Oud taqsin ni maqam Iraq.

Limited to modulations and stylistic traits of court music from the 15th to 17th century, Timurid, Safavid and Ottoman. As found in the Ali Ufki (1610-1675) and Demetrius Cantemir (1673 -1723) notations and the early oral repertoire.

Iraq Oud Taqsim

Oud taqsim in maqam Saba Qadim (old saba)

Saba Qadim Oud Taqsim

Oud taqsim in maqam Buselik, based on the 16th / 17th century version of the maqam.

Buselik Oud Taqsim

Meditation (Tahir Buselik)

A composition of mine based on the Sirto dance form.
The first two Khanat (verses, sections) and Taslim (chorus, refrain) are in 2/4 and the last Khana in 7/8 (Dawr Turan).
The Sirto is a line dance.
'Syrtos is mentioned as a traditional Greek dance already in ancient Greece and the word derives from the Greek verb "σύρω" (surō), "to draw, to drag". The word syrtos has been borrowed as sirto for a couples dance from the Pirin region in Bulgaria, and is one of the most liked folk dances and music in Cyprus. However, it is easy to also observe the Turkish motives in the ones used in Cyprus. Ottoman sultans enjoyed this Greek music form and composed songs in that form.' (From Wikipedia).
This maqam was created by Hammamizade İsmail Dede Efendi (1778-1846), a Turkish Ottoman composer known as the 'Beethoven of Ottoman art music'.
The modulations are to Rast and Hijazkar Kurdi.


Nawa Athar Sirto Hall

Famous Iraqi piece in maqam Hijaz and another version of il-'Hilwa di.
The taqsim modulates to Saba.
Featuring the amazing percussionists Douglas Brush and Tim Sellers on darabukka and riqq. 


Hijaz Iraqi melody & il-Hilwa di

Nay taqsim inspired by Plato and the ancient Greek Dorian mode.


Homage to Plato - Kurdi Nay Taqsim

Taqsim in Maqam Nawa played on the oud. 

Modulations are featured; the first of these is to Maqam Iraq, followed by the sub-mode Saba-Iraq (a combination of Maqam Saba and Maqam Iraq), and now called Bastanikar. 

The next modulation is to Maqam Rahat Al Awah, which is also a sub-mode combining Maqam Hijaz and Maqam Iraq. 

The next modulation is to Maqam Shanaz, followed by Maqam Hisar, which is then followed by Maqam Saba. The piece concludes in the Maqam Nawa.

Nawa Oud Taqsim

Sixteenth century piece by the Egyptian - Ottoman composer known as 'Emir-i Haj' (the Commander of the Pilgrimage).
Emir i-Haj was a major composer of the Mehter military music, and whose compositions are in the court repertoires of Ali Ufki and Dimitrie Cantemir.

Maqam Nawa (qadim type 2, ushshaq + buselik on nawa (g).
Usul (rhythm) - Khafif 32/8.

Bashraf Nawa, Khafif (Emir i-Haj, Egyptian - Ottoman, sixteenth century)

Another interesting piece by the Egyptian composer Emir-i Ha in maqam Iraq.This composition employs the fallahi rhythm, which is from Egyptian folk music.
So, in this period it seems that rhythms, melodies etc. were shared between Cairo and Constantinople

Bashraf Iraq (Emir i-Haj, Egyptian - Ottoman, sixteenth century)

Samai Iraq (Qadim) is a piece by a thirteenth to fourteenth-century Sultan called Sultan Walad, who was the eldest son of Jalal al-Din Rumi the famous Sufi poet. 485 The term qadim means “ancient” and is appropriate for this piece which is the oldest piece in both the Ali Ufki and Cantemir collections. The piece is lively and very danceable, and serves well to awaken the audience in a secular concert, and it would accompany the Mawlawi ‘Whirling Dervishes’ spinning around quickly in the Sufi Sama ritual. This piece does not employ modulations at all. It is in both the Ali Ufki and Cantemir notations. This version is from that of Cantemir.

Samai Iraq Qadim (Sultan Walad, 1226-1312, son of Mawlana Jalal al-Din Rumi)

Taqsim in Maqam Iraq played on the nay. The first part is in Maqam Iraq. There are some modulations that follow; the first of these is to Maqam Saba-Iraq, the second is to Maqam Rahat Al Arwah. The Taqsim ends in Maqam Iraq.

Iraq Nay Taqsim

This piece is Bashraf Iraq - Nazire-i Sayf Al Masry, Duyak. The Nazire is a type of Bashraf that is inspired by a famous piece by another composer, in this case that of the previous piece by Sayf Al Masry. Interestingly, this piece is not set in the mode Iraq-i Mukhalef but is in Maqam Iraq proper. The piece modulates to Maqam Saba-Iraq in the Taslim. The second khana modulates to Maqam Rahat Al Arwah, and then returns to Maqam Iraq in the last section. The third khana modulates to Maqam Hijaz and concludes in Maqam Iraq. This piece is from the Cantemir collection and is not in that of Ali Ufki.

Bashraf Iraq - Nazire-i Sayf Al Masry (Anon, Ottoman)

Bashraf Iraq -i Mukhlaef is by another Egyptian composer, Sayf Al Masry, who lived in the fifteenth-century. Although we only have one piece that survives from this early composer, it is a masterful and interesting work, and features rhythmic modulations as well as melodic ones. The mode Iraq-i Mukhalef is a sub-mode that combines Maqam Huseyni and Maqam Iraq. Today there is a similar Maqam called Dilkeshaweran that combines these two Maqamat, but concludes on the note iraq (Bd) rather than on dugah (D) as in Maqam Iraq-i Mukhalef. The first section of the second khana and the whole of the third khana are in an Egyptian rhythm called Fallahi. The piece itself works as a bridge between Wasla Nawa and Wasla Iraq, that gradually emphasises the tone iraq (Bd), this prepares the setting for Wasla Iraq. This piece is in both the Ali Ufki and Cantemir notations. This version is from that of Ali Ufki.

Bashraf Iraq -i Mukhalef (Sayf Al Masry, Egyptian -  Ottoman, 15th century))

Ottoman Maqam Concert at the School of Music at the University of Canterbury, Christchurch, New Zealand, December 2016.

Doug Brush - riqq and darabukka

Jonathan Gemmill - oud and nay

Programme:

Part A
1.	Oud introductory Taqsim, in maqam Nawa (traditional unmeasured improvisation on the Middle Eastern lute).
2.	Bashraf Nawa, Hafif (instrumental piece in the Nawa mode, 32/8), Emir-i Haj, Egyptian, Ottoman 16th century.  

3.	Bashraf Bayati, Dawr Rewan (instrumental piece in the Bayati mode, 14/16), Persian, Ottoman 16th century.
 
4.	Bashraf Nawa, Duyak - Bulbul-i Ashiq (The Nightingale in Love) (instrumental piece in the Nawa mode, 8/8), Anon, Ottoman 16th century.
 
5.	Bashraf Iraq-i Mukhalef, Duyak & Fallahi (instrumental piece in the Iraq-i Mukhalef mode, 8/8, 2/4), Sayf Al Masry, Egyptian, Timurid or Ottoman, 15th century. 

6.	Bashraf Iraq, Duyak - Nazire-i Sayf Al Masry (instrumental piece in the Iraq mode, 8/8, inspired by the previous piece), Anon, Ottoman 16th century. 

7.	Bashraf Iraq, Fatih Darb (instrumental piece in the Iraq mode, 88/8), Kasebaz-i Masry, Egyptian, Ottoman, 16th century.   

8.	Oud Taqsim Iraq (unmeasured traditional improvisation in the Iraq mode).

Part B
1.	Nay Introductory Taqsim (traditional unmeasured improvisation on the reed-flute).

2.	Bashraf Nahawand, Sakil (instrumental piece in the Nahawand mode, 48/8), Persian, Ottoman, sixteenth century.

3.	Bashraf Rast, Duyak - Alam Ara (World Adorning) (instrumental piece in the Rast mode, 8/8), Anon, Ottoman, sixteenth century.

4.	Bashraf Segah, Duyak - Gida-i Ruh (Nourishment for the Soul) (instrumental piece in the Segah mode, 8/8), Anon, Ottoman, sixteenth century.

5.	 Bashraf Iraq, Fallahi - Hunkar (The Emperors Bashraf) (Instrumental piece in the Iraq mode, 2/4), Emir-i Haj, Egyptian, Ottoman 16th century. 
 
6.	Bashraf Nawa, Duyak (instrumental piece in the Nawa mode, 8/8), Shah-i Huban, Ottoman Princess, sixteenth century). 

7.	Bashraf Huseyni, Hafif - Suleymanname (Book of Suleyman the Magnificent) (instrumental piece in the Huseyni mode, 32/8), Haji Qasim, North African, Ottoman, sixteenth century.

8.	Samai Ajam, Samai & Nay Taqsim (quick instrumental postlude/dance piece in the Ajam mode, 6/8, followed by a traditional improvisation on the reed-flute),

CONCERT - Bulbul i-Ashiq – The Nightingale In love (Ali Ufki & Demetri Cantemir's notations)

Bashraf Huseyni - Faryad-i Yusuf (Joseph's Cry for Help)

Bashraf Saba ' Sakil-I Kabir'
(16th Cent, Anon', Persian, Ottoman Period).
Rhythm Sakil - 48/8
Featuring Doug Brush on riqq.

Bashraf Saba

Segah Sufi Ilahi and Nay Taqsim

Bashraf in maqam Segah.
Rhythm Duyak -8/8.
Doug Brush on Darabuka and daire.

Jonathan Gemmill Oud & Nay NZ

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