Modulation Series - Nahawand-Saba Modulation

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[@moghailan1788]

Wow, just a quick search for oud and I'm taken back to Citadel! It's great to see a familiar face, and to see you still playing 👏🏽

[@OudforGuitarists]

What a small world. I hope you are doing well Mo.

[@adamaenosh6728]

This is a great idea for a series, but it's also something that I feel you can hear in many places. What I would really find valuable (and be willing to pay for), is like a 20-minute piece of music for ear training that just goes back and forth between two ajinas in loads of different ways, using all the most customary melodic vocabulary that occurs around this particular modulation. If there was a series of 20 minute pieces like this for every combination of the most important ajinas, I would pay good money to download those pieces.

[@angel-berry]

Naviさん、すてきな音色ですね〜😊

[@Philj200]

Always informative. I really like that oud.

[@cia6858]

Thanks 🙏🏿

[@متدربعزف]

Exlant good sunde

[@ZakariaAli-v2w]

Hey navid could you do a video tutorial on the armenian song nubar nubar its in the jurjuna rhythm but i dont know what maqam. Im thinking Maqam kurd or maybe rast i dont know. Theres also another song thats sung by Hamza El Din in his native nubian language i believe the song is in the pentatonic scale. I watched a tutorial on youtube but it was in french and i cant seem to find a tutorial in english thanks sorry for the inconvienience

[@turnipsociety706]

1:18 don't the D and Eflat belong to the Nahawand and not the Saba? I thought the Saba had only 4 tones to it.

[@OudforGuitarists]

D and E flat do belong to nahawand in this scenario. Take note that I'm playing Saba starting on the note G, when you expand beyond the 4 note tetrachord we call saba, then D and E flat follow. Saba on G G A-half-flat Bflat C D Eflat F

[@tudormardare66]

Amazing, the two ajnas fit quite well! Does this combination of ajnas have a Maqam Name?

[@Zaphod313]

It's not unheard of as a modulation, but it's quite rare in the contemporary Arabic maqam repertoire and has no unique name, as far as I know. There is a classical Ottoman makam called Şivenüma, which starts with jins Saba from its regular place on the Dügâh note (usually D on the Arabic oud) and ends with jins Buselik (Nahawand) on the Yegâh note (G). Essentially, it's a combination of Saba and Ferahfeza. Here's an example: kzbin.info/www/bejne/oHaqpGqVfdiSqdUsi=ehslV3LhehEl-Oho

[@tudormardare66]

@@Zaphod313 Cool! I usually study the Ottoman makam system, seeing that it is the more complete version, with the makamlar being distinguished not only by the base note, but also by the seyir. It is quite vast, over 1000 makamlar. How did you manage to find this makam? Did you just stumble upon it at one point in time by chance, or do you know a couple over a couple of hundreds of different makamlar already?

[@Zaphod313]

​@@tudormardare66 I agree with you on the Ottoman makam system being more complete, even if the contemporary tuning theory based on the 53 comas is unnecessarily convoluted for beginners, and often just plain wrong. As a Turkish ud player and Eastern music aficionado, I've been researching the Ottoman repertoire for many years, over the course of which I came across many makams. Şivenüma happens to be one of those rarely used makams which have a unique enough seyir and enough extant pieces to be memorable. Many of those 100s of makams are now known by name only, and many aren't particularly interesting, based on the surviving compositions. Good luck with your further makam music studies, from a Serbian aficionado!