مقام بيات - رشيد القندرجي Maqam Bayat - Rashid al-Qundarchi

http://iraqimaqam.blogspot.com

Iraqi Maqam المقام العراقي
Maqam Bayat and peste "Jawad Jawad, Musayyibi"
Rashid al-Qundarchi and al-Chalghi al-Baghdadi
78 rpm recording for a German label in 1930

مقام البيات و بسته "جواد جواد مسيبي" من اداء القارئ رشيد القندرجي* و فرقة الجالغي البغدادي (يوسف بتو، صالح شميل، يهودا شماس) تسجيل قديم على الاسطوانة من عام ١٩٣٠. القصيدة للشاعر حافظ الشيرازي باللغة الفارسية و البسته قديمه باللهجة البغدادية على نغم البيات و ايقاع سنكَين سماعي

Maqam Bayat, poem in classical Persian attributed to Hafiz Shirazi: "Tu bareh khatirah hudan" (You carry the weight of my thoughts). This piece is very ancient and seems to come from the Bayyat tribe or the piyyutim of the Hebrew religious tradition. The Persian words of the poem were well known in Baghdad in the al-Kazimayn neighborhood, where a large Iranian community lived.

- The Maqam Bayyat* is one of the seven principal modes of the Baghdad school of song and the first of the Bayyat suite (fasl). Its tonic is in dukah and is sung without any rhthmic accompaniment on classical verses in Arabic or Persian. Its tahrir moves between the tchahargah, nawa, husayni and rast by the means of the Persian word "feryadey, feryademen" (0:10). The reciter generally modulates in Lauk with the interjection "Oyé" which must be cut up with brief silences (1:12). The Saba piece is then developed with its tonic in dukah (2:07), then comes the Husayni with the Persian words "yar, yademen" (Love, my love) (2:22). This ends on a low note using the Jalsa technique. The first sharp meyana then goes into the kurdan, nawa, mahuran, muhayyar and sahm degrees, thanks to the syllables "eliley, leley" (2:53). The Husayni piece is then repeated with the interjections Ouh or Oyé on the kurdan degree (3:25). Then the recitor moves into the nahuft and the lauk with the tonic on the 'ajam. The nawa is repeated in order to lead to the second meyana and the muhayyar degree through the Persian "jahanem" (My soul). The mahuran and sahm degrees are even used with the Persian word "janem" (my soul) before returning to the tchahargah (4:00). The 'Ajam piece follows (4:15) before returning to the Nawa and then the Bayyat, the Saba on the dukah degree (4:45) through the Persian yar yaremen. The recitor then reaches the muhayyar (jahanem), then the mahuran (janem) and the nawa. The taslim moves down the scale to the low notes using the 'ajam and dukah degrees by saying in Persian "delehdey, feryademen, jahanem" (Heart, my soul) (5:09). The sweet melancholy of crazy and desperate love poems impregnate this mode which is tinted with nostalgia in which Qundarchi uses the median and deep registers.

- Peste: Jawad, Jawad, musayyibi, inta sibait ahl il-hawa (Jawad, Jawad, you who have captured my love, you also captured other lovers), in bayat mode and the 6/4 sengin sama'i rhythm (5:34)

جواد جواد مسيبي * انت سبيت اهل الهوى
عجب امك ما تنسبي

عالشامة اللي بالوجنة * صاحبها ما يرفجنا
يحوجنا نسوي هجنه * لا احلفه بموسى النبي
محمد جواد مسيبي

يمه لزمتني الخوفة * اخاف احجي من الطوفة
تجي امه و تشوفه * فايت على قنبر علي
محمد جواد مسيبي

* Commentary by Bernard Moussali

Vocals: Rashid Ali al-Qundarchi (1887-1945)
Santur: Yusuf Hugi Pataw (1886-1976)
Joza: Salih Shummel Shmuli (1890-1960)
Tabla: Yehouda Moshe Shammas (1884-1972)

--------------------------
*
رشيد علي حبيب حسن (ابوحميد) وقد لقب بالقندرجي لامتهانه صناعة الاحذية. ولد عام ١٨٨٧ في محلة العوينة من بغداد. يعد من أساطير الغناء في المقامات العراقية فقد أتقن غناءها وسجل معظمها على الاسطوانات .عين خبيرا في الإذاعة حتى وفاته في عام ١٩٤٥ .وهو من تلاميذ المدرسة الزيدانية في غناء المقام وتعلم على يد القارئ احمد زيدان واستنبط منها طريقته الشهيرة الطريقة القندرجية.

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[toufickerbage]

ABsolutely a Maqam Nawa.... some parts of Bayat can be heard in the lower qararat... but this is Not Bayat.. (a Busehlik maqam.. or Nahawand... but obviously a Nawa).... or maybe it has another name.. but not bayati... this is a great singer.... one of the greatest... Thanks very much for posting

[IraqiMaqam]

@toufickerbage It is indeed Maqam Bayat on G. the singer frequently rests on C which is the upper tone of the bayat tetrachord but he returns to the tonic G both midway (jalsa) in the maqam and at the end (taslim) before the peste which is also in bayat. Read the description under the video for a complete analysis with a mention of each mode used

[IraqiMaqam]

If there is interest in Rashid al-Qundarchi I will post more.

[toufickerbage]

I prefer the first option as it is more precise and does not lead to "quick-understandings", because waslat al Bayati might sound Aleppine or Beyrouti or Alexandrian.... thereforre I opt for the Al MAqam al Iraqi fi Waslat al Bayati...

it is all ok.. I know quite well Iraqi music.. and I dont like to cut a concert in pieces.. but youtube is youtube.. and uplpaders have various interests...

Thanks Deramr

[toufickerbage]

I just find the way we (Arabs) speak is so imprecise and non-chalant or debonnaire.. that it makes life more confused than it should be.. and all this is under the Umbrella of Being Poetic... one cannot be poetic when one is giving information.. or can one?

"Al Maqam al Iraqi fi Waslat al Bayati, qit3a kaza wa kaza wa kaza...."

or

Waslat Maqam al Bayati min al Maqam al Iraqi, Kit3ah kaza wa.. etc...

[toufickerbage]

Thanks but I suppose it is more complex than that..

the Iraqi Concert Maqam Chapter of the Maqam Bayat includes many sub-paragraphs... which are in other sections of other maqams.. or sections of sections... I did understand... I am not confused... Thanks for your concern.. I just find it awekward to state that "this is maqam Bayati"... it should say in the title Maqam Bayati of the Iraqi Maqam COncert sections so and so and so...

(fasl = chapter; qit3a = section) etcetera...

[deramr]

@toufickerbage

I think the reason for the confusion is that you're trying to analyze this as if it was Egytian, Levantine, or Turkish music for example.

The title of video may give you the impression that this piece is in Bayati maqam. That's not the real meaning of the title. The title is saying that this is a piece in Iraqi singing called maqam Bayat. That is the name of this piece, and this is what "maqam Bayat" means in Iraqi music.

[deramr]

@weidmann85

This is a "reading" of the Iraqi "maqam Bayat". In fact, this is by far the most famous such reading ever recorded.

[toufickerbage]

@IraqiMaqam surely a suite (nawba or wasla or Maqam) Bayat kobviously at 5:31 is a full Bayat cadence.... but the recorded part is mostly in Nawa.... terms as "upper note" are vague... upper axis or upper side station, secondary station, can make life easier. Thankyou, you are a better man on youtube than I am... i would put things too precisely.. and that might become boring if not confusing... but you can yourself see from the comments that people have been confused. I cant find the analysis

[toufickerbage]

Oooooops... at 5:10 five minutes ten seconds it cadences on Bayat...??? was he singing a shu3ba in Nawa from a a full suite in Bayat?? in order to come back to another maqam... the Bayat.. he must have been.

But then the Peste or Basta comes in, the rhtyhmed song, in genus jins Nawa and on the note Nawa... very tricky.... (must be Nawa)

[weidmann85]

It's 0% bayatttttt