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Messages - dHuGo

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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.

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.

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...! :)

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.

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

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.

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.

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...

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.

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.

You should agree with, that those point of view may touch mostly professional and advanced players. From your asking I understand that your problems mainly is in choice of a moderate speed to learn and how to adjust a metronome as a beginner.

So we are counting quarters as usual. 100-120 might be to fast for training, I'd do it with 50-80 until you can hold the speed for a continuous playing of about 10 minutes. Only then I'd try to increase it in steps by 10+ up to the original speed.

With an mechanical metronome every beat is a quarter. All subdivisions you make in your mind. Electronic metronome can play you a whole time signature with a different sound for main beat.

Hi, SailBum, the time signature may be really a bit confusing with Arab rhythms. The problem - time signature is a product of western rhythmic and music theory. It was added to Arab music only about middle of last century trying to find some common standard for different schools in Arabic world and also to build bridges from Eastern to Western culture.

That means, time signature may give you some information on musical interpretation of an Arab rhythm, but only when you are fit in rhythmical interpretation of Western classical music.

An example: That Maqsum usually is in 4/4 notation in Arab classics, but there is another folkloric rhythm from Epypt called "Fellahi"with an absolutely identical base, only it comes a lot faster. To mark the difference, you may find a 4/8 signature at Fellahi pieces. To understand that,  you need a strong education what's actually the difference between quarter and eighth both as a note and a rest. If you have not the feeling you may find only a difference in speed playing a Fellahi twice that fast like a Maqsum. Otherwise sometimes you can find a Maqsum in 2/4 what underlines the Arab understanding of the structure of that rhythm, but it is not in relation with right  timing, when you would play it straight like 2/4 in western music.

From that we can take as conclusion that time signature maybe a useful tool to subdivide and classificate Arab rhythms, but it would be wrong to find an interpretation according only to it.

I asked his holiness
Google to show me the way:
31 steps up to jolliness!
- That made my day.

0. Who likes it in pics

...and here are the 31 Shades of Earl Grey:

... what is the trolling in this thread ?

… even this:
huh? if you are son of 1 man than point that out.
are you son of 1 man ? do you think like that ?

… and those
nah nah they may be … for you but not for me
stuff brings an slightly aggressive note to the arguments, am I right?! - That is what we name "trolling".

And then may you ask me, why at least I didn't response yet on your "authorities" approach…

It's my way showing you my respect:
I won't touch your authorities… (and this has a relation to any other person too, who might come with another authorities here to argument. You should know what I mean…)

If you wish to talk on "authorities" especially  - oh it's o.k.- but it might be really a short talk - unless we find something common in our arguments on life!!!

So, araza, please calm down! - We may talk on Mid East Musics and its relations to spiritual life, i.e. by Sufis, or any religion at least. - It's your choice to stay and maybe to learn something new, but I understand, that musics rather isn't in your life interests! - So you may leave us … - How I said: That is your choice!

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