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Arabian music, in general is devided into simple parts
:
1. The Rhythm
And lets face it, most of the Egyptian dance music is done to
the Maqsoum, Masmoudi, Fallahy, Saaidi or the Karatchy. If it
becomes a bit sophisticated, then they use the Samaai (10/8).
(All these rhythms are available on my CD RHYTHMS OF THE NILE
EUCD 1427) Where I explain the rhythms, how to play them and how
they should sound like.
Also, the good thing is that: On one rhythm you can have a million
songs composed, but any song can be done to one or two rhythms
to make it express the right intended feel.
2. The main Melody
This is played by the full orchestra or by individual musicians.
3. The Orchestral arrangements
This is the whole band playing in unison between the main phrases.
Or between the verses or choruses. This is what we call the "LAZMAH"
and it can be between the phrases between the verses or choruses
or just between the small solos that are the body of the main
melodic statement between the verses or choruses.
ALL Arabian music is played in a "Call & Reply" Format.
This means either the soloing instrumentalist does the call and
the orchestra replies or the other way around, or even two different
instrumentalists would call and reply to each other.
4. The Harmony
This is the other musical part accompanying the music. Normally
in thirds or fifths in tonality, running with, over, or under,
or contra (against) to the main melody, but is not the main melody.
I know the exact look you are giving me right now, but, be patient
my dear...my aim is to have you enjoy your dance... not to complicate
things for you.
DANCING IS TO MUSIC AND RHYTHM
Now if you are dancing to a piece of music, you should at least
pay a bit of attention to that music, and learn a bit about it.
I mean, I've heard it so much from dancers, worldwide, that: "The
musicians don't pay any attention to me when I am dancing".
Well my dear, my answer is: They would if you were doing anything
remotely connected to the music they are playing "FOR YOU". The
average Arabian musician who is living in the States, Europe,
or even in Egypt is a highly frustrated artist. He is desperate
for joint creativity. He would love to play for a dancer who would
{PHYSICALLY TRANSLATE} the sounds he is creating for her into
movement. It is like seeing your own sound come a live in 3D.
I think this is the purpose of dancing. That is to 3D-fy and make
the sound visible. And vies-versa.
I know....this is making me very unpopular as I speak, but I will
not go esoteric on you and promise you the dance of the seven
veils or the sultan's palace dreams just to be popular, I want
to see and make ABLE DANCERS, who know their business just
as good as any top Flamenco or Indian dancer.
Basically as a well seasoned club and concert musician who has
worked for more years than I care to admit with the greatest as
well as the not so great, I had to learn the hard way, and I know
what I am talking about. and hopefully I will pass on whatever
useful knowledge I have over to you, so that you and all the others
can benefit from it.
Now as I said earlier, the music is in sections, now...organise
your dance according to these sections. There is a couple of simple
rule I have for dancing :
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"DO NOT DO MORE THAN WHAT THE SOUND THAT IS COMING OUT AT
YOU DICTATES. AND OF COURSE, DON'T DO LESS".
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* "THE ART OF ORIENTAL DANCING IS TO VISUALLY HEAR THE MUSIC"
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Now if you listen carefully, Check out the introduction, then
the orchestral passages, when you have a large sound coming out
of the big orchestra, say 10-20 musicians, please do not stand
there on one spot in a demure position doing tiny intimate type
of movement. GROW BIG, explore your stage, greet you audience,
run if you have to.
Then as I am sure of Egyptian dance music, one soloist will be
playing a phrase,.... well according to the type of instrument
that is soloing, then make your movement to suit that.
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