Aladdin Music – Oud Instrument. The Middle Eastern Guitar – appearance in Aladdin 2019All about the Oud, Ud Lute instrument, Blogs, For Students, Media & Television, Newspaper
What is the instrument that appeared at Aladdin musical show 2019?
The instrument that played by Mena Massoud and Naomi Scott It’s called the Oud instrument, its the Guitar of The Arabic Music and musical identity of the Arab world, The Oud instrument that dates back to 3000 B.C the instrument played by Mohamed Abdel Wahab, Naseer Shamma, Ramy Adly a few of the best Oud players in the world.
You can hear it clearly at One Jump a Head song, you will find the Oud came after the “Tabla” instrument, percussion, the Oud and the Qannon plays the main theme before the singer says his part
One of the greatest romantic scene in Aladdin when the beautiful prances hold Aladdin at his house and said “actually, I have Instrument like that I got from my mother.”
A lot of the lovers of the Oud instrument usually loved the Oud because they found the Oud at their family, household and relatives who play the Oud. Ramy Adly is one of the artists who love to play the Oud because he find it at his house, because his grandfather who is the one who taught him the Oud instrument.
others loves the Oud because they just hunted by it’s magical sounds.
Aladdin movie cast included Allen Manken produced by Dan Lin, and of course directed by the great Guy Ritchie. The film may receive the best musical show, cinematography, customs for 2019
The Oud instrument is a magical instrument this is why we teach the Oud instrument here At The School of Oud Online, by Ramy Adly who teach the Oud Live via Skype to be easier for generations to learn this wonderful instrument, as well a lot of the students who don’t have an Oud instrument, School of Oud Online sent it to the students home and they start to play it right a way.
Read more about how to play the Oud instrument via Skype at The School of Oud Online
What is the Maqam in music?
Jins, Maqam, Fasil, what does it mean?
The smallest unit in Arabic theory is the jins (plural ajinas), which is the Arabic interpretation of the Greek tetrachord. The word tetrachord comes from tetra- (four) and chord (group of notes). Arabic ajinas may alternately have three or five tones (trichords and pentachords). Even the same jins can be said to have three, four, or five tones, though this nuance of understanding is left to individual practise without consensus.
Two ajinas can come together to form a maqam (plural maqammat), which corresponds closely to the Greek concept of a mode. In addition to the two central ajinas, a maqam has other ajinas above and below its primary register. Unlike Western classical modes, maqamat are not restricted to an octave, nor need a mode ascend up to its octave. Several maqamat only span a sixth and are considered complete scales.
Maqamat are further grouped into families for classification. A family is a fasil (plural fasilah). Different teachers and theorists group the fasilah differently, but most agreeing on between 7-10 families of maqam. In composition and improvisation, performers may modulate within the fasil, but only rarely modulate outside.
Fasil Associations: Each family evokes particular moods in its listeners. While these moods are generally considered subjective, the moods are considered objective in the roots of the musical culture. Arabic theory developed under the influence of Persian culture, which itself was based in North Indian philosophy. North Indian classical music considers each raga (the rough equivalent of mode or maqam) to be a deity with specific attributes. Each raga is associated with a specific time of day, season or month of the year, forces of nature, and a specific human mood. Rather than the subjective associations of Western music, North Indian music teaches these associations objectively. Arabic music stands in between, admitting subjectivity but also emanating from a distinctly objective tradition.
Here are some of the most typical traditional fasil associations in Arabic music:
Maqam “Ajem” gives us feelings of strength, majestic, cheerful; used frequently in national anthems.
Maqam “Rast” gives us feelings of masculine love, pride, power, sound mind; used frequently in religious music.
Maqam “Nahawand” gives us feelings of drama, emotional extremes.
Maqam “Nawa Athar” gives us feelings of mysticism; Nawa Athar is often considered an extension of Fasil Hijaz in its mood.
Maqam “Bayat” gives us feelings of feminine love, joy, vitality.
Maqam“Kurd” gives us feelings of freedom, romance, gentleness; Kurd is often considered part of Bayyati in its mood.
Maqam “Hijaz” gives us feelings of the desert, solitude, enchantment, mysticism
Maqam “Saba” gives us feelings of sadness, pain
Maqam “Sika” gives us feelings of old days, ancient and religion songs