Maqam

المقام العراقي - مقام اورفه Maqam Urfa - Iraqi Maqam

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• published: 08 Dec 2008
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http://iraqimaqam.blogspot.com Iraqi Maqam المقام العراقي A maqam al-'iraqi performance usually begins with the tahrir, comprising one or more vocal passages that either have no text or consist of Arabic, Persian and Turkish words (akhayya, yar yar, aman). The tahrir presents the nucleus of the maqam and establishes its emotional content. Following the introductory passages, the singer and instrumentalists alternately improvise rhythmically free melodic passages through increasingly higher tone levels. In some maqamat, the tahrir is preceded by an instrumental introduction of fixed meter. At times it is completely replaced with a badwah, a vocal introduction in which short and long tones are juxtaposed by the singer in alternately high and low registers. As a rule, the first tone level to be presented highlights the beginning tone of the chosen maqam row. Then, one by one, the other phases and tone levels of the maqam are realized. The highest tone level marks the climax of the performance and is immediately followed by the taslim, a descending melodic passage that leads directly to the finalis of the maqam row. Maqamat such as the bayat and huseyni are presented without the rhythmic accompaniment of percussion instruments, whereas maqamat such as the ibrahimi and nawa always have rhythmic accompaniment. The patterns played by the goblet drum or frame drum sound continuously from beginning to end, as in the maqam sikah, or are only intermittently heard, as in the maqamat rast and saba. A complete maqam performance, called a fasl, is composed of a number of maqam realizations whose sequence is fixed. The fasl is named after the first maqam presented. The Arabian repertoire of the maqam al-'iraqi includes five fusul (plural of fasl), namely, bayat, hijaz, rast, nawa, and husayni. (Note: There is a total of about 42 primary and secondary maqams in the Iraqi repertoire divided into five fusul, in addition to 41 derivative pieces (qita') incorporated in the main maqam performances. Most of these modes are rarely performed today and a few were not even documented or recorded.) At the end of each individual maqam presentation within a fasl, the ensemble sings a song of fixed meter (bastah or peste) to give the singer a chance to rest before presenting the next maqam. After all the maqamat of a fasl have been presented, the entire ensemble takes a long break before beginning the next fasl. (Touma, Music of the Arabs, 1996) الشعر المغنى هنا تخميس من قصائد مختلفه: الحب ديني و والصبابة تذكر * و الحسن عنكم و الملاحة تعثر و حياتكم قسما يذاع و ينشر * عيني لغير جمالكم لا تنظر و سواكم في خاطري لا يخطر امضيت عمري في الغرام لعلني * دوما بودكم اروح و انثني انتم حياتي في الغرام و انني * خبرت قلبي عنكم فآجابني لا صبر لي لا صبر لأصبر كيف السبيل و قد عدمت تفكري * و ازداد وجدي فيكم و تفكري و غدوت من شوقي اقول لهاجري * لا صبر لي حتى يراكم ناظري و على محبتكم اموت و احشر