in addition to mandolin i also play a lovely, big bowled, egyptian-made oud. while searching through oud-related material available on-line i once came across an ancient treatise on the qualities associated with each of the 4 courses in the original tuning in 4ths. this doesn't have much bearing on the mandoline or our western tuning and half-step scale but for those who are interested, i thought i'd reproduce some of what a learned gent left me on the subject, over on mike's oud site:
The Arabic music theory is based on two key concepts: the modes (known as Maqamat in the eastern arab region or Toubou' in the western region); The Vocal suite/musical session (known as Nawba, Wasla, etc…).
The Maqam/tab' (literally, character, nature of) is the name given to the modal scale, and not only referred to its defining features, but also implied the psycho-physiological impact this scale could have. These modes are based on the theory of the four elements that constitute the nature (Earth, Water, Air, Fire), the four seasons (Autumn, Winter, Spring, Summer), the four colours ( Yellow, Red, White, Black) and the four moods of human psychology (Melancholy, Phlegm, Blood, Bile). All of this is related to the four strings of the oud (Zirr, Mathna, Mathlath, Bamm). So based on this theory, each string of the oud has its effects on the Human humours and psychology. The first (zir) has yellow as its colour, fire as its element and bile as its temperament. The second string (mathna) has red as its colour, air as its element and blood as its temperment. The third string (mathlath) has white as its colour, water as its element and the phlegm as temperament, and last but not least, the fourth string (bam) has black as its colour, earth as its element and black-bile as its temperament.
According to Ziryab, this theory is fundamental but not complete. As he demonstrated to his disciples, all this represent the material, the element, the body but not the spirit. To create a balance in the universe, the theory needs something that represents the spiritual part, the soul. So ziryab made his well-known changes on the oud.
The shaped of the instrument was drastically changed, as well its interpretation and repertory. This genius master introduced a lot of novelties and new elements:
- He added a fifth string, one "as red as blood" known as "Watar Ziryab, Ziryab string" placed between the second and third strings. Thus he reinforced the four humors, since the new string represents the soul and symbolizes life. Thus, the oud adopted its fifth string. This string added by the master has dark red as colour, life as cosmic element and soul as the mood or the temperament.
- The reduction of two thirds of the instrument,s weight by a wise selection of the materials used in the crafting of the instrument.
- The special preparation of the strings. The first two (Zir, Mathnaa) were manufactured of silk spun in cold water, which made them flexible but not soft. The third and the fourth strings (mathlath, Bamm) were made of lion-cub gut, which, while making them more melodious with a clear and dense sonority, allowed them to be used for a longer time while better resisting variations in temperature.
- The substitution of the woodem plectrum (midhrab, Sat'aa) by a one carved from an eagle,s feather (risha –t- 'Uqaab) . This plectrum was easier to handle and enriched the intensity of the sounds, permitting the musician to gently and nimbly strum the surface of the strings.
Al-kindi, Al-Farabi, Ibn Sina, Ishaq Al-Mawsili, Ziryab, Ibn Baja, used the oud as a model for studying the Arabic music theory and to develop their theories.
Of course they are a lot of others theories about the seven notes of the scale and their relation with the seven days and the seven planets etc., the relation between each mode and each hour of the day…
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Originally Posted by (billkilpatrick @ Aug. 18 2005, 20:07)
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