لا أدري كيف أشكرك على هذه الأغاني والمعلومات القيمة التي ترفقها مع الأغاني ، وياريت تفعل ذات الشئ مع كل أغاني القبنجي . هل لديك أغنية نرجس الأخرى "ياحلو قلي شبدلك" هل غنتها عفيفة اسكندر أيضا؟ هل لديك أي معلومات عن حياة نرجس في العراق ومتى وأين توفت ؟
نرجس شوقي المطربة التي قدمت من مصر و غنت باللهجة العراقية بعراقية صميمة و قد اشتهرت في العراق و اعتبرها العراقيين واحدة من كبار مطرباته و هي جديرة بذلك ....
اقف علي قارعة الطريق اتسول الحب والعشق والحنين ابحث عن رجل كريم ,, يهب لي بعضا من حبه ,, قلبه ,, او اقل القليل ويح نفسي وهبت قلبي لرجل بخيل مزقه ,شوههه ,وفي النهاية القي به علي قارعة الطريق !!! ...
اخييييييييييييييييييه على كلبي اي والله منو يدري منووووووووووووووووووو خلوني سااااااااااااااكت خلوني الصوج كله منه اي والله سوده عليه وبيضه عليك اي والله شقول لمي من اروح انكسرة الشيشه
نرجس شوقي مطربة مصرية استقرت كالكثير من الفنانين العرب في بغداد اذ كانت الحركة الفنية قي كل اوجهها مزدهرة و كما سماها الموسيقار عبد الوهاب بلد الفن فالاسماء الكبيرة التي تربعت على اسم المقام العراقي و الاطوار الريفية و الاغنية البغدادية
أنا من كتر إعجابي بهذه الأغنية أريد أن أقدمها في حفلتي القادمة إن شاء الله هنا بأمريكا، في حفلة للموسيقى العربية. رغم إن إيقاع الجورجينة صعب علي كمصري مش متعود عليه لكن بالتمرين يجي. وعازف الإيقاع إللي معاي إيراني كردي عارف الجورجينة مثل أسمه
What is a Maqam ?In Arabic music, a maqam (plural maqamat) is a set of notes with traditions that define relationships between them, habitual patterns, and their melodic development. Maqamat are best defined and understood in the context of the rich Arabic music repertoire. The nearest equivalent in Western classical music would be a mode (e.g. Major, Minor, etc.) The Arabic scales which maqamat are built from are not even-tempered, unlike the chromatic scale used in Western classical music. Instead, 5th notes are tuned based on the 3rd harmonic. The tuning of the remaining notes entirely depends on the maqam. The reasons for this tuning are probably historically based on string instruments like the oud. A side effect of not having even-tempered tuning is that the same note (by name) may have a slightly different pitch depending on which maqam it is played in. What are Quarter Tones ? Many maqamat include notes that can be approximated with quarter tones (depicted using the half-flat sign or the half-sharp sign ), although they rarely are precise quarters falling exactly halfway between two semitones. Even notes depicted as semitones sometimes include microtonal subtleties depending on the maqam in which they are used. For this reason, when writing Arabic music using the Western notation system, there is an understanding that the exact tuning of each note might vary with each maqam and must be learned by ear. Another peculiarity of maqamat is that the same note is not always played with the same exact pitch. The pitch may vary slightly, depending on the melodic flow and what other notes are played before and after that note. The idea behind this effect is to round sharp corners in the melody by drawing the furthest notes nearer. This effect is sometimes called the law of attraction or gravity, and is common in other musical traditions (e.g. in Byzantine music). Are maqamat transposable ? When Arabic maqamat are taught and documented, each maqam is usually associated with the same starting note (tonic). For example, maqam Bayati is almost always shown as starting on D in reference textbooks. In general maqamat are transposable, but only to a handful of other tonics. For example, maqam Bayati usually starts on D, but it can also start on G and A. When transposing Arabic maqamat, musicians mention the tonic name after the maqam name for clarity (e.g. "Bayati on G" or "Bayati on A"). For this reason also, only a few quarter tones are exploited (with the understanding that the term quarter tone is approximate, and that many semitones include microtonal variations). The most frequently used quarter tones are: E, A and B. This is unlike scales in Western classical music, where for example each scale can have 11 possible tonics. Total freedom to transpose requires playing Western music on even-tempered instruments (e.g. the piano) where all semitone intervals are exactly equal. The reasons behind this limitation are probably technical and pragmatic, and have to do with the difficulty of transposing freely on classical Arabic instruments (oud, nay, qanun). On the oud for example, it is important to be able to exploit open strings to play tonics, 4th and 5th notes, since the sound on open strings is always in tune and louder. In addition, since the oud tuning is not even-tempered but based on harmonic 4th and 5th intervals between open strings, maqamat dont sound equally in tune and pleasant on every tonic. Some maqamat change names when transposed because they vary in their feel or mood. A maqam could also have a different melodic development (sayr) when transposed, including a different dominant note, etc. For example maqam Rahat El Arwah is a transposed version of maqam Huzam, but they have different moods. To describe the difference using very subjective terminology, the first is lower, more mellow and spiritual, the second is higher, lighter and funkier. Another reason for different transposed versions of a maqam having different names might be historic, since each name (and tonic) may have been used in a different region (Arab, Persian, Turkish. etc.). An example of this is the Hijaz Kar, Shadd Araban, Shahnaz, and Suzidil maqamat, which all have the same tonal intervals. While on the subject of transposition, musicians often retune their instruments a few semitones higher or lower than the absolute reference (e.g. A = 440 Hz) rather than transpose a maqam, especially in old 1920's and 1930's recordings. The reason for doing this is that melodies sound much better when their tonics and 4th/5th notes fall on open strings, because of the way string instruments like the oud or violin resonate. This is not the case with voice, for example. How can maqamat be broken down ? The building blocks for maqamat are sets of 3, 4 or 5 notes, called trichords, tetrachords and pentachords, respectively. The Arabic word for these sets is jins (plural ajnas). The word jins means the gender, type or nature of something. In general each maqam is made up two main ajnas (sets) called lower and upper jins. These can be joined at the same note, at two adjacent notes, or can overlap each other. A maqam may also include other secondary ajnas which are very useful for modulation. Instead of thinking of a maqam as a collection of 8 or more individual notes, it's often useful to think of it as a group of two or more ajnas (sets). See the Ajnas (Sets) section.
Is there harmony in Arabic music ? Arabic music is mostly melodic, which means it rarely includes harmony and chords. There are a few exceptions, read more in this excellent article about Harmony and Arabic Music. The main reason why harmony is rarely used is that chords dont sound very pleasant when they include quarter tones or microtonal variations. Harmony sounds best when notes have a natural harmonic relationship (3rd, 4th, 5th and 6th harmonic, etc). In Arabic music, this is true for a tonic and its fifth (3rd harmonic), but most of the time not true for any other note combination. What is the difference between a maqam and a scale ? The Arabic maqam is built on top of the Arabic scale. The maqam is generally made up of one octave (8 notes), although sometimes the maqam scale extends up to 2 octaves. But the maqam is much more than a scale:
A maqam may include microtonal variations such that tones, half tones and quarter tones in its underlying scale are not precisely that. E.g. the E in maqam Bayati is tuned slightly lower than the E in maqam Rast. These variations must be learned by listening not by reading, which is why the oral tradition is the correct way to learn Arabic music.
Each maqam has a different character which conveys a mood, in a similar fashion to the mood in a Major or Minor scale, although that mood is subjective. Since classical Arabic music is mostly melodic (excludes harmony), the choice of maqam greatly affects the mood of the piece.
Each maqam includes rules that define its melodic development (or sayr in Arabic). These rules describe which notes should be emphasized, how often, and in what order. This means that two maqamat that have the same tonal intervals but where one is a transposed version of the other may be played differently (e.g. maqamat Kurd and Hijaz Kar Kurd, or maqamat Nahawand and Farahfaza).
Each maqam includes rules that define the starting note (tonic, or qarar in Arabic), the ending note (or mustaqarr in Arabic), which in some cases is different to the tonic, and the dominant note (or ghammaz in Arabic). The dominant is the starting note of the second jins (in general the 5th, but sometimes the 4th or 3rd note), and serves as the pivot note during modulation.
See the Modulation section. How many maqamat are there ? There are dozens of Arabic maqamat, too many to list, including many Persian and Turkish hybrids. It's difficult to find a definitive list of Arabic maqamat that all textbooks agree on, or a definitive reference on which maqamat are strictly Arabic and which are Turkish or Persian. There are also many local maqamat used only in some regions of the Arab world (e.g. Iraq and North Africa), and unknown in others. But the most widely used and known maqamat are about 30 to 40, and these are the ones covered in this web site See the Maqam Index section. How is the intonation of the Arabic maqam changing with time ?
There is no absolute reference for the Arabic scale. In 1932, the Arabic Music Conference in Cairo established that regional variations existed in the intonation of Arabic maqamat. Within each region, oral traditions continued and created de-facto standards, although these standards converged to some extent with the advent of recording and broadcasting. The phenomenon that greatly influenced intonation in Arabic music was the introduction of even-tempered instruments (some of which were altered to produce quarter tones), mostly in the second half of the 20th century. The accordion, electric guitar, electric (fretted) bass, piano, guitar, electric piano, electric organ and synthesizer were gradually introduced to the Arabic ensemble. The main incentive behind this change was innovation, modernization, and the desire to add harmony to Arabic music. When Arabic maqamat are performed on even-tempered instruments, they sound different in subtle ways for the following reasons:
The intonation of the same quarter tone can vary with each maqam. For example, the E in maqam Rast has a higher tuning than the E in maqam Bayati. Even tempered instruments eliminate these subtle variations, producing dry and rigid quarter tones.
Moreover, the Arabic maqam has regional variations that make up a lot of its color. For example, the E in maqam Rast has a higher tuning in Aleppo than in Cairo. Even tempered instruments eliminate these regional variations, reducing the Arabic maqam to its lowest denominator.
Even semitones in the Arabic scale often include microtonal variations. A prime example are the 2nd and 3rd notes in the Hijaz tetrachord, which are played closer together so as to shrink the 1½ tone interval. These variations cannot be performed on even-tempered instruments. In case of harmonic music, microtonal variations are even undesirable since they reduce harmony.
With time, the original tuning of maqam Hijaz had been lost except in a handful of new recordings, and was replaced with what is called “piano Hijaz” (a derogatory term.) Equally bad is the “piano Ajam”, where the 3rd note should be slightly lower and more mellow. Maqamat like Jiharkah are rarely played on even-tempered instruments, even on ones that have been altered to produce quarter tones. In conclusion, the new generation of Arabic musicians, singers and listeners is losing touch with the traditional intonation of the 1920s and 30s largely because of the introduction of even-tempered instruments and harmony in Arabic music.
I made this piece in san francisco in year 2000. in year 2001 my 'industry' (I.T) 'crashed' .. my company went under . i lost my job on my birthday in june 2001. paradise lost .. the dream of freedom and dignity slipped again from my fingers .. that freedom i was only able to feel in the United States of America. I am serious. I felt a connection with the land and the people. I felt i am able to belong , and belong and belong. I was able to live my different identities . i was able to be an Arab , an artist , a woman, a geek , a Canadian even , I was able to be a better Canadian in the USA. I was able to wear my Palestinian Koufiyeh and my Jordanian shmagh without fear.. I was able to get involved and express myself as a citizen even though i wasnt even a US citizen! True I was living in a very special place , California is a special place. I was involved in politics without fear. I love that place! i had to leave. jobs were scarce after the hi-tech bubble burst .. and after 911 there was no chance on earth for me to get a job .. an Arab and not even an american , arab looking and with an accent .. not the perfect age or gender or skin color either .. no way.. i tried very hard.. but ..no way i couldnt afford it ... i realized my generous severance package will run out soon if i dont do something ... so much soul searching.. so much .. day and night battling with my fear barely any support i came up with the decision to go back to Canada! after all i am a Canadian citizen , this is my country too.. it is my country in a different and special way .. a country of choice. I jumped through hoops and loops to make it my country . I studied and passed. I went through rigorous examinations and had to live in freezing cold for years to earn my Canadian citizenship. i was drawn to Canada because of the reputation it has, the values it preaches . not because i was starving in my country. I thought it was a place where people have dignity and freedom and equality. and everyone has the same opportunity and respect. I wanted to live in canada because i wanted to live in a democracy and in peace and have opportunities and be able to help others in the world. That is why I chose Canada to be my new country. Living in the east wasnt bad. The culture in Montreal is awesome . there is racism but at least there is culture and passion and good food. but the weather is very cold! it's just frigging cold ! so so so cold ! no one can comprehend the intensity of this cold except people who live in it. the gas used to freeze in my car . i once cried from the cold. i made the mistake of taking off my mitten to try and open my car door , the lock was frozen , the exposure of my hand without the mitten for a few minutes made me cry , i felt my fingers will fall off ! it was so painful! no way would i go back! so cold! i decided to go back to school to become a film director ! i decided to move to Vancouver. and i didnt know anything about Vancouver. just that it's the closest biggest Canadian city, never been there and met maybe only 3 or 4 people from there in all the years i lived in Canada! I drove up all the way to vancouver. I slept in the car at night and drove during the light. I had a dream long before this happened. It was strange because I dont know much about vancouver, I never think of vancouver. It was sometime in 2000/2001 I was working in silicon valley totally enjoying the sun and the freedom and the opportunitues.. i had a dream one day , in my sleep; I dreamt i was in Vancouver , and there was an earthquake .. i was alone .. and the earth was shaking .. but a voice inside me was telling me not to be afraid .. i was ducking under a small construction that looked like a box made out of concrete and i was feeling safe and that everything will just be allright! this song was my canada re-entry theme. i drove up all the way to Vancouver.. it was fall time and the colors of the leaves was fascinating .. on my way i found a safari zoo , and then a bird sanctuary .. i stopped and visited ! i felt free and in bliss. l never ended up living in vancouver or going back to school. my life took turns like i had never expected.. i discovered that the east is not like the west . the frost of the cold is mercy compared to the cold fire of the racism. what a hard decade ! I call it my British Columbia decade! the hardest in my life but fantastically transforming! I thank Canada , I love Canada , and I am a proud Canadian , still inspired by the canadian values of human rights and freedom and protection of the environment and animals and caring and helping other people of the world.. etc.. which are unfortunately being stepped on by our government while canadians watch silently!
so there you go , that is the story of this music Goodbye 2000-2009 welcome 2010 ! may it be THE year where the deepest human aspiration of peace and fulfillment of basic need becomes reality
This post in copied entirely from Dj DocRemy - it was posted today , and she is featuring my music again :) !
I am super thankful to Dj DocRemy for her great show and for sharing with us the great talents of @sciencebase, David Bradley, and @Businari, Mauricio.
Featuring my Audio Art track : 'Abraham' Here is a link to Dj DocRemy's original post where you can check other very cool music. If you want to hear Abraham itself uncut , here it is :)
This music set is with collaboration of @sciencebase, David Bradley, @Lubzi and @Businari, Mauricio.
I opened the set with (@sciencebase) David’s Here Comes the Sun mixed with (@Businari) Businari’s Baal from Hi-Brazil Soundtrack from the epic book The Song of the Spheres, Vol.1, The Bard and the Queen Of Ice. http://homepage.mac.com/hibrazil/bardo1_index.html (details of the Legend)
This represents sunrise on our planet earth, Gaia.
Next I mixed rectus limbus from Businari’s Hi-Brazil Let’s Do the Samba: http://homepage.mac.com/hibrazil/ldts_index.html (for details) as this represents the sunrise has now warmed our earth.
I picked Babak and transition to (@Lubzi) Lubzi’s Braham. This represents that we, as human race, have set up way of life that resonates our higher self. According to Lubzi’s Braham: is Braham Lincoln, as is also Abraham, the ‘father’ of the Jews and Arabs: The Wise Father as is Abraham Lincoln: The Government of the People.
I like the fact that Lubzi’s piece represents both the Arabs and the Jews as one, connecting by Abraham. It is wise of her to do so in this fashion of music and speech combined.
Again from David’s Sunrise to warm the earth by Businari’s pieces and closing with Lubzi’s Braham as Abraham to Abraham Lincoln’s Gettysburg address.
What talented friends I have. Thank you David, Mauricio and Lubzi….. You have honored me much!
This post in copied entirely from Dj DocRemy - it was posted on Saturday, October 3, 2009 , the weekend that she featured my music :) !
I am super thankful to Dj DocRemy for her great show and for featuring my Audio Art track : October 22. Here is a link to Dj DocRemy's original post where you can check other very cool music and listen to October 22. here is the Original October 22 piece uncut :
Here is what Dj DocRemy said on her blog: "DjDrRemy - @Lubzi: Empathy for Blending on Discord-Resolve-and-Celebration by DjDocREMY
This #WeeklyMusicCelebration set is featuring our talented friend @Lubzi. I specifically name it: Empathy for Blending of Emotions: Discord, Resolve & Celebration. And the following is what @Lubzi explains about her music:
“The track name is “Oct22”. In fact it is about September 11. I called it October 22 because in those days (2002) Arabs living in the west couldn’t even discuss 9/11 without receiving at least accusing looks. So I was being ironic on the terrorizing of Arab immigrants in the name of fighting terrorism. In the beginning, things are moving in a steady pace somewhat peaceful and then all of sudden the world blows up and all the crazy events that happened afterward were too overwhelming and surreal: that is how 911 went and what I am expressing in the track.I did not have specific goal in mind: Only let my emotions take the helm as I had a load of hard to handle feelings about 9/11 and I needed to wear my heart over my sleeve.My hope is that people would feel some of my feelings….”
As for me, I picked this track of Lubzi’s (out of the 5 tracks she sent me) as somehow I resonate with the tune though I had no idea what the tune means – not until she tweeted me with the explanation.
On this set, I have added how I feel for her music as you may catch it at ~2:24 mins. then her track resumes at ~3.49 mins. I remix “Daft Punk” songs for two reasons: 1) It is entirely electronic sound – This is to emphasize how technological science of music program allows us to produce music. 2) It resonates how our humanity become stronger as a human race, faster in technology and outreach of communications which allows us to share and have more empathy as we try harder by the closing song which is a celebration to our spirit of Being - as One."
Refrain 1: I watch your window I shake so scared Spying from my room With nervous unrest Night after night your fingers caressing The skin that is so fair you slowly undress
Chorus: Soon we will be together Until then so cold the night Soon we will be together Until then so cold the night
I know that you know that I'm here each night Watching and praying the time is now right For me to undress and caress you Until then I'll just sit here and dream.
(chorus) Cold the night, Cold the night
Soon my love Soon my secret lover Soon my love Soon my secret lover Soon my love Soon my secret lover Soon my lover
(refrain 1)
(chorus x2) Cold the night (x6) Ooh it's so cold without you Cold the night (x6)
اللؤلؤ المنثور ... في فمك الجميل فيه السعادة للشقي .. وللعليل فاذا تفتحت الشفاه ثوانيا نورّت دنيانا وأحييت القتيل
The scattered pearls...in you beautiful mouth brings happiness to the miserable , and the sick if your lips opened for seconds our life lights up and the dead are revived..
The name of the artist singing in Arabic is Sabah fakhri from Alleppo, Syria. Then I am using a really old poem i think it is by امرؤ القيس... not too sure anymore. i am starting to forget these things you know. the poet talks about his lover , how graceful is the way she walk, how loved by her friends and neighbours how she keeps their secrets, how when she stands up the fragrance of tulips and roses spreads all over the place... bla bla bla , love and crap
or the half-sharp sign 
), although they rarely are precise quarters falling exactly halfway between two semitones. Even notes depicted as semitones sometimes include microtonal subtleties depending on the maqam in which they are used. For this reason, when writing Arabic music using the Western notation system, there is an understanding that the exact tuning of each note might vary with each maqam and must be learned by ear.
See the 
والأصعب هو أن تغني على إيقاع الجورجينا ومن مقام المخالف وكلاهما عراقي حصراً!