مقام بيات - يوسف عمر Maqam Bayat - Yusuf Omar

http://iraqimaqam.blogspot.com
Iraqi Maqam المقام العراقي
Yusuf Omar and al-Chalghi al-Baghdadi

Maqam Bayat
This principal maqam is based on the bayat mode which is found in songs from the south of the country and in bedouin, Kurdish and Turcoman singing. Of the seven fundamental maqamat, the Bayat is the one which has the greatest number of derived maqamat. Of stunning beauty, it is sung without rhythmic accompaniment on a poem in qasida form.

الى كم امني القلب والقلب مولع * وازجر طرف العين والطرف يدمع
وحتى متى اشكو فراق احبتي * عسى بالنوى منهم مصيف ومربع
تصبرت عنهم وانثنيت اليهم * ولم يبقى في قوس التصبر منزع
غربن شموسا في بدور اكله * فليس لها الا من الخدر مطلع
اراعي نجوم الليل ارقب طيفه * فكيف يزور الطيف من ليس يهجع

The first part begins with a rhythmic instrumental introduction followed by a non-rhythmic introduction in bayat mode on the santur and djoze (1:45).
- Tahrir in bayat mode sung to the words "eleday day yademen". (2:13)
- Instrumental piece on the santur to the tahrir melody. (2:38)
- Three verses of the qasida in bayat mode. (3:00)
- Taqsim (instrumental improvisation) on the djoze and santur. (5:46)
- Part of a verse in bayat mode followed by a Kurdish vocal piece "Lauk" (in tchahargah mode) to "oyé" vocal effects. (6:25)
- Taqsim on the santur and djoze. (7:15)
- A verse in bayat followed by a fragment in saba mode. (7:42)
- Jalsa concluding the first part in descending from G to D. (8:10)

The second part includes two meyana.
- First meyana sung to "eleley" vocal effects. (8:30)
- A sung piece in 'ajam mode. (8:40)
- "Lauk" in nahawand mode. (9:02)
- Second meyana to the words "jahanem, deleddjan" (9:20)
- Taqsim on the santur and djoze. (9:42)
- A vocal piece "''Ajam" returning to bayat mode. (9:50)
- A verse in bayat. (continued in part 2)
- Teslim to the Persian words "yademen, deledjan, djahanem, faryademen". (part 2)
- Peste. (part 2)

The qasida is by an anonymous author:
How much longer must this broken heart wait?
How much longer to fight back the tears in those eyes?
How much longer to weep at being separated from those close to me
With neither rest nor respite.
I hold myself back, then I rush towards them,
And I no longer have the strength to pull the string of patience.
They laid down as suns have set,
Full moon scarcely perceived in the shadows of palanquins.
Waiting, I look at the stars of the night and watch over their dreams,
But will dreams visit the one who no longer sleeps?

- Peste (in second video)

* Commentary by Scheherazade Qassim Hassan

Vocals: Yusuf Omar (d. 1987)
Santur: Abdallah Ali
Joza: Shaoubi Ibrahim al-A'dhami (d. 1991)
Joza: Hassan Ali al-Naqib (d. 1986)
Tabla: Abdul Razzaq Majid
Raqq: Kan'an Mohammed Salih
Daff zinjari: Dhia' Mahmoud Ahmed
Choir: Ali al-Dabbou, Abdul Wahid Zaidan, Falih Jawhar, Abdul Qadir

Category:

Music

Tags:

• maqam
• iraqi
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• yusuf
• omar
• yousif
• bayat
• bayyat
• ajam
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[iraqihalim]

isnt the intro maqam khanabat? im confused

[IraqiMaqam]

it's a musical introduction to any of the bayat maqam derivatives, so it's also used for the khanabat because it's a subdivision of the main bayat family

[escAZE]

Did you know that BAYAT is the name of the subgroup of OGUZ people - Turkic people and their main settlement is the territory of KARABAKH that is under occupation of so called Armenia. ANd great poet Mahammad Fuzuli who wrote in Azeri accent of Turkic is also from BAYAT. And BAYAT has no connection to Kurds. Well they can like and sing it in their language but it never means that it is theirs.

[IraqiMaqam]

Who said it belongs to Kurds? It doesn't belong to Azeri Turks either. This composition belongs to the Iraqi people and that includes Kurds, Arabs, Turkmens, Assyrians, Muslims, Christians, Jews, Yezidis, Mandaeans, etc. Also the Bayat tribe in Iraq has many different ethnicities and religions so please take your chauvinism elsewhere.

[deramr]

شعوبي ابراهيم هو على علمي تلميذ صالح شميل و أستبعد أن يكون تلميذ جميل بشير، فجميل بشير كان يعزف الكمان و ليس الجوزة.

بالنسبة للجوزة، فإن ترحيل اليهود أدى إلى انهيار مستوى العزف و الصناعة، و من يسمع جوزة صالح شميل، فإن أسلوب العزف و الصوت الهائل الذي يصدر منه مختلف تماما.

[IraqiMaqam]

ولا اعتقد يوجد اليوم عازف جوزه عراقي بمستوى شعوبي وان كان هو اقل مستوى من اساتذته، اما مستوى شميل وناحوم يونا وغيرهم فأعتقد ضاعت صنعتهم المتوارثه الى الابد برحيلهم من العراق، وقليل من العراقيين يهتم بهذه الآله اليوم للأسف. اما السنطور فربما مأساته اعظم.

[mdganim]

اجمل المقامات واحلي الكلمات واحسن الالحان من الاستاذ الكبير وفنان الحب يوسف عمر بكل رقته وبكل وصفه , نشكر الاخ الذي وضع هذه المقامات بمتناول كل من يريد ان يستشف منها واقول هنا عاشت الايادي ونقد الجهد المبذول الله يخليك ويحفضك ذخرا لكل عراقي ومليون شكر اخوك محمد مانع غانم

[ozerozgen]

dsad

[santoorchi]

israel-music dotcom/browse/music/oriental/i­raqi/

[um1987]

@IraqiMaqam Well said, I am a Kurdish Jew from South Kurdistan (Northern Iraq) and I have to say that Iraqi's are far more peace loving and accepting towards different ethnicities and cultures than Turks. That will probably explain their great rich history. Peace for everyone in the ME especially to the Kurdistani's Iraqi's and everyone who is open to accept others! 

[aboualbard]

تسلم الايادي

[ayad01]

اليهود كانوا اساتذه بالعزف وهم حافظوا وطوروا المقام ودورهم لاينسى بالحفاظ عليه وبترحيلهم خشر العراق الكثير

[MrVALNTENO]

@IraqiMaqam اشكرك اخوي زياد على هذا المقام الرائع جدا جدا

[MrVALNTENO]

اشكرك اخوي زياد على هذا المقام الرائع جدا جدا

[shekhal21uk]

@escAZE why does it bother u that much u cock suker if i was turkish i would hung myself u belong to no thing.