Arabic Heterophony – French Premiere
Published on 11 May, 2023
(read more…)SIX VARIATIONS IN THE ARABIC STYLE sor solo French Horn
Published on 26 March, 2023
(read more…)How my French Horn Catalogue did it to Geneve?
Published on 19 March, 2023
(read more…)THE SAMA’I AQSAQ DANCE (رقصة السماعي أقصاق)
Published on 1 January, 2023
(read more…)Four Arabic Sketches for our future musicians
Published on 2 November, 2022
(read more…)Arab-borescent Symmetry in Three Winds by The ARC Project
Published on 27 October, 2022
(read more…)A Tune For Amer’s Horn, Mata festival and the International Contemporary Ensemble
Published on 17 May, 2022
(read more…)Saintes Residency April 2022
Published on 12 May, 2022
(read more…)Arabic Vertical Poems for Piano
Published on 12 May, 2022
(read more…)MY INTERVIEW ON “Forum für Kunst- und Kulturgeschichte Transnational”
Published on 20 March, 2022
(read more…)THE MORABA’ DANCE (رقصة المربّع)
Published on 20 March, 2022
(read more…)SMALL CHANGES MINI-GRANT FOR “FREE MUSIC FOR ALL” PROJECT
Published on 13 January, 2022
(read more…)FROM BERLIN TO BEIRUT WORKSHOPS
Published on 11 December, 2021
(read more…)GLOBAL YOUTH AMBASSADOR AT WORLD MUSIC CONFERENCE 2021
Published on 28 October, 2021
(read more…)THE UNSQUARE SUITE
Published on 17 September, 2021
(read more…)BEL AFRAH | FRENCH HORN TRIO | بالافراح
Published on 8 September, 2021
(read more…)Tribute to Wadih El Safi
Published on 13 August, 2021
(read more…)Puccini International Opera Composition Course 2021
Published on 8 August, 2021
(read more…)THE SIKAH DANCE for solo flute | رقصة السيكاه
Published on 18 June، 2021
(read more…)OPERA WORLD, here I come!
Published on 18 June، 2021
(read more…)THE KHOSH RANK DANCE | رقصة الخوش رنك
Published on 12 June، 2021
(read more…)THE AWISS DANCE | رقصة العويص
Published on 19 May، 2021
(read more…)SAMA’I WAJDI | سماعي وجدي
Published on 19 May، 2021
(read more…)A CRY FROM THE FROZEN POLE | صرخة من القطب المتجمّد
Published on 17 May، 2021
(read more…)Samme’na Shi Mna’erfou |سمّعنا شي منعرفه
Published on 14 March، 2021
(read more…)Chicago Arabic Music Workshop
Published on 4 February، 2021
(read more…)DABKET EL 2020
Published on 3 February، 2021
(read more…)تفاعيل: في ايقاع الشعر العربي
Published on 18 December، 2020
(read more…)عن مبادرة التعليم الموسيقي عن بعد المجانية
Published on 13 November، 2020
(read more…)Music for Story Performance
Published on 21 October، 2020
(read more…)“Majnoun Layla” suite
Published on 7 September، 2020
(read more…)Warm-up Chorales for orchestra
Published on 19 August، 2020
(read more…)Lunigiana International Music Festival COMPOSITION COMPETITION 2020
Published on 10 August، 2020
(read more…)Scales and Arpeggios for piano
Published on 11 July، 2020
(read more…)Arabic Folk Tunes for Solo piano
Published on 11 July، 2020
(read more…)موسيقى الصّور الشّمسيّة
Published on 20 June، 2020
(read more…)The Lebanese National Anthem
Published on 12 June، 2020
(read more…)Tyre International festival 2017 with composer Jamal A. Hosn
Published on 5 June، 2020
(read more…)Projects with the Composer Nabil Jaafar
Published on 5 June، 2020
(read more…)Works for Recorder
Published on 31 May، 2020
(read more…)A Tribute to Zaki Nassif
Published on 23 May، 2020
(read more…)Dances for an asymmetrical world
Published on 23 May، 2020
(read more…)Projects with the Oud player Abbas Kassamany
Published on 23 May، 2020
(read more…)Our Special Quarantine
Published on 23 May، 2020
(read more…)Ya Hnayena
Published on 23 May، 2020
(read more…)“From Far Away”
Published on 23 May، 2020
(read more…)Longa and Samai’ – with Piano Accompaniment
Published on 23 May، 2020
(read more…)World Music online course
Published on 17 May، 2020
(read more…)
THE KHOSH RANK DANCE – رقصة الخوش رنك
Composed by Wajdi Abou Diab
Performed by Jana Semaan
Recorded at Redbooth Studio
“The Khosh Rank Dance” – Opus 13B, is a piece for solo Cello based on the traditional ancient Arabic rhythm called “Khosh Rank”, which was used in old Arabic tribes to make horses and camels dance by their Arab riders.
The rhythm consists of a 17/8 meter that gives the music a moving forward feeling, combined with one of the most expressive Arabic scales (Maqamat) called “Rast”, which has a serious and steady mood, though suitable sometimes for dance and fast movement.
The piece used the Cello as a melodic instrument to call the ancient Arab old, using some microtonal elements that come from the nature of Arabic maqam music and also used as a percussion instrument to introduce the rhythm and the camel dance spirit.
Starting with a “Mawwal”- a group of small improvised melodic phrases that Arabic singers used to start with it their performances – in which we can hear the Cello play freely in ad libitum tempo.
Then, moving along to introduce the rhythmic elements using some of the most percussive techniques of Cello, and gradually adding the melodic elements, alternating between normal and harmonics (resembling the Arabic old instrument “Rababa” that is well known for its very breathy nasal sound), in addition to the clear rhythmic accent that keeps the “Khosh Rank” pulse alive.
THE AWISS DANCE – رقصة العويص
Wajdi Abou Diab – Music and video
Dustin White – Bass Flute
The world premiere performance was given on April 16, 2021, at West Virginia University’s Bloch Hall by Dustin White.
The Piece is included in the “RI Ra” album after winning the call for score by Dustin White for his album project.
“The Awiss Dance” Opus 13A, is a piece for solo bass flute, based on the traditional ancient Arabic rhythm called “Al Awiss”, consists of an 11/8 meter that gives the music a moving forward feeling, combined with one of the most expressive Arabic scales (Maqamat) called “Saba”.
The piece used the bass flute as a melodic instrument to call the ancient Arab world, using some microtonal elements that come from the nature of Arabic maqam music and also used as a percussion instrument to introduce the Awiss rhythm and the camel dance spirit.
Starting with a “Mawwal”- a group of small improvised melodic phrases that Arabic singers used to start with it their performances – in which we can hear the flutist sing on the instrument while playing it.
Then, moving along to introduce the rhythmic elements using some of the most percussive techniques on the flute, and gradually adding the melodic elements, first with half sound half air (resembling the Arabic old instrument “Shabbaba” that is well known for its very breathy sound), then with full sound, in addition to the clear rhythmic accent that keeps the “Awiss” pulse alive.
The album flows nicely, rising to a head on the penultimate track, Diab’s The Awiss Dance (2020), based on an ancient rhythm used by Arabian tribesmen to make horses and camels dance. It’s a wonderful piece that may have you get up from your seat to match its percussive flair. How often can you say that about a flute album?
An excerpt from the Nomination of Dustin White CD “Rira” as AnEarful‘s Best of 2021: Classical list
Bringing sonic variety to the album is Wajdi Abou Diab’s The Awiss Dance. Abou Diab writes beautifully for the bass flute, playing to its strengths as both a melodic and percussive instrument. The opening combines short melodies with vocal drone in a Mawaal, a group of improvised phrases common to traditional Arabic performances. The fast-paced rhythmic selections, based on the traditional Arabic rhythm Al Awiss, are riveting. Abou Diab requires the flutist to play numerous techniques in rapid succession, a challenge in coordination and endurance that White tackles with energetic precision.
An excerpt from the review on Dustin White CD “Rira” on the “Flute view magazin“
SAMA’I WAJDI – سماعي وجدي
Wajdi Abou Diab – Music & Video
Anna Suhaila – Flute
Ramzi Hakim – Piano
“Sama’i Wajdi” Opus 22, is a piece for Flute and piano (also available for bassoon and piano) based on the traditional Arabic rhythms called “Sama’i Thaqil” of 10/8 meter, and follow the structure of the Arabic classical music form called “Sama’i” (also known as a traditional ottoman form), resembling a rondo form, with the last “Khana” (couplet) has a fast tempo and based on the “Dawr Hendi” rhythm of 7/8 meter.
The piece used the flute as a melodic instrument to call the ancient Arab world, using some microtonal elements that come from the nature of Arabic maqam music and also used as a percussion instrument to introduce the rhythmic pulsation.
After a small piano introduction, the flute plays the ‘Taslim”, or the refrain, then, moving along to explore in the Arabic Makams and modulation, inspired by the Arabic performance technique and the Taqassim.
Interview about the piece
A CRY FROM THE FROZEN POLE – صرخة من القطب المتجمّد
Music – Wajdi Abou Diab
Lyrics – Shadi Sawan
Vocal performance – Ahmad El Kheir
Piano – Liana Haratyunyan
Violin – Mario Rahi
Viola – Charbel Bou Antoun
Cello – Jana Semaan
Supervision and editing – Scarlett Saad
Videography – Joe El Hajj
Recording engineer – Rami Ouzoun
Mixing and mastering – William Mahfoud
Sound and Video Production – Redbooth
Recorded and filmed at Antonine university – Baabda
الترجمة العربية في الاسفل
A piece composed in 2020 by the Lebanese composer Wajdi Abou Diab, for Male singer, violin, viola, cello, and piano, based on a poem by “Shadi Sawwan”.
Winner of the special price by Cluster and an honorable mention in the Lunigiana International Festival composition competition 2020, “A cry from the frozen pole” is a poem written by the Syrian poet Shadi Sawan in 2010, lunching a cry to save the humanity in our souls, against the system that barries our souls before we are even born, leaving us without hope, to live our lives in the emptiness, rigidity, coldness, and pain, as if we are living in a frozen world, traveling from ice to ice.
The rhythm elements in the piece are inspired by an Arabic folk tune called “Aintoura” that uses the Dabkeh rhythm of 6/4. The melodic elements are the result of the merging of four of the most significant Arabic Makams (scales), which are: Rast, Bayati, Sikah, and Saba.
All these elements (in addition to using the instruments in an Arabic traditional way) combined with the baritone oriental singing, help us to sense an echo of the ancient Arabic traditional music, in a contemporary context that reflects at the same time our new world and new sounds.
The music as well as the poem, help this piece to present an image of the reality of living in this region: always trying to relive our beautiful memories, but faced with an echo that we can barely hear or acknowledge, an echo that we rely upon to get the hope we seek to skip this big prison someday.
كتب القطعة المؤلف اللبناني وجدي أبو دياب عام 2020 ، للمغني، كمان، فيولا، تشيلو، بيانو، بناء على قصيدة للساعر شادي صوان. حائزة على الجائزة الخاصة من "كلاستر" ورتبة شرف في مسابقة لونيجيانا الدولية للتأليف 2020 ، "صرخة من القطب المتجمد" هي قصيدة كتبها الشاعر السوري شادي صوان عام 2010 ، تطلق صرخة لإنقاذ الإنسانية في روحنا،صرخة ضد النظام الذي يدفن أرواحنا حتى قبل أن نولد، يتركنا بلا أمل، نعيش حياتنا في الفراغ والقساوة والبرودة والألم، وكأننا نعيش في عالم متجمد، ننتقل من الجليد إلى الجليد. عناصر الإيقاع في القطعة مستوحاة من الاغنية الشعبية اللبنانية "العينطورة"،ويستخدمفيها إيقاع الدبكة 6/4. اما العناصر اللحنية، فهي نتيجة اندماج أربعة من أهم المقامات العربية ، وهي: الراست، البياتي، السيكاه، والصبا. كل هذه العناصر(بالإضافة إلى استخدام الآلات بالطريقة العربية التقليدية) جنبًا إلى جنب مع الغناء الشرقي، تساعدنا على سماع صدى الموسيقى التقليدية العربية القديمة، في سياق معاصر يحاكي عالمنا الجديد وأصواته الجديدة. تساعد الموسيقى والقصيدة هذه القطعة في تقديم صورة لواقعنا المعاش في المنطقة العربية: نحاول دائمًا استعادة ذكرياتنا الجميلة، لكننا نواجه صدى بالكاد نسمعه أو نتعرف عليه، وهو صدى نعتمد عليه للحصول على الأمل الذي يساعدنا في تخطي هذا السجن الكبير يومًا ما.
“صرخة من القطب المتجمّدْ”
شعر شادي صوّان
ومن الجليدِ إلى الجليدْ
قالوا لنا يومَ الولادةِ
إذْ ولدْنا ميتينْ
هذي لكمْ تفاحةٌ قضمتْ مفاصلها السنونْ
فمنَ الجليدِ إلى الجليدْ
ماتتْ معاولنا الحزينةُ في الضبابْ
لاروحَ توقظها ولا أبواقَ موسى في الهضابِ
وحين نغفو في الأسرّةِ
يستحيلُ الحلمُ حزناً غارقاً
وصراخَ أغنيةٍ تمرّغُ مقلتيها بالعذابْ
عاشَ الشبابْ.. عاشَ الشبابْ
قالو لنا: هذي لكمْ تفاحةٌ
نخرتْ معالمها ذبابةْ
وضعتْ بيوضَ اليأسِ في أحشائها
فكلوا
وصلّوا
للّذي خلقَ البعوضةَ والذبابةْ!
هذي لكمْ لنْ تحلموا فوقَ السحابِ بغيرها
أفواهُكمْ فُطمتْ على قضمِ الرغيفِ المُستعارْ
بالثلجِ تحترقونَ
بالأملِ المضرّجِ بالغُبارْ
فمنَ الجليدِ إلى الجليدْ
ومنَ الجليدِ إلى الجليدْ
Articles and interview about the piece
السلّم والمقام وصرخة من القطب المتجمّد – العربي الجديد بقلم علي موره لي
“صرخة من القطب المتجمد” مقطوعة عربية للمؤلف وجدي أبوذياب تحصل على جائزة عالمية ورتبة شرف من ايطاليا
Samme’na Shi Mna’erfou (سمّعنا شي منعرفه)
A new album for solo piano by the Lebanese-Italian pianist Ramzi Hakim, and the Lebanese composer Wajdi Abou Diab.
Wajdi Abou Diab – arrangement
Ramzi Hakim – piano performance, recording, mixing, and editing
Charbel Bark – mastering
Agnese Franchini – cover design
The album is a collection of the most famous Arabic songs, arranged for piano solo.
This work comes as an attempt to bring together the various traditional Arabic musical dialects, and to present them in a unified musical language.
The aim of choosing the classical musical style, as a means of presenting it, specifically by adopting the piano instrument of global spread, was to try to build a bridge of communication between European classical music and Arab music, and to expose the audience of classical music to our Arab heritage.
The publication of these arrangements in a digital book, and placing it within the reach of professional musicians, pianists, piano professors and their students, had a great impact on compensating for the shortage in distributions of Arabic songs for the piano instrument, especially after the increased demand for such works by fans of Arabic music all around the world.
Among the biggest challenges of this work was the transfer of lyrical Arabic music to instrumental piano music, including its melody and rhythm, adding to it the piano classic harmonic character while preserving the Arab identity in melody and content, and being careful not to distort the melody and rhythm, while taking into account the lyrics and its content in terms of the story and the symbolism of each song.
This album plays an important role in preserving a group of Arabic melodies that occupied a prominent place for a long period of time in our social life and our musical memory, through the written and audio archiving of the melodies of these songs
The entire work was recorded remotely, as the musician Ramzi Al-Hakim prepared the pieces and recorded them, then sent them to the author to share opinions and reach the desired goal, and it is interesting that the author and the musician did not actually meet at all, and they got to know some of them through social networking sites.
About the Artist
Ramzi Hakim Italian-Lebanese, born in Lebanon in 1977, began studying piano at age of six, obtaining a Bachelor in the Higher National Conservatory of Lebanon. Since 1998, he pursued his studies and professional activities in Italy. He achieved his piano Master degree with Professor Maria Teresa Carunchio and higher diploma in Electronic Music and Sound Design with M° Eugenio Giordani in Conservatory of Music “G. Rossini” in Pesaro. He continued his studies at National Conservatory of Music “A. Buzzolla” Adria and the International Academy of Padova with Federica Righini. He attended several master classes in chamber music with Alla Volkova, and Massimiliano Damerini. He joined the International Academy of Music in Rome with Konstantin Bogino.
For seven years he has been working regularly with “Fortuna Theater” in Fano in various productions and Opera festivals, both as piano accompanist and soloist in their the recitals. Since 2011 he has been pianist of the Singing Opera School in the same Theater with Professor Agata Bieńkowska.
In 2009 he founded Trio Ayesha and won several international competitions in International Chamber Music Competition “Città di Pesaro”, XVII Competition “Giulio Rospigliosi”, International Competition “Pietro Argento” Gioia del Colle, and XIII International Competition of Corato Euterpe.
He was invited to perform throughout Italy and abroad in major season’s festival. Some of the major venues are: Teatro della Fortuna in Fano, Teatro Rossini in Pesaro, Teatro comunale in Cagli, Festival Eté Mosan in Belgium, Auditorium Hariri in Lebanon, Festival Duni in Mater, Taranto, Bologna and Lecce. He played in various chamber ensembles and orchestras such as Symphonic Orchestra Rossini.
Since 2014, he has been actively engaged in intense teaching and concert performance in UAE.
Listen to the full Album here
Watch the Release video here
Download press kit here
Visit Ramzi Hakim profile here
Articles about the album release
Chicago Arabic Music Workshop
After receiving an invitation from the Chicago based pianist/bassoonist/composer Angela Salvaggionne to give a workshop about Arabic music, and meet her students and listen to them perform selections from the two books “Longa and Sama’i” and “Arabic Folk Tunes“, and to guide them through the pieces, a workshop with the Lebanese composer Wajdi Abou Diab was hold via ZOOM on 30 January 2021 for almost 5 hours, that included three main parts.
In the first part, Wajdi gave a lecture titled “Music of Al Mashriq Al Arabi”, in which he discussed, after a historical introduction, many topics including the Arabic music alphabet, the Arabic music structures, the Maqams families (composition, scales, “Sayr”…), the Arabic instrumental and vocal traditional forms, and Arabic traditional Rhythms.
The second part was dedicated to the students’ performances, through which Wajdi listened to 12 selections from his two book “Longa and Sama’i” and “Arabic Folk Tunes” performed by the workshop participants, and presented a detailed review about every performance, including the story behind every piece, information about the composer, and advice on Arabic music performance technique.
In the third part, Wajdi met 3 composition students, shared with them his ideas about composition, instrumentation and orchestration, and talked in details on “how to benefit from Arabic music elements in our contemporary compositions”, then listened to the students’ compositions and gave them his feedback, after sharing with them some resources and material that can help develop their musicianship as composers.
This workshop was a part of a many other workshops and activities that aim to spread the Arabic music knowledge, and to present the Arabic traditional music for non Arabic musicians, and help Arabic music take a bigger part in the worldwide music scene.
You can download the Workshop Materials for free from the Free Scores Page
and we are delighted to share with you Angela’s words about the workshop
“Dear Wajdi,
Thank you so very much for the workshop and master class you presented to my students and colleagues on January 30, 2021. It was delightful to meet you, learn from you, and watch you work with my students.
The theory information you presented was exactly what we all needed and met us where we were at, as complete beginners with Arabic music theory. The worksheets you created were well done and very informative. That discussion gave us good information to help us all begin understanding how the music is constructed, which will help us all in our performances and become more informed listeners.
I loved how you were able to work very well with the wide variety of students, both in age level and in experience. Your comments were excellent and well received. Students are now beginning to see how to make their performances more effective and musical.
The time you spent with the composers was also excellent. They are each happy to have met you and appreciated your critique and insights in composing. We’re thankful you were willing to take time with each of them and give positive comments and excellent suggestions to help them grow and improve.
Again, thank you very much for being willing to work with us all. You presented an excellent musical experience for us all. Your musical and teacher’s heart and expertise are amazing, as are your breadth and depth of knowledge. Each of us is a better musician now because of the time you spent with us. I’m very hopeful we have another opportunity to work together again.
Wishing you continued success and excellent in all your musical endeavors!
Angela Salvaggione”
DABKET El 2020
A new project I worked on during the last 2 weeks of 2020, I wrote a short melody Inspired by the Lebanese folk dance called Dabkeh, to celebrate the end of the 2020 year, and to dance with those who survived it! I recorded the same piece 12 times, and I shared one recording per day for 12 days, with each video featuring a new instrument and a new friend, with the 2020 Dabkeh band joining us in all the videos to celebrate the end of a messy year!
The album was released in February 2021, and is now available for streaming and purchasing through all the Major online music stores.
you can download your instrument score for free on the Free scores page
for “Bass Trombone“
Performed by Joshua Gaub
for “Clarinet in Bb”
Performed by Marvin Madi
for “a pianist with a dog”
Performed by Joseph Saleh
for “Piccolo”
Performed by Antonio Mallah
for “Vibraphone”
Performed by Christelle Njeim
for “Oud”
Performed by Abbas Kassamany
for “Violin”
Performed by Joelle Khayyat
for “Tenor Saxophone”
Performed by Thomas Horing
Bepop version with solo
Peformed by Ramzi Bou Kamel
for “Double bass”
Performed by Makram Aboul Hosn
for “Bassoon”
Performed by Bălănuță Irina Elena
for “Trumpet”
Performed by Ion Todei
Meet “Dabket El 2020” Characters from Left to Right
Barda’ (بردع), Shaflah (شفلح), Jamloot (جملوط), Satlan (سطلان), Safkhath (صفخظ), and Shalshaban (شلشبان)
تفاعيل: في ايقاع الشعر العربي
PERFORMANCES
Selected by the call for scores for West Asian Composers, “Deterritorializing the Realm of New Music” by Anoush Moazzeni and the Canadian Music Center (CMC Ontario)
Chosen as the “Audience Favorite” in the “Prismatic Congruency Series” by Boston New Music Initiative, 2022-2023 season
Streamed as a part of the “Prismatic Congruency Series” by Boston New Music Initiative, 2022-2023 season, December 17, 2022
Recorded and virtually premiered by pianist Ramzi Hakim, UAE, September 10, 2021
تفاعيل هي قطعة للبيانو مع تسجيل مرافق، ترتكز على بحور الشعر العربي العمودي الستة عشر، فتترجم تفعيلاتهم الى موسيقى وتبحث بعمق ايقاع الشعر العربي الموزون وتقسيم الابيات الشعرية، وتربط بين اللغة العربية الفصحى والموسيقى العربية الفصحى من خلال قولبة تفاعيل بحور الشعر في جمل موسيقية مقامية. كما تقدم آلة البيانو كآلة عربية معاصرة من خلال تطويعها لعزف تقنيات الاداء الموسيقي العربي، كما يطلب من العازف تعديل دوزان بعض الدرجات الموسيقيى بغية تنفيذ الجمل الموسيقية العربية بصورة اقرب للهجة الموسيقية العربية الفصحى
ونكتشف بالتسجيل المرافق للبيانو تسجيلات صوتية حيّة لجمل شعرية مغنّات، ملقات، او محكيّة، بالاضافة الى تسجيلات ميلودية وايقاعية، واصوات ومؤثرات الكترونية مبرمجة خصيصا لهذا العمل، وذلك في محاولة لوضع الموسيقى العربية في جو معاصر، وتطويع الادوات الجديدة لخدمة افكار المؤلف الموسيقية القومية
تعتمد القطعة بشكل اساسي على موازين البحور المستخرجة من التفاعيل وحروفها الساكنة والمتحركة، وتنقل بكل تجرد دورتها الايقاعية، حيث تضع الثقل على الحرف الاول من التفعيلة، وتضيف الحرف الساكن الى المتحرك، فيساوي الحرف المتحرك زمنا واحدا (ويرمز اليه بحرف “ق” اي قصير)، والحرف المتحرك خلفه ساكن زمنين (ويرمز اليه بحرف “ط” اي طويل). والنتيجة دورات وحلقات ايقاعية غير اعتيادية، غير مربعة او متوازية، لكن طبيعية وسهلة للسماع والتطبيق، وتعكس عمق الايقاع في اللغة العربية الفصحى، حيث تفرض الالتزام بالمد والقصر والوقف، فالانطلاق من الكتابة العروضية (اي كل ما يلفظ يكتب، وما لا يلفظ يحذف) يجبرنا على عملية نسخية للالقاء الشعري بتفاصيله، وتقترح أطوالا للجمل الموسيقية بحيث تتناسب مع قدرات النفس البشري، فتتوازى مع طول الابيات الشعرية حيث يكون فيها الالقاء والقراءة الشعرية عملية طبيعية غير متكلّفة
نستعرض فيما يلي بعض الدورات الايقاعية المستعملة في عملية التاليف الموسيقي الايقاعي، ونتحدث عن الاسلوب التاليفي
المقدمة
تبدأ القطعة بعرض صوتي لتسجيلات صوتية للتفاعيل الشعرية ملقاة بعدة نبرات، سرعات، انطباعات، تتداخل مع ترنيم لبيت شعري ل”أبو الطاهر البيضاوي” يغنيه مرتجلا الاستاذ أحمد الخير، وأبياته
وَيَهْزِجُ فِي رَجْزٍ وَيَرْمُلُ مُسْرِعَا
أبو الطاهر البيضاوي
طَوِيلٌ يَمُدُّ البَسْطَ بِالوَفْرِ كَامِلٌ
مَنِ اجْتثَّ مِنْ قُرْبٍ لِنُدْرِكَ مَطْمَعَا
فَسَرِّحْ خَفِيفًا ضَارِعًا يقْتضِبْ لنا
وقد اختار المؤلف هذه الابيات لاحتوائها جميع اسامي البحور الشعرية، ولجمال معانيها ونظمها
الجزء الاول
في الجزء الاول من القطعة، استعمل المؤلف تتابع لتفعيلتين اساسيتين من تفاعيل البحور، وتكرارهما ، ما انتج ميزانا مركبا من قسمين متوازيين في الطول، مختلفين بالتقاسيم الداخلية وهو التالي
الجزء الثاني : ايقاع البحور
استعمل المؤلف في الجزء الثاني من “تفاعيل”، الدورات الايقاعية المستخرجة من الشطر الثاني للبحور الشعرية، وبالترتيب كما اعتمدتها اغلب المراجع، على ان يفصل بين الشطور مدة زمنية قصيرة لمنح العازف والمستمع لحظات من السكون بين الجملة والأخرى، كما يمكننا سماع تسجيل لآلة الطبلة ترافق البيانو وتلعب التقسيم الايقاعي نفسه
ووردت بالترتيب التالي
الجزء الثالث: ايقاعات مبتكرة
في الجزء الثالث، قام المؤلف بابتكار تسلسل جديد لمختارات من التفاعيل في محاولة لايجاد جمل ايقاعية جديدة، وتسلسل ذو طابع مختلف عن ما ورد في بحور الشعر العامودي، وهو مشابه لما يمكن ايجاده في الشعر الحديث، حيث التفاعيل تتسلسل بمسار مغاير للشعر العمودي
ونستمع بالتسجيل المرافق، تسجيلات لآلة المايكروتونال ترومبيت، قام بتسجيلها الاستاذ أحمد الحاج، تلتزم بايقاع تسلسل التفاعيل، مع مرافقة هارمونية ترتكز على الاجزاء العليا من الطيف الهارموني لقرار الجملة الميلودية، فيما يدخل البيانو في حوار مع الترومبيت لينتقل بعدها الى المقطع الرابع
نستعرض فيما يلي بعضا مما ورد في هذا الجزء
الجزء الرابع
في هذا الجزء، يستكشف المؤلف تسلسلا جديدا للتفاعيل، بشكل نثري، حيث يتم استعمال جميع التفاعيل بترتيب عشوائي لصناعة دائرة ايقاعية موسّعة، تعكس شكلا قريبا من الوزن الداخلي للنصوص النثرية الشعرية، حيت ترتيب التفاعيل يكون عبثيا في خدمة المعنى النصّي والايقاع العام للنص، ويقترح ايقاعا دوريا مرافقا للجملة اللحنية مستوحى من ايقاع التفاعيل ضمن الدورة الايقاعية الموسّعة
بعد عرض الدورة الايقاعية الموسّعة كاملة لعدة دورات، تبدا دورة مطابقة بمرافقة الدورة الاساسية مع فارق زمني، ومن ثم تتداخل الدورة الايقاعية الموسعة مع دورات ايقاعية تم استعمالها في الاجزاء السابقة، لنصل الى فضاء من الحركات والدورات الايقاعية المتداخلة، المختلفة شكلا، مضمونا، ترتيبا، وتقسيما، لكن تتشارك الاصل نفسه وهو ايقاع التفاعيل
فيما يلي نستعرض الدورة الايقاعية الموسّعة وتقاسيمها الداخلية
ق ق ط + ط ق ق ط + ق ط ط + ط ق ط + ق ط ط ط + ط ط ق ط + ق ط ق ق ط + ط ق ط ط + ق ق ط ق ط + ط ق ط ط
4 + 6 + 5 + 5 + 7 + 7+ 7+ 7+ 7+ 7 = 62
النهاية
في الجزء الختامي، وكصدى لما سبق، استعمل المؤلف تسلسلا لثلاث تفاعيل لصناعة دورة ايقاعية، تعاد عدة مرات، وتختفي رويدا رويدا نحو النهاية
عن مبادرة التعليم الموسيقي عن بعد المجانية
كتبت الإعلامية فرح الحسنية لموقع “بشوفك” عن المبادرة الذي اطلقها المؤلف الموسيقي وجدي أبو ذياب، حيث قرّر مشاركة الفيديوهات التي يخصّصها لتلاميذه، ونشرها عبر قناته الخاصة في اليوتيوب وذلك كل يوم أحد وبصورة مجانيّة وباللغة العربية. وأكد أبو ذياب بأن الفيديوهات ستشمل كل المستويات وموضوعاتها التنشئة الموسيقية والهارموني الوظيفي، وكما سيتمّ الايجابة على كل الأسئلة عبر التعليقات
للاطلاع على المقال كاملاً، ومعرفة تفاصيل المبادرة يمكنم زيارة الرابط ادناه
صفوف موسيقى عن بعد: مبادرة مجانية يطلقها المؤلف الموسيقي وجدي أبو ذياب
كما يمكنكم متابعة الدروس المجانية عبر قناة اليوتيوب
لدروس التنشئة الموسيقية
WAJDI ABOU DIAB 