วีดีโอ

شكرا على التعليق. ممكن توضح أين يقع الغلط؟ إذا أنت تعرف الجورجينا فلا بد أنك تعرف أنه إيقاع مشترك بين العراقيين العرب و الأكراد و هو شائع ما بين الأرمن و الأتراك. ما عزفته أنا هو الشكل المتعارف عليه بين ثقافات مختلفة في المنطقة. الفرق بين كل هذه الأرجاء تراه في إختلاف الضغط في صوت التك. أتمنى منك أن تبين لي مرة أخرة أين وقع الخطىء؟ تحياتي لك و شكرا لمرورك.

"I think if you count the rhythms in any way while improvising such transitions, you may miss the feel of the mood changes, because you shouldn't need to think about counting". Would you care to explain what you mean by your last paragraph? I'm not sure if I understood you. Thank you.

I meant that you should aim to be familiar enough with the patterns of a rhythm to not need to think about counting any beats, as very often the decorations and ornaments aren't on the beats. Interesting patterns and especially transitions are often syncopated, offbeat, or just require changes of volume rather than timing. Focussing on the mood and counting beats seem incompatible, as you need to 'split your brain' to do both at the same time. While it's good to practice that way, I think the end goal for a performance should be to not have to count, but just be so familiar with what you're playing that you can't go wrong. First practise until you get it right, when counting helps reduce the stress. Then practise until you can't get it wrong, and counting will no longer be necessary and you can be more creative with your decorations.

@@vanarunedottir Thank you for the response. I understand your points and agree with them. I'm just not sure if it's related to what I was talking about since I was showing how a root combination is the same for the Wahda and Maqsoumd families of beats in Arabic drumming. The counting is necessary when I'm explaining the concept so the viewer can see the relationship. I encourage people to be able to count in many different speeds and directions and I encourage recital of the patterns in order to memorize them. As a traditional drummer I don't count or recite when I play. Internalizing the beats also is part of that drumming tradition. I hope I made sense and hope I understood your response.

@@faisalzedanpercussion8625 Yes, you make sense. One of the things I enjoy about studying rhythms is discovering interrelationships between them. Counting, and sometimes mathematics and geometry helps clarify those things. And for me, putting 'discovered' transitions between rhythms into practice is part of the enjoyment of percussion, even though it's quite abstract as far as most listeners are concerned. I know you usually talk about traditional rhythms, but I'd also be interested to hear your views on what makes a great drum solo composition.

@@vanarunedottir Thank you for being interested in the conversation. You seem to have rhythmic understanding when you mentioned geometry. I realized fractal geometry in drumming a while ago and it opened my eyes to so many things. As for what makes a great drum solo composition. My approach to that starts with differentiating between artistic drum solo and Belly Dance rum solo. This is in the context of the drums I play and the tradition I hold. Artistic drum solos usually depend on elaborate movements/phrases that express the geometry of rhythms. There's also the progression of the solo, from simple and slow, to moderate and then fast. That's one way I look at it. Another thing also to know that artistic and belly dance solos both can be played with back up drums or just solo Derbakki. This also makes a difference when you 're constructing a drum solo. When you have back up drums, you are bound by a structure that the other drums have to hold. In solo Derbakki composition, you have more freedom and choice. Same thing with Belly dance drum solos. I would gladly talk more about this topics in a separate thread so this response doesn't get too long.

شكرا على السؤال صديقي، موشح لما بدا يتثنى حتما على إيقاع سماعي ثقيل ١٠\٨. أرجو أن تنتبه إلا أن الدخول قبل الدم لا يعني أن بداية الضرب من صوت التك. هذا النوع من الدخول بالموشح متكرر في موشحات أخرى، حيث يبدأ الغناء من آخر الضرب. ولهذا فحفض الضرب كما هو أساسا ثم معرفة كل موشح من أين يجب دخول الإيقاع. تحياتي لك ولإهتمامك بالإيقاع.

قريبا يا عزيزي سأحاول تنزيل ڤيديو شرح. ألف شكر على مرورك.

عفوا يا آنسة ولكن أي نوع من الإجابة هذه؟ أنا أحترم و أقدر شمال آفريقيا و أحب جميع أنواع الموسيقى القادمة من هناك. لست أدري لماذا هذا التهكم. هل حضرتك عازفة موسيقى؟ هل لديك إلمام بالتراث الموسيقي الشمال أفريقي؟ أرجو منك التحلي بالصبر و ربما بعض الذوق في الجواب؟ هذه منصة تعنى بموسيقات مختلفة و ترحب دائما بأي رأي موسيقي.

كمان مرة ياآنسة لو سمحتي بنقاش أكثر وعي. يعني خليني حس أنك مثقفة و واعية و لست ذباب إلكتروني.