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Messages - elmarianexx

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1
Actually, this is the first time I hear about this man. I'm always glad to learn about different arab musicians, they really do inspire me!
Same, it's the first time I hear about Talal Maddach, would you share a music video where he plays his Oud? :D

2
Oud Videos & Sound / Re: Oud Music Video
« on: August 18, 2015, 03:55:50 AM »
Very nice share @drumboy! Is that you playing, or have you just founded that video on youtube and decided to share it with us?

3
Oud Videos & Sound / Re: 4--sound sample of Oud.
« on: August 18, 2015, 03:54:41 AM »
Amazing sound! Very relaxing, feeling peaceful after watching that video. ;)

4
Hi,

First of all thanks a lot for informative post. I am very amazed to read this post on Darbuka. :) :)

Please share this types of information about Darbuka in the future. :D :D

Thanks.
Lol, it's not an informative post. This person is asking questions, for recommendations.
Did you even read her post?

5
Wow, congratulations! :P Great youtube channel, keep up the good work.

6
It's your pick, I personally like the black darbuka, it looks nice, but you might find another color that will suit you, it's up to you.

7
Hello. :)
That's very exciting, actually when will you start giving out those tips and guides?

8
Here is a list of three method books I believe should be very helpful for you. The first was written by me for the beginning to intermediate student, with a focus on Makam study, using thoughtful exposure to repertoire as the key mode of learning (as we do here). It is in English and includes audio for all the scores. The remaining two suggestions are in Turkish and Greek respectively, and are much larger in size and scope. Though you may not read either of these languages, the exercises and musical examples themselves are well worth the investment. Unfortunately, Mutlu Torun's book as of late seems hard to come by. Of course, there are many method books out there, and you are welcome to try them and see if they are helpful to you.

School of Oud, by Mavrothi Kontanis
SCHOOL OF OUD LINK

This method and its accompanying recording are for the beginning and intermediate oud student interested in gaining a stronger understanding of makam theory and practice on the oud, while also providing advice and exercises useful for improving overall playing technique. Three beautiful and commonly heard makams are presented, specifically Rast, Mahur and Nikriz. The unique characteristics of each of these makams are described and illustrated in detail through exercises, etudes and traditional repertoire, using a wide variety of rhythms and compositional forms, and paired with audio recordings to guide you in your practice.

The most comprehensive method book for the Turkish style oud was written by Mutlu Torun, a very well-known and respected performer, composer, and teacher on the oud.  It is called UD METODU.
Another extremely helpful and well-written method book is called (transliterated from Greek) TO OUTI: METHODOS EKMATHISIS.  It was written by the very talented player and teacher Kyriakos Kalaitzidis, who teaches in Thessaloniki, Greece at the En Xordais music school. Search his name or En Xordais/En Chordais on the web for more information.

Source: http://www.oudcafe.com/suggested_method_books.htm

9
I think that if I was on your place I would go with Oud. It's quite easier (like others said) to play that instrument than the Darbuka.

10
Thank you for this valuable information, it's definitely something good to know.

11
It's quite tricky to learn how to play every arabic instrument, you should go with oud first because you are already familliar with it. :D

12
That's true you need to practice, a lot in order to be successful with playing. Thanks for sharing those videos with us. :)

13
Advice, Tips and Questions Regarding the Oud / MAINTENANCE TIPS
« on: August 17, 2015, 02:44:01 AM »
Always wipe down the strings and all of the oud gently with a soft, clean cloth after playing, especially after you've played a long time.  This will help preserve the strings longer, as well as the wood.  A clean instrument is a great sounding instrument.
To really preserve your strings and keep a strong, constant tone, do the following:  Spray a very small amount of "Finger-ease" on a soft cloth and, avoiding the soundboard area completely, pinch each string and slide up and down cleaning with the applied area.  Afterwards, wipe down the strings with a dry part of the cloth to remove any residue.  It's also recommended that you do this to brand new strings before putting them on the instrument, removing any chemical treatment they have had from the factory.  This spray works on all types of strings for all instruments.

Every time I change my strings (about every 6 months or so) I apply some "Hill" brand peg compound that you can buy at any violin shop. I apply a little around each peg at the two "rings" where it is visible the peg contacts the pegbox, then I rub a little "Ivory" brand soap (99% pure soap) onto the applied peg compound which will then mix together for a smooth yet stable turning peg.

You may notice black marks on the face of your instrument under the treble strings where the neck meets the face, and also above the pickguard if you are picking above that area.  This can be safely and easily removed using Naptha (cigarette lighter fluid, i.e. Zippo).  Just apply a little Naptha to a soft cloth and rub the area with the mark/stain along the grain. This also works well for marks left by pickup/microphone adhesives you might use to amplify your oud. It is the safest and easiest way to remove marks and stains from finished or unfinished woods, and evaporates within a few minutes leaving a clean, almost new surface. 

You should never attempt to put any oils or finishes on the oud face unless you are sure you know what you are doing.  It will stain permanently, and possibly negatively affect the oud's sound (it will probably require sanding to remove).

Never leave your oud in the car, in the sun, by a heater, anywhere it might be exposed to too much heat, cold, sunlight, etc.  Extremes are bad for your instruments. 

Keep an eye on the humidity.  Too much or too little is not healthy for the woods on your oud.  Try to keep it around 40-60% or so.

Always have a hard case for your oud.  You would make your child wear a seatbelt wouldn't you?  Protect your oud(s) too, they deserve it. 

It doesn't hurt every few years to have your oud examined by its maker, or by another experienced luthier/oud maker for a 'check-up.'  This is especially true for older instruments.

Finally, to get the best sound out of your instrument(s), play often!

Source: http://www.oudcafe.com/maintenance_tips.htm

14
Riq, Mazhar, bendir, Tar... Lover / Re: Riq Lessons from Randy Gloss!
« on: August 16, 2015, 02:40:14 AM »
d)  the open notes shift again to beats six and seven.


e)  the hardest of these exercises.  After striking the first doum, set the jingles into motion (starting with back) and keep in motion while playing the pattern.  You will find that the second measure is extremely difficult to keep even because all of the drum notes occur when the drum is back.  When you return to the top of the pattern the first doum lands on a forward shake.



Good luck with these exercises, and remember to be patient with your progress and have fun.

Source:http://www.rhythmweb.com/handson/riq_lesson_02.htm

15
Riq, Mazhar, bendir, Tar... Lover / Re: Riq Lessons from Randy Gloss!
« on: August 16, 2015, 02:38:53 AM »
Lesson II is based on a simple drum pattern (doum-tak-kat--) in a meter of seven.  This exercise will show you some options on where you can "open up " the jingles or shake the tambourine.

a)  is our original pattern.  All of the following exercises are based on this one.   In this pattern all of the drum notes come from our right hand, and all of the jingle notes come from our left.



b)  has two "open notes" (shakes) from the jingles; on beat two(back) and on three (forward).  To avoid flamming the drum should  land forward at the same time as you play tak.



c)  the open notes have shifted to beats four (back) and five (forward).  Again, to avoid flamming the forward shake should land as you play kat.




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