What is a Maqam ?In Arabic music, a maqam (plural maqamat) is a set of notes with traditions that define relationships between them, habitual patterns, and their melodic development. Maqamat are best defined and understood in the context of the rich Arabic music repertoire. The nearest equivalent in Western classical music would be a mode (e.g. Major, Minor, etc.) The Arabic scales which maqamat are built from are not even-tempered, unlike the chromatic scale used in Western classical music. Instead, 5th notes are tuned based on the 3rd harmonic. The tuning of the remaining notes entirely depends on the maqam. The reasons for this tuning are probably historically based on string instruments like the oud. A side effect of not having even-tempered tuning is that the same note (by name) may have a slightly different pitch depending on which maqam it is played in. What are Quarter Tones ? Many maqamat include notes that can be approximated with quarter tones (depicted using the half-flat sign or the half-sharp sign ), although they rarely are precise quarters falling exactly halfway between two semitones. Even notes depicted as semitones sometimes include microtonal subtleties depending on the maqam in which they are used. For this reason, when writing Arabic music using the Western notation system, there is an understanding that the exact tuning of each note might vary with each maqam and must be learned by ear. Another peculiarity of maqamat is that the same note is not always played with the same exact pitch. The pitch may vary slightly, depending on the melodic flow and what other notes are played before and after that note. The idea behind this effect is to round sharp corners in the melody by drawing the furthest notes nearer. This effect is sometimes called the law of attraction or gravity, and is common in other musical traditions (e.g. in Byzantine music). Are maqamat transposable ? When Arabic maqamat are taught and documented, each maqam is usually associated with the same starting note (tonic). For example, maqam Bayati is almost always shown as starting on D in reference textbooks. In general maqamat are transposable, but only to a handful of other tonics. For example, maqam Bayati usually starts on D, but it can also start on G and A. When transposing Arabic maqamat, musicians mention the tonic name after the maqam name for clarity (e.g. "Bayati on G" or "Bayati on A"). For this reason also, only a few quarter tones are exploited (with the understanding that the term quarter tone is approximate, and that many semitones include microtonal variations). The most frequently used quarter tones are: E, A and B. This is unlike scales in Western classical music, where for example each scale can have 11 possible tonics. Total freedom to transpose requires playing Western music on even-tempered instruments (e.g. the piano) where all semitone intervals are exactly equal. The reasons behind this limitation are probably technical and pragmatic, and have to do with the difficulty of transposing freely on classical Arabic instruments (oud, nay, qanun). On the oud for example, it is important to be able to exploit open strings to play tonics, 4th and 5th notes, since the sound on open strings is always in tune and louder. In addition, since the oud tuning is not even-tempered but based on harmonic 4th and 5th intervals between open strings, maqamat dont sound equally in tune and pleasant on every tonic. Some maqamat change names when transposed because they vary in their feel or mood. A maqam could also have a different melodic development (sayr) when transposed, including a different dominant note, etc. For example maqam Rahat El Arwah is a transposed version of maqam Huzam, but they have different moods. To describe the difference using very subjective terminology, the first is lower, more mellow and spiritual, the second is higher, lighter and funkier. Another reason for different transposed versions of a maqam having different names might be historic, since each name (and tonic) may have been used in a different region (Arab, Persian, Turkish. etc.). An example of this is the Hijaz Kar, Shadd Araban, Shahnaz, and Suzidil maqamat, which all have the same tonal intervals. While on the subject of transposition, musicians often retune their instruments a few semitones higher or lower than the absolute reference (e.g. A = 440 Hz) rather than transpose a maqam, especially in old 1920's and 1930's recordings. The reason for doing this is that melodies sound much better when their tonics and 4th/5th notes fall on open strings, because of the way string instruments like the oud or violin resonate. This is not the case with voice, for example. How can maqamat be broken down ? The building blocks for maqamat are sets of 3, 4 or 5 notes, called trichords, tetrachords and pentachords, respectively. The Arabic word for these sets is jins (plural ajnas). The word jins means the gender, type or nature of something. In general each maqam is made up two main ajnas (sets) called lower and upper jins. These can be joined at the same note, at two adjacent notes, or can overlap each other. A maqam may also include other secondary ajnas which are very useful for modulation. Instead of thinking of a maqam as a collection of 8 or more individual notes, it's often useful to think of it as a group of two or more ajnas (sets). See the Ajnas (Sets) section.
Is there harmony in Arabic music ? Arabic music is mostly melodic, which means it rarely includes harmony and chords. There are a few exceptions, read more in this excellent article about Harmony and Arabic Music. The main reason why harmony is rarely used is that chords dont sound very pleasant when they include quarter tones or microtonal variations. Harmony sounds best when notes have a natural harmonic relationship (3rd, 4th, 5th and 6th harmonic, etc). In Arabic music, this is true for a tonic and its fifth (3rd harmonic), but most of the time not true for any other note combination. What is the difference between a maqam and a scale ? The Arabic maqam is built on top of the Arabic scale. The maqam is generally made up of one octave (8 notes), although sometimes the maqam scale extends up to 2 octaves. But the maqam is much more than a scale:
A maqam may include microtonal variations such that tones, half tones and quarter tones in its underlying scale are not precisely that. E.g. the E in maqam Bayati is tuned slightly lower than the E in maqam Rast. These variations must be learned by listening not by reading, which is why the oral tradition is the correct way to learn Arabic music.
Each maqam has a different character which conveys a mood, in a similar fashion to the mood in a Major or Minor scale, although that mood is subjective. Since classical Arabic music is mostly melodic (excludes harmony), the choice of maqam greatly affects the mood of the piece.
Each maqam includes rules that define its melodic development (or sayr in Arabic). These rules describe which notes should be emphasized, how often, and in what order. This means that two maqamat that have the same tonal intervals but where one is a transposed version of the other may be played differently (e.g. maqamat Kurd and Hijaz Kar Kurd, or maqamat Nahawand and Farahfaza).
Each maqam includes rules that define the starting note (tonic, or qarar in Arabic), the ending note (or mustaqarr in Arabic), which in some cases is different to the tonic, and the dominant note (or ghammaz in Arabic). The dominant is the starting note of the second jins (in general the 5th, but sometimes the 4th or 3rd note), and serves as the pivot note during modulation.
See the Modulation section. How many maqamat are there ? There are dozens of Arabic maqamat, too many to list, including many Persian and Turkish hybrids. It's difficult to find a definitive list of Arabic maqamat that all textbooks agree on, or a definitive reference on which maqamat are strictly Arabic and which are Turkish or Persian. There are also many local maqamat used only in some regions of the Arab world (e.g. Iraq and North Africa), and unknown in others. But the most widely used and known maqamat are about 30 to 40, and these are the ones covered in this web site See the Maqam Index section. How is the intonation of the Arabic maqam changing with time ?
There is no absolute reference for the Arabic scale. In 1932, the Arabic Music Conference in Cairo established that regional variations existed in the intonation of Arabic maqamat. Within each region, oral traditions continued and created de-facto standards, although these standards converged to some extent with the advent of recording and broadcasting. The phenomenon that greatly influenced intonation in Arabic music was the introduction of even-tempered instruments (some of which were altered to produce quarter tones), mostly in the second half of the 20th century. The accordion, electric guitar, electric (fretted) bass, piano, guitar, electric piano, electric organ and synthesizer were gradually introduced to the Arabic ensemble. The main incentive behind this change was innovation, modernization, and the desire to add harmony to Arabic music. When Arabic maqamat are performed on even-tempered instruments, they sound different in subtle ways for the following reasons:
The intonation of the same quarter tone can vary with each maqam. For example, the E in maqam Rast has a higher tuning than the E in maqam Bayati. Even tempered instruments eliminate these subtle variations, producing dry and rigid quarter tones.
Moreover, the Arabic maqam has regional variations that make up a lot of its color. For example, the E in maqam Rast has a higher tuning in Aleppo than in Cairo. Even tempered instruments eliminate these regional variations, reducing the Arabic maqam to its lowest denominator.
Even semitones in the Arabic scale often include microtonal variations. A prime example are the 2nd and 3rd notes in the Hijaz tetrachord, which are played closer together so as to shrink the 1½ tone interval. These variations cannot be performed on even-tempered instruments. In case of harmonic music, microtonal variations are even undesirable since they reduce harmony.
With time, the original tuning of maqam Hijaz had been lost except in a handful of new recordings, and was replaced with what is called “piano Hijaz” (a derogatory term.) Equally bad is the “piano Ajam”, where the 3rd note should be slightly lower and more mellow. Maqamat like Jiharkah are rarely played on even-tempered instruments, even on ones that have been altered to produce quarter tones. In conclusion, the new generation of Arabic musicians, singers and listeners is losing touch with the traditional intonation of the 1920s and 30s largely because of the introduction of even-tempered instruments and harmony in Arabic music.
شام يا ذا السيف لم يغب يا كلام المجد في الكتب قبلك التاريخ في ظلمة بعدك أستولى على الشهب لي ربيع فيك خبأته ملئ دنيا قلبي التعب يوم عيناها بساط السما و الرماح السود في الهدب تلتوي خصراً فأومى إلى نغمة الناي ألا إتنحبي أنا في ظلك يا هدبها أحسب الأنجم في لعبي طابت الذكرى فمن راجع بي كما العود إلى الطرب شام أهلوك إذا هم على نوب قلبي على نوب أنا أحبابي شعري لهم مثلما سيفي و سيف أبي أنا صوتي منك يا بردى مثلما نبعك من سحبي ثلج حرمون غذانا معاً شمخاً كالعز في القبب و حد الدنيا غداّ جبل لاعب بالريح و الحقب
وإن عطل صوتها أحلامكم وبددها كما تجعل الريح الشمالية البستان قاعاً صفصفاً.
***
لأنه كما أن المحبة تكللكم, فهي أيضا تصلبكم.
وكما تعمل على نموكم, هكذا تعلمكم وتستأصل الفاسد منكم.
وكما ترتفع إلى أعلى شجرة حياتكم فتعانق أغصانها اللطيفة المرتعشة أمام وجه الشمس,
هكذا تنحدر إلى جذورها الملتصقة بالتراب وتهزها في سكينة الليل.
***
المحبة تضمكم إلى قلبها كأغمار حنطة.
المحبة على بيادرها تدرسكم لتظهر عريكم.
المحبة تغربلكم لتحرركم من قشوركم.
المحبة تطحنكم فتجعلكم كالثلج أنقياء.
المحبة تعجنكم بدموعها حتى تلينوا,
ثم تعدكم لنارها المقدسة, لكي تصيروا خبزاً مقدساً يقرّب على مائدة الرب المقدسة.
كل هذا تصنعه بكم لكي تدركوا أسرار قلوبكم, فتصبحوا بهذا الإدراك جزءاً من قلب الحياة.
غير أنكم إذا خفتم, وقصرتم سعيكم على الطمأنبنة واللذة في المحبة.
فالأجدر بكم أن تستروا عريكم وتخرجوا من بيدر المحبة إلى العالم البعيد حيثما تضحكون, ولكن ليس كل ضحككم; وتبكون, ولكن ليس كل ما في ماقيكم من الدموع.
المحبة لا تعطي إلا ذاتها, المحبة لا تأخذ إلا من ذاتها.
لا تملك المحبة شيئاً, ولا تريد أن أحد يملكها.
لأن المحبة مكتفية بالمحبة.
***
أما أنت إذا أحببت فلا تقل: "أن الله في قلبي", بل قل بالأحرى: "أنا في قلب الله".
ولا يخطر لك البتة أنك تستطيع أن تتسلط على مسالك المحبة, لأن المحبة إن رأت فيك استحقاقاً لنعمتها, تتسلط هي على مسالكك.
والمحبة لا رغبة لها إلا في أن تكمل نفسها.
ولكن, إذا أحببت, وكان لا بد من أن تكون لك رغبات خاصة بك, فلتكن هذه رغباتك:
أن تذوب وتكون كجدول متدفق يشنف آذان الليل بأنغامه.
أن تخبر الآلام التي في العطف المتناهي.
أن يجرحك إدراكك الحقيقي للمحبة في حبة قلبك, وأن تنزف دماؤك وأنت راض مغتبط.
أن تنهض عند الفجر بقلب مجنح خفوق, قتؤدي واجب الشكر ملتمساً يوم محبة آخر.
أن تستريح عند الظهيرة وتناخي نفسك بوجد المحبة.
أن تعود إلى منزلك عند المساء شاكراً:
فتنام حينئذ والصلاة لأجل من أحببت تتردد في قلبك, وأنشودة الحمد والثناء مرتمسة على شفتيك.
2. Gibran on Love...
Then said Almitra, "Speak to us of Love." And he raised his head and looked upon the people, and there fell a stillness upon them. And with a great voice he said: When love beckons to you follow him, Though his ways are hard and steep. And when his wings enfold you yield to him, Though the sword hidden among his pinions may wound you. And when he speaks to you believe in him, Though his voice may shatter your dreams as the north wind lays waste the garden. For even as love crowns you so shall he crucify you. Even as he is for your growth so is he for your pruning. Even as he ascends to your height and caresses your tenderest branches that quiver in the sun, So shall he descend to your roots and shake them in their clinging to the earth. Like sheaves of corn he gathers you unto himself. He threshes you to make you naked. He sifts you to free you from your husks. He grinds you to whiteness. He kneads you until you are pliant; And then he assigns you to his sacred fire, that you may become sacred bread for God's sacred feast. All these things shall love do unto you that you may know the secrets of your heart, and in that knowledge become a fragment of Life's heart. But if in your fear you would seek only love's peace and love's pleasure, Then it is better for you that you cover your nakedness and pass out of love's threshing-floor, Into the seasonless world where you shall laugh, but not all of your laughter, and weep, but not all of your tears. Love gives naught but itself and takes naught but from itself. Love possesses not nor would it be possessed; For love is sufficient unto love. When you love you should not say, "God is in my heart," but rather, I am in the heart of God." And think not you can direct the course of love, if it finds you worthy, directs your course. Love has no other desire but to fulfil itself. But if you love and must needs have desires, let these be your desires: To melt and be like a running brook that sings its melody to the night. To know the pain of too much tenderness. To be wounded by your own understanding of love; And to bleed willingly and joyfully. To wake at dawn with a winged heart and give thanks for another day of loving; To rest at the noon hour and meditate love's ecstasy; To return home at eventide with gratitude; And then to sleep with a prayer for the beloved in your heart and a song of praise upon your lips.
This post in copied entirely from Dj DocRemy - it was posted on Saturday, October 3, 2009 , the weekend that she featured my music :) !
I am super thankful to Dj DocRemy for her great show and for featuring my Audio Art track : October 22. Here is a link to Dj DocRemy's original post where you can check other very cool music and listen to October 22. here is the Original October 22 piece uncut :
Here is what Dj DocRemy said on her blog: "DjDrRemy - @Lubzi: Empathy for Blending on Discord-Resolve-and-Celebration by DjDocREMY
This #WeeklyMusicCelebration set is featuring our talented friend @Lubzi. I specifically name it: Empathy for Blending of Emotions: Discord, Resolve & Celebration. And the following is what @Lubzi explains about her music:
“The track name is “Oct22”. In fact it is about September 11. I called it October 22 because in those days (2002) Arabs living in the west couldn’t even discuss 9/11 without receiving at least accusing looks. So I was being ironic on the terrorizing of Arab immigrants in the name of fighting terrorism. In the beginning, things are moving in a steady pace somewhat peaceful and then all of sudden the world blows up and all the crazy events that happened afterward were too overwhelming and surreal: that is how 911 went and what I am expressing in the track.I did not have specific goal in mind: Only let my emotions take the helm as I had a load of hard to handle feelings about 9/11 and I needed to wear my heart over my sleeve.My hope is that people would feel some of my feelings….”
As for me, I picked this track of Lubzi’s (out of the 5 tracks she sent me) as somehow I resonate with the tune though I had no idea what the tune means – not until she tweeted me with the explanation.
On this set, I have added how I feel for her music as you may catch it at ~2:24 mins. then her track resumes at ~3.49 mins. I remix “Daft Punk” songs for two reasons: 1) It is entirely electronic sound – This is to emphasize how technological science of music program allows us to produce music. 2) It resonates how our humanity become stronger as a human race, faster in technology and outreach of communications which allows us to share and have more empathy as we try harder by the closing song which is a celebration to our spirit of Being - as One."
This song is an interesting song from the 80s, from Jordan. It was a very popular song during the mid/late eighties. Check out the headbands and women's hairdos.The music also reminds me of Cindy Lauper, early Madonna stuff, David Bowe, you know, pop music of the 80s, notice the base, the synth... so 80s . I loved this song , especially the part where she is walking with a bunch of her girlfriends friends wearing Bedouin clothes and 80s headbands and tights, so funny...
The band that sings this song is a Jordanian band called Mirage, was called Mirage, they stopped singing unfortunately. They were a talented couple, a man and a woman , who are married. They got into a really bad scandal though, After which I heard they immigrated to Canada and left Jordan. So, this poor couple, who are married, it seems they enjoyed taping themselves having sex and watching themselves later, uhumm, so one day a thief came and stole their house and included in the stuff that was stolen was their VCR with guess whic tape in it?? Yes, you guessed right. Next the tape was all over the black market and with every pimple-faced teenager in Jordan and many arab countries ... the poor couple were shamed and destroyed. They had to run away to the land of the west..They say they immigrated to Canada.. masakeen..
Now isnt this is story?
I wonder what they are doing now.. I wonder if they are alive .. I hope they are .. I hope they are alive and making some very cool music .. Cheers to Suheir and I forgot the name of her husband Sha-sha-a (sha3sha3a) سهير شعشاعة / فرقة الميراج الأردنية
Here are the lyrics translated by your truly for your pleasure.
تقول اهواك You say I love you
انا مانساك I will not forget you
ليه Why
وتروح وما نرجع and you leave and never come back? تقول انتي القمر you say you are (like) the moon
بليل السهر In the long night
مثل السحر فلّيت like magic you went away
وليلي طويل and my night is long
اسأل نجوم الليل I ask the stars of the night
ما تيجيب They dont answer
صمت الحجر قاسي
silence of the stone is cruel
واقول اخطيت I say I did wrong
يمكن أكون اخطيت
maybe i did wrong
ونسيت or I forgot
وقليبي مش ناسي but my heart is not forgetting تقول اهواك انا مانساك you say I love you I will never for get you
وتروح وما ترجع and you leave and never come back
يركض بينا العمر Time runs fast
شاب الشعر my hair is getting grey
بتمنى طلتك I wish for you show up
وابعث مرسال ورا مرسال I send to you
time after time
الك
مادري تقول حسيت I wonder if you feel me
تقولي كلام you tell me words
احلى من الاحلام
that are sweeter than dreams
واجمل and more beautiful
ويضيع معانيه and then all the meanings are lost
تغيب سنين
you disappear for years! وسنين تغيب وما تسأل
and years you disappear
and you never ask والعشق لمّا زال but in love , I still am
الفراق being away from you
يا عمري طال has gone for too long
my precious
وصعب الحال My situation is hard
ما يهدا البال my mind never eases تقول اهواك you say I love you
ولك سال They poured ولك سال and poured لغيرك ما يسل دمعي ولك سال for other than for you my tears never pour ولك سال they poured ولك سال
and poured وعليك القلب ما تدري Dont you know that because of you
ولك سل my heart withered ولك سال They poured ولك سال and poured
ولك سال and poured يا خايب You're such a looser يوم عن حالي just for once ask about how I'm doing ولك اسأل Ask ولك سل It withered ولك سال They poured تركتني وما تدري شصار بي
you left me and you have no idea what happened to me يا محمد بويه محمد Mohammad, my precious Mohammad قتلي ليش تتعمد Why do you intentionally kill me
يا محمد خاف من الله Mohammad Fear God يا محمد مو فوق الله يا محمد مو هذا الله That's not the way to go, Mohammad عيوني محمد You are my eyes, Mohammad قليبي محمد You are my little heart, Mohammad
يا محمد شنهو ذنبي Oh, Mohammad What guilt have i committed بين عداي وترميني that made you throw me among my enemies لو تدري النار اللي بقلبي تكويني وتاذيني If you only knew about the fire that's in my heart that is burning me and hurting me عيوني محمد You're my eyes , Mohammad قليبي محمد You're my heart, Mohammad يا محمد يا نور العين Mohammad, you are the light of my eyes ياللي سبيت الصوبين you have driven everyone crazy both sides دجلة وفرات النهرين the two rivers Euphrates and Dijlah
بويا محمد My precious Mohammad عمي محمد My Darling Mohammad this part down here is part of the song but not in this version يللي اغلى من روحي You are the one who is more dear to me than my own soul
ليش تزيدني تعذيب why are you torturing me more and more حبك مرهم لجروحي your love is an ointment for my wounds وجروحي برضاك تطيب and my wounds heal when you are ok with me
عيوني محمد You are my eyes, Mohammad قليبي محمد You are my little heart , Mohammad يا محمد بويه محمد Mohammad, My baby Mohammad . قتلي ليش تتعمد Why do you deliberately kill me يا محمد خاف من الله Mohammad, fear God يا محمد مو هذا الله That's not the right way عيوني محمد You are my eyes, Mohammad
قلبي افطر نصين My heart was broken into two halves هون وهون here and here وشلون يا ويلي اداري and oh dear how can i hide it? شلون؟ how?
لون الفرح يا ناس The color of happiness , Oh people, مادري بيه I dont know it, ولونك يا غربة and your colors, daispora, الف لون ولون are one and a thousand colors
بيع الجمل يا علي sell the camel, Ali واشتري مهر الي and buy my dowry كرمي لوح واستوى my vine is swaying and has ripened والعنب طاب وحلي and the grapes are good and sweet بيع sell بيع sell بيع sell بيع sell بيع الجمل يا علي sell the camel, Ali
يا علي بيع الجمال Ali, sell the camels قبل مايضيع الجمال before the beauty is lost واهدي بويا ذهب ومال and gift my father gold and money واشتريني يا علي and buy me , Ali
ياعلي بويا طميع Oh, Ali, My dad is gready, شو عندك يا حبيبي بيع whatever you have my beloved, sell it, لو تتأخر انا رح ضيع if you are late I will be lost لا تضيعني يا علي dont lose me , Oh Ali ..
انا وانت بيكفينا me and you will be satisfied بيت زغير يدفينا with a small home that warms us ويطعمينا ويسقينا and God of the heavens رب السما يا علي will feed us and provide for us
They went down to the garden نزلن على البستان Oh my stubborn dad يا عنيد يا يابا and they died their hair with henna وحنن شعرهن
All girls are stars كل البنات نجوم Oh my stubborn dad يا عنيد يا يابا and mom , she is their moon! يمه وهية قمرهن
(she is ) My eye and the water of my eye عيني ومي عيني Oh my stubborn dad يا عنيد يا يابا She 's worth my family and all my relatives تسوى هلي وكل القرابا Oh my stubborn dad يا عنيد يا يابا
I will sit alone in the end of the night لاقعد بتالي الليل Oh my stubborn dad يا عنيد يا يابا And I swear I'll remember my lover والله واذكر وليفي
And using the excuse that I had a bad dream وبحجة الحلمان Oh my stubborn dad يا عنيد يا يابا Oh mom , I can cry as much as I want to يمه لابكي عكيفي
(she is ) My eye and the water of my eye عيني ومي عيني Oh my stubborn dad يا عنيد يا يابا She 's worth my family and all my relatives تسوى هلي وكل القرابا Oh my stubborn dad يا عنيد يا يابا
What do I owe my friend ايش عليا يا صاحب to all creatures? من جميع الخلايق
Do good and you'll be saved... افعل الخير تنجو And follow people of the truth... واتبع اهل الحقايق
Dont say my son a word... لاتقل يا بني كلمة Unless you are being honest... الا ان كنت صادق Take my words and in a paper... خذ كلامي في قرطاس write them as a treasure from me... واكتبه حرز عني what do I owe people... ويش عليا انا من الناس and what do people owe me... ويش على الناس مني
a little old man from the land of Miknas شويخ من ارض مكناس in the middle of the markets sings وسط الاسواق يغني I dont owe people anything ايش عليا انا من الناس and they owe me nothing at all وايش على الناس مني
I'm have been working on the sound design of a play called Moon Over Buffalo . I am finishing up the work. I totally enjoyed learning about the music of the 50s , every time I work on a play I learn so much. At the beginning it is hard to absorb music I am not used to, but eventually it grows on me and I learn to love it. I am almost done. There was a last minute change that I put in yesterday, I worked for 9 hours straight, but that is OK because I love this kind of work. It seems like I cannot have enough of it. I only slept 3 hours last night, so I am exhausted and I had to miss the rehearsal - which is unfortunate because I just love attending the rehearsals. So the suggested change was around the 1st song in the curtain call. Check it out below in the mp3 player widget. I have 3 versions here. The truth is that I am not fond of the last version, I dont find that the first song fits well within the overall context musically. It sounds very different that the rest of the music in the other pieces. Unlike most of the music that I used in this production this song is not from the 50s (I think it is from the 30s at least). I actually like the song, I can totally see why the director wants it there, I am just concerned that with the applause people wont get to hear it. I also dont find that it has enough energy for a curtain call song, where I would like to capitalize on people's energy and excitement and pump more into it with the music. This one it is not grand enough, especially for this high energy farce about crazy melodramatic theatre actors . Anyway, I like giving options to directors I work with , I am offering the 3 choices and eventually the director gets to pick the one that will end up on the show. Let's see what he will say. Maybe we will end up with a 4th piece. :)
Moon Over Buffalo From Wikipedia, the free encyclopedia Moon Over Buffalo is a comedy by Ken Ludwig set in Buffalo, New York in 1953.
Characters * George Hay, a traveling actor. * Charlotte, George's wife and actress in his company. * Rosalind, George & Charlotte's daughter, who left the stage to lead a "normal" life. * Howard, a TV weatherman and Rosalind's fiancé. * Paul, stage manager for George's company, and Rosalind's ex-fiancé. * Ethel, Charlotte's nearly-deaf mother. * Richard, a lawyer who is courting Charlotte. * Eileen, an actress in George's company who is George's "mistress".
Overview Moon Over Buffalo relies heavily on situation comedy for its humor, as well as some sexual innuendo and a little slapstick. The actor who plays George, in particular, must be able to deliver a highly physical performance; George engages in a mock fencing match with Charlotte, a wrestling match with Howard, and a stunt fall into the orchestra pit. The action and dialogue are fast-paced, as the characters are constantly bickering or frantically trying to resolve some confusion.
George and Charlotte Hay, traveling actors, are performing Cyrano de Bergerac and Private Lives in a repertory theatre in Buffalo. Charlotte has grandiose dreams of becoming a Hollywood film star; George, on the other hand, is quite satisfied as a stage actor, and sees live theatre as being superior to film.
George receives a phone call from Frank Capra, a very famous film director, who says that he needs replacements for the two stars of his current film, The Scarlett Pimpernel, and that he plans to see one of George's shows and consider George and Charlotte for the parts. Charlotte, however, doesn't believe George when he gives the news; she has just learned that George has had an affair with one of their actors, Eileen, and that Eileen is pregnant with George's child. To further complicate issues, one of the actors in George's company walks out. Soon after, Charlotte leaves George and the company to be with Richard, the successful and charismatic lawyer. George, despondent, gives up hope and turns to alcohol to drown his misery.
When Charlotte hears the news about Capra losing his actors, she returns to the theatre, only to find that George has left. Charlotte and Rosalind, her daughter who has recently come to visit, contact all the bars in the city, looking for him. They can't find him, but Charlotte does meet Howard, Roz's new fiancé, whom Charlotte's hard-of-hearing mother mistakenly introduces as Frank Capra. Thinking that Howard is the famous director, Charlotte gives him the "red carpet" treatment, for which Howard is grateful, but confused. And when George returns, he believes that Howard is actually Eileen's brother, seeking revenge for George's affair with Eileen. In what he thinks is self-defense, George ties up the innocent Howard and locks him in a closet.
When Charlotte and Roz finally meet George again, they try to get him prepared for the afternoon's showing of Private Lives, which Capra intends to see. George, in his drunken stupor, decides he would rather do Cyrano, and dresses appropriately. The resulting show is a disaster, as George is several minutes late to arrive onstage and in the wrong costume and character. In the end, Howard, still bound in ropes, hops onstage and calls out for help; then George falls into the orchestra pit, twisting his leg and presumably breaking a few instruments.
After the show, a sober George offers his apology to Howard. Howard is not satisfied, though; his encounter with Roz's parents frightened him away from staying engaged to Roz. He announces that he and Eileen have decided to get engaged instead, and eagerly plan to start a family right away. Howard isn't aware that Eileen is already carrying George's child, but Eileen seems satisfied to keep him in the dark. Paul, now that Roz is now single, takes the opportunity to (almost literally) sweep her off her feet, and they get engaged again on the spot. Charlotte forgives — or at least forgets — George's infidelity and decides to stay with him instead of Richard. Finally, in a deus ex machina-like plot twist, Capra himself calls to say that he missed the afternoon performance and will instead see the show in the evening, thus allowing George and Charlotte another chance at Hollywood stardom.
Production Moon Over Buffalo opened on Broadway at the Martin Beck Theatre on October 1, 1995, where it ran for 309 performances, after 22 previews and an out-of-town tryout in Boston.
A video, Moon Over Broadway, was made, following the show through the rehearsal period and the Broadway opening.
or the half-sharp sign 
), although they rarely are precise quarters falling exactly halfway between two semitones. Even notes depicted as semitones sometimes include microtonal subtleties depending on the maqam in which they are used. For this reason, when writing Arabic music using the Western notation system, there is an understanding that the exact tuning of each note might vary with each maqam and must be learned by ear.
See the 