Cool. The Segah/Sikah families of makam/maqam have been the most challenging for me-- aside from huzzam with its obvious hijaz, i often struggle to internalize and recognize many of common modulations and get lost very quickly-- even if i know and recognize the constituent parts, i think it might be something about starting the scale on the microtonal pitch that just throws me way off and makes it hard for me to FEEL segah as a tonic. This felt like segah, even though i was lost for much of it....if you can explain your modulations, I'd love to know how you're thinking about it
You have written a very good explanation about the features of the Segah, and I know that it is full of challenges. You pointed out exactly right that the most important reason for the challenge of this maqam is that the tone itself is a quarter tone. In this video, I started in Segah, and then I entered Mokhalef Segah, which itself has very independent characteristics and was independent maqam in early music. With this gusheh, you can have modulation to some other maqams like Isfahan. In the end, I returned to Segah. Thank you so much for your attention, my friend 🧡
@babakdaneshvar1 Thank YOU for taking the time to write a detailed reply! I had heard of Insfahan and what was called 'Jins Mukhalif' by an Arabic musician, but aside from recognizing the names, i don't know much yet... I'll have to learn more about them. It's funny how much more enjoyable and more musical the listening experience becomes when you understand and appreciate the music...
Hi You are such a talented oud player But let me have a little advice as a simple listner for you: Dont rush it please Iranians rush every instrument Be a little more sensitive. You are really good btw.❤
Cool. The Segah/Sikah families of makam/maqam have been the most challenging for me-- aside from huzzam with its obvious hijaz, i often struggle to internalize and recognize many of common modulations and get lost very quickly-- even if i know and recognize the constituent parts, i think it might be something about starting the scale on the microtonal pitch that just throws me way off and makes it hard for me to FEEL segah as a tonic. This felt like segah, even though i was lost for much of it....if you can explain your modulations, I'd love to know how you're thinking about it
You have written a very good explanation about the features of the Segah, and I know that it is full of challenges. You pointed out exactly right that the most important reason for the challenge of this maqam is that the tone itself is a quarter tone. In this video, I started in Segah, and then I entered Mokhalef Segah, which itself has very independent characteristics and was independent maqam in early music. With this gusheh, you can have modulation to some other maqams like Isfahan. In the end, I returned to Segah. Thank you so much for your attention, my friend 🧡
@babakdaneshvar1 Thank YOU for taking the time to write a detailed reply! I had heard of Insfahan and what was called 'Jins Mukhalif' by an Arabic musician, but aside from recognizing the names, i don't know much yet... I'll have to learn more about them. It's funny how much more enjoyable and more musical the listening experience becomes when you understand and appreciate the music...
Hi
You are such a talented oud player
But let me have a little advice as a simple listner for you:
Dont rush it please
Iranians rush every instrument
Be a little more sensitive.
You are really good btw.❤
Thank you
🪄🎶🎼🎵
🙏🙏🙏