BAIT AL OUD

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Naseer Shamma and Mohamed Dekkak

To give a new stage to the younger ages and a place for music, Bait Al Oud was established in Abu Dhabi.

Since its opening, Bait Al Oud remains a significant achievement that conveys Arabic instruments. They come back to the contemporary music scene’s vanguard, with an expanding number of youthful performers deciding to be essential for it.

The tale of Bait Al Oud returns to when I began the task in Tunisia in 1993. My objective was to have artists in each house in the Arab world. In October 1998, Bait Al Oud was propelled in Cairo by the Egyptian Opera House, with the help and confidence of Dr. Ratiba Hafni, the extraordinary drama vocalist. Steadily I had the option to picture my fantasy with Arabic music being more present than any other time in recent memory. With time, recently created ventures executed at Bait Al Oud, and an expanding number of youngsters and ladies acquired soloist and ace declarations, and the instrument is educating authentications. Lure Al Oud in Abu Dhabi is an essential issue of this Arabic musical renaissance. It includes the staff and offices to prevail as a standard, social, and inventive undertaking.

HISTORY OF THE OUD

The Oud is one of the most established stringed instruments, going back to Akad’s time (2350 BCE). It is nearest to people’s souls and hearts and has become from that point forward related to Arab culture and customs.

Oud has been man’s partner in his excursion through many years, adjusting to different times and courses. It went about as a diplomat to the way of life of the world, and man’s profound interpreter while tending to others. It included a significant spot inside the Arab Islamic civilization and was viewed as its most powerful instrument. Bedouin savants like al-Farabi, al-Kindi, ibn Sina, Amawi, and others have assembled their music hypotheses around the Oud. Middle Easterner history realized many changed and recognized oud players, and their encounters shaped the known melodic schools, for example, Ibn Sarij, Ziryab, and others.

Since Andalusia’s Arab victory, Oud likewise assumed a significant job in the improvement of Western music. This significant melodic impact returns to Ziryab (b. 160 AH/777 CE; d. 238 AH/852 CE), the head of artists in Andalusia, the sheik of oud players, and one of the primary innovators of this instrument. On account of him, it was workable for the craft of Oud to spread and create.

HIGHLIGHTS OF THE OUD

Trap Al Oud isn’t just a position of oud instructing, yet another part of oud making. Ouds made in Bait Al Oud are intended to assist performers with acing the most troublesome strategies and meet the improvement of present-day techniques for playing that have risen in late decades. One of the most significant highlights that recognize the ouds made in Bait Al Oud is the precision of sizes, as Naseer Shamma gathered. These ouds are flawless instruments that are anything but difficult to deal with and fix.

The instrument’s full length is 67cm; the width is 36cm; the arm’s size is 19cm with a width of 4cm close to the end of the key and 6cm close to the soundbox. The absolute length of the harmony is 57cm.

The instrument is described by close tuning of the Banjaq, with the Banjaq cut on a bit of wood. The first occasion when those ouds undergone a cutting procedure. This strategy has demonstrated to give longer life and sturdiness. The best keys are made of Abanos, a tough wood, which helps control the exact snugness of the harmony and tune the most elevated tones along these lines giving more precision.

Quality of sound is likewise an unmistakable component of the Oud. The best kind of juice wood used to make the ouds after various assessments for the ideal approach to partition the instrument’s sound pitches. This technique gives a particular sound in oud strings, particularly for high tones and bass.

OUD MAKING

Bait Al Oud is not just a location of educating Out; is, moreover, a place where the Oud instrument is made. The instruments that are made are designed to help artists execute the most demanding procedures and to advance current play techniques that have risen in the coming year. One significant highlight recognizing the Oud is the accuracy of the measurements, as Naseer Shamma has gathered. These Ouds are spotless equipment that is anything but difficult to handle.

It has a maximum length of 67 cm, a width of 36 cm, a length of arm of 19 cm and a width of 4 cm near the end of the key, and 6 cm near the soundbox. The average length of its chord is 57 cm.

The instrument is represented by near Banjaq tuning, with the Nanjaq cut on a bit of wood. The first time that Ouds are made using a cutting technique. This technique has proven to offer longer longevity and toughness. The best keys are made of Abanos, a durable wood that helps to control the harmony ‘s exact snugness and tuning the most noteworthy tones, offering more precision.

The instrument is characterized by its sound quality. After different evaluations, the best form of juice wood used to manufacture the Ouds for the ideal approach to isolate the sound pitches of the instrument. In Oud strings this technique gives a particular sound, particularly for high tones and bass.

The instrument is represented by its pure tone, free from any murmurings.

ABOUT OUD MAKER AMR FAWZI

Born in 1973, Amr Fawzi born and raised in Cairo , Egypt, where he graduated in 1993 with a technical degree. He trained practicing Oud at the Cairo Arab Music Institute but later went on to sculptures. He has been interested in the artefacts, antiquities, and objects of wood sculpture. At Bait Al Oud while training,

He has gained experience on the construction of the instrument and the types of wood it consists of. In the year 2000 he met Naseer Shamma and began learning from him the theory and practice of the Oud business.

He concluded his inquiries in 2002 and moved to Cairo, separating himself from Bait Al Oud. He got one of the most important speakers from Bait Al Oud, educating on the making of Oud and its past. He ‘s made more than 198 Ouds since graduating. He’s worked for a long time.

STUDY SYSTEM

Stage I: Students are requested to play during the testing, which keeps going as long as a quarter year. This period is trailed by a situation test, where instructors select the understudies with high potential.

Participation in Bait Al Oud is obligatory and will be observed by the educators.

Bosses of Oud, qanun, cello, and different instruments are accountable for educating in Bait Al Oud. Naseer Shamma executes the masterful bearing, manages every single academic action, and shows progressed understudies in Abu Dhabi.

Stage II: Theoretical and commonsense instructing. After approximately 5-6 semesters of contemplating, understudies can move on from Bait Al Oud with an official endorsement.

Music exercises are mostly on a coordinated premise with an instructor, little gathering, or bigger gathering classes (tutti and solfege classes).

The graduation involves the fruitful cooperation in an alumni show with proficient performers. In light of this exhibition, a jury assesses the competitors and decides their graduation grade.

OBJECTIVES OF ESTABLISHING BAIT AL OUD

To spread the way of life, attention to the Oud as an instrument is like other Arabic tools in the UAE.

To feature the sense of Oud, qanun, nay, buzuq, cello, violin, Arabic Singing, and rebabah in Arabic music and their schools.

To show the required strategies to play different instruments and encourage managing the other playing schools.

To structure another age of expert artists and make an Arab music gathering to introduce proficient music exhibitions in the UAE.

  • To instruct how to fabricate instruments of various sizes.
  • To energize study regarding Oud specifically, and Arabic instruments by and large in various societies.
  • To have accommodate performers with a worldwide degree of specialization.
  • To share melodic exhibitions and activities for the instruments instructed at Bait Al Oud.
  • To protect the Arabic musical legacy and to make approaches to create and modernize it.
  • To have regulate educators and experts of the previously mentioned instruments
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