is it helpful to keep in mind that, for example, Nahawand on C and Kurd on D share the same notes, or Nikriz on C and Hijaz on D are almost the same, except for the higher intonation of the second and perhaps lower third note in Hijaz vs the third and fourth notes of Nikriz? I realise that this relationship has sometimes been drawn between Rast (e.g. on C) and Bayati (on D), although the intonation of Sikah?/Segah?/The Ed is rather noticeably different in both, and to me the moods are more distinct. Is that something that will help me connect the different ajnas when audiating? I guess I'm also interested in whether that will affect music learning since the Music Learning Theory popularised by Edwin Gordon for a specific subset of western music uses Moveable Do with La-based minor and all of the other relative tonalities, e.g. Re for Dorian, Mi for Phrygian, Fa for Lydian, So for Mixolydian, and Ti for Locrian. I'm wondering if any Arabic musicians you know use this connection to speed up music learning, and connect tonal resources across tonalities/ajnas/maqamat Sorry for the very long question, I would be happy to talk on pateron, Facebook or email if you'd rather, or you can let me know I'm getting ahead of myself again. Thanks so much Sami. This is all very exciting, and though I haven't met you properly I think you're one of the best teachers I've had. Arohanui ki a koe from Aotearoa

[@abushumays]

Thank you Cam! There is no connection that can help speed up music learning. This idea is actually a music pedagogy fallacy. Intellectual connections between aspects of the intonation/scale/theory never actually speed up learning and in some cases they actually hinder it, like a red herring. The learning time is the same time that it is when you learn a foreign language. To speak it, not to be able to describe its grammar. There's a certain amount of time it takes to embed all the vocabulary in memory and get used to speaking; same with maqam. The vocabulary needs to be embedded in your physical memory so that you deliver it with the same confidence of speech as I do. Each of the phrases I'm teaching. The physical comfort with delivering it, along with the sense of expectation that develops for other parts of the vocabulary (see lesson 12 for my explanation of expectation) is itself the understanding you seek, while the intellectualization of scale patterns is a reduced version of that content - and it occasionally misrepresents the content by distorting the importance of parts of it. There are no shortcuts. Maqam is a physical/mental skill, not a set of rules.

[@مريمالعربي-ن5خ]

Thank you! This video is dense in content. I would need to re-watch it.

[@abushumays]

Definitely! Though all the videos are intended to be re-watched, because the vocabulary sinks in more and more each time it's repeated.

[@مريمالعربي-ن5خ]

You are right indeed!

[@botan645]

Pleaseeee show us the positions of the fingers in different maqams, for the people with less experience like me. Shwkran. Love from Kurdistan❤️❤️❤️

[@abushumays]

Thank you for watching and for your interest! However, my goal is for people to learn to rely exclusively on their ears to grasp the tuning. If you don't have that skill yet then definitely keep singing along with the lessons before you try on your instrument... and go back and forth between your instrument and voice until it becomes easier to figure out the fingering by ear.

[@123alawyoo]

Hi Sami, thanks for all the great lessons and your book I have a few questions about a maqam I’ve come across (Maqam Husseini Ushayran). Do you have any resources around this maqam regarding its sayr? From what I understand its most basic structure is Bayati tetrachord on 1 Bayati tetrachord on 4

[@abushumays]

What you describe I know of as "Bayatain," and in my experience of the repertory it is extremely rare, functioning mostly as a pathway within Maqam Bayati Shuri. I think I've heard that name before though, Husseini Ushayran... where did you hear that name and with which region is it associated? Keep in mind that my approach - both here and in the book - is only to consider as real those maqamat that have multiple examples in repertory. If you happen to know examples I'd love to hear them. What I know is just a few very brief examples in songs, a few phrases in Quranic recitation... planning to cover that way down the line.

[@123alawyoo]

@@abushumays Thanks for your reply Sami. Here’s a few that I’ve found: kzbin.info/aero/PLi4vlpGFs4tmGim1I6nYo8gj_Xsnv08ST&si=f2i_0U5ntn494l4z The only songs I’m aware of that use this maqam are within the Kuwaiti/Bahraini “Sawt” genre repertoire. Would love to hear your take on it. As for the term “Husseini Ushayran” I came across it while reading an ethnomusicology PhD thesis by Dr Ahmad al Salhi about the Sawt genre. But I doubt that such terminologies are regularly used by practitioners of this genre as the repertoires date back to older folk practices. I’m sure there are other examples of this maqam from different Arab musical cultures where the term Husseini Ushayran most likely originated from.