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Messages - dHuGo

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1
Doumbek Advice, Tips Questions & Lessons / Re: Malfouf
« on: September 13, 2019, 06:12:51 PM »
LOL

Let's start from the end: Your P.S. - Why not?!

When you're able to articulate your sounds properly and provide smooth playing around some variations no one would blame you.

The point is that students drill a Ka similar to Tak on Darbouka from the beginning. Doum and Slap with weak hand is master class. So it cannot be wrong what you're doing.

2
Darbuka Sound & Video Clips / Re: Oud, Ney, and Darbuka
« on: September 07, 2019, 06:33:29 AM »
yes, some years ago, when we went to Cappadocia in our holidays - there they were noodling "Gülümçan" everywhere anytime … so I met Çetiner Müzik and I loved it! - They have a lot of CD with instrumentals or ambient style music, some you can find on the YouTube channel too. And hopefully you may order something on it's website. The pity is, I've never yet heard Darbuka in those tunes, all traditional percussions is with framedrums, I think so…
Other "uncommon" (for us only) instruments are Duduk, Kanun, Saz, Kamancha … that's what I know.

3
Darbuka Sound & Video Clips / Re: Oud, Ney, and Darbuka
« on: September 03, 2019, 02:43:29 AM »
Hi, due to our holidays here's a brief report to your posting only:

Look
https://www.youtube.com/playlist?list=PLYSRvTbNM8xH9lIOYBnkIS46cdGTcBQys

It's the very purists version of those instruments and unlikely not that common arrangement you might expect.

Another option:
https://www.youtube.com/playlist?list=PLsEY5OL8nDLG_7N3aVzsGBdL4leCIwGtn

See you …

4
Doumbek, Darbuka Lovers / Re: Egyptian style vs. Turkish style darbuka
« on: August 19, 2019, 03:23:33 AM »
Hello dears,
nice to see your lovely comments. - Yes, I like my drum, since I did my first steps in Darbouka playing on it. I think I had lot useful experience of. As very lightweightened thing it tended to go away under my heavy Conga-like strokes. I had to do a lot adjusting my playing position all time and learning to play from the wrists (and all that Snap-stuff too)!

So, bsfloyd, when I hear, you can play over the edge without problem, I'm glad - you got it already, position and doing all from wrists. Respect!

drtom, I'm not looking for a new skin now for some reasons:
1. Tuning system. Rings of casted Aluminium aren't plane. It didn't matter a lot, when I divided Doums and Taks only. But now I've hold much better drums and like modulations of my tones. - I'm looking for a method leveling the rings!
2. Skin is still good. - I'd prefere to have a spare, so the measures are 20,4 cm the inner diameter 21,6 cm the outer one. Total height is about 15 mm (after some years), the pressed ring has 7 mm. Thanks for any advice!
3. I'm thinking on trying something new. I've heard some guys prefare X-ray-films on Bongos as the Macho's head. I'd like to do something like this with my Darbouka!
4. Priority is on learning to play my Riq now. Since I'm not professional I can do only a few exercises a week. ...and the Riq has endless possibilities to taste...!!!

5
Doumbek, Darbuka Lovers / Re: Egyptian style vs. Turkish style darbuka
« on: August 10, 2019, 03:12:10 AM »
Hi bsfloyd,
I like your optimism - but really - you - married - that hits my world!

To the topic:
I remember a lot of those arguments from time when this forum started.  You may use search button to get some idea.

Me, you can see my Turkish beauty on my Avatar pic at the left. It's absolutely light weighted Aluminium shell. My wife and me, we much like the original engraved ornaments - this masterpiece of handicraft only was worth the whole price ... a fistful of Euros ... ;) Unfortunately I hold it unscrewed now, because I couldn't get new replacement skin in Istanbul last year. They told me, that's an old unusual size. Actually I have one skin left, but I'm afraid that I should not go to break it next time!


6
Nice, the truth is I'm used to tune my Sombaty every time.
1st a Microdoum (with one finger) in center of skin. If that sounds good it's all ok.
2nd Otherwise I hit the rim middle between two screws to find in wich place distortion actually is.
3rd Same over related two screws. I losen a bit that with higher pitch.
4th Same procedure from 1st point until it works, most time one screw only is to tight.

7
Skin looks fine - that makes me happy.  Probably its overstretched a bit in one direction. In that case you need to stretch it again but slightly.

First, when you put a Remo skin on your drum do the gap of the ring in the middle between two screwholes.Start screwing from opposite site and tighten those two screws beside the ring gap one after the other to avoid bad tensions while of first contact. When plate is tight over skin it doesn't matter a lot.

Wich tuning system do you prefer: "going arround periphery" or "cross over"?! - Since the skin isn't that new, I'd do it cross over now, it's more accurate. Level the plate and tighten the skin until you can get a first sound from it. Then let it rest for a while.

Thereafter you 1st should level the plate by sounding. That I may explain next time.

8
Hi Oz, unscrew the head and have a look at skin. The ring arround isn't closed, there should be a gap. Look wether the glue is ok at weak place.
About year ago I'd had same problem: The glue was there broken and I had to change skin again.

@bsfloyd, a GeF?!? - So you made it...! :)

9
Ney, Kawala Lovers / Re: What ney is this?
« on: June 25, 2019, 09:29:29 AM »
Hi, Sina, nice to meet you!   :)

The metal end is mouthpiece. Persian playing technique differs from Turkish or Arab: You hold end of flute with your teeth and blow over your tongue in the reed.

Canot tell you more on this. All sources, what  I know, refer to the Turkish/Arab style playing over the edge.

When you have no assistance and you would try learning by doing, I'd recommend you to start with the shortest flute possible, and continue with next size, after you mastered first.

Another philosophy is to begin with largest and master deepest tones first. Therafter, you would have no problem with any Ney. But I'm afraid such a method you cannot provide without assistance of an experienced player, who may show you a lot of those "hows", you are not thinking about. This method is similar to Yoga, it need some time to feel effection.

10
Sorry, bsfloyd, I'm going to sleep now.... :)

11
Dear, I already did so. - But I would like to hold this topic open. Later I may add some thoughts on Sufi spirituality- when it feels good to others too.

12
about speed:
Do base first. When you have the base stable increase the speed. Then you may slow down an do a (filled) variation with (more and faster) ornaments. when it's going stable increase speed. etc

The rule is do simple first, speed it up and thereafter do it more complicated, speed up ...

But using a metronome makes sense rather when you have to do longer part with complex phrases .
Base and simple variations you should drill itself: You may start with a speed, you feel  comfortable with. After every 4th repetition you do a little step to more speed. When you feel discomfort stop it and begin same from your most comfortable speed again.

Another option is to do a "pyramid". That mean you start with a pattern, i.e. the Maqsoum. very slow. After 1st measure you should double speed and play it twice, therafrer double again and play it twice and twice (actually four times). You may try to double it again, but mostly two steps are fast enough. After the fastest part, don't stop but begin with the slowest again. Every part takes same time, what developes your inner feeling of speed.

13
If you have a measure of 4/4 and count then 4 downbeats every beat belongs to one quarter. Hence metronome's actually counting downbeats.

Me, I'm engineer myself too, I had some of those cunfusions in terms too and for years. I had an idea in my head, that "beat" is on every 1st count, the "pulse" should be the 4 quarters an wondered about some continuous "ripple " filling the gaps....! ;)

Terminology on rhythms isn't that consistent like in technology.: With a 4/4 measure we have a main beat (or "the beat"), what means the 1st beat in measure. Same time it is the 1st of all 4 downbeats (or simply "the beat") marking the quarters. Every downbeat is followed by an upbeat (when downbeats are called "beat", upbeat is named "offbeat"), but actually offbeat is a term to claim the eight pulses between 4+4 down- and upbeats. Whole scheme is the pulse, so a 4/4 time signature usually has a 16/16 pulse:

1 - + - 2 - + - 3 - + - 4 - + - |

1 - is the main beat; numbers 1 to 4 are downbeats; the + are the upbeats and all that - is the offbeat.

Something like this...

14
Ney, Kawala Lovers / Re: Everything is Flat!
« on: June 20, 2019, 11:30:20 AM »
All ok. 1st I'd do it with a wet flute, that what I recommended you before.

2nd you maybe right with that your breath might be a bit short yet. - But I could not say to do a stronger breath. The problem should be then, that you are running out of resonance on the deeper notes.

Resonance means - again in my eyes as me, a technician - that you create a standing wave inside tube causing a clear sound. In that case you need minimal breath to hold the a tone.

The deepest sound should be with a half wave inside flute (don't know for sure). - When I'm right you'd need another halfwave accomplishing the first, but now inside your torax. You may have a look in mirror with your Ney, one end by your mouth, you can see, where the outer end is down at your abdomen. So forget your lips and lungs. Pressing air from lung causes an enforcement by diaphragm, that way your half of the wave is cut by 2/3 approximately.

When I'm right, you must losen your diaphragm and build tension from the bottom of your belly - and that for sure, I may tell you as a singer and as Yogi too.

15
We should further stop a bit on beats-pulses-thematics to complete, but I 'd like to clear up all that what I was talking about first and not to confuse you more than appropriate.

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