Oud

The oud (Arab: rear RTL عود), the ud , the laouto or the outi ( λαούτο and ούτι: Greek modern ), very widespread musical instrument with cords pinches in the Arab Pays is a , in Turkey, Greece and Arménie. Its name comes from Arabic Al-oud (wood), transformed into Europe in laute , alaude , laud , liuto , lute .

The barbat (Persan) is doubtless the origin, but if this instrument still exists with title symbolic system in Iran, it is spread very little there and it was reinvented recently starting from files. It is thus advisable here to stick more to the name oud , more generally known, more especially as the instruments hardly differ.

History

The lute finds its cradle in Babylonia like that discovered on a low relief of the temple of Hammourabi. Present at the Assyrian , it appears in Egypt where one finds it in the tomb of Harmosis (1500 before J-C). During the first civilization pharaonienne, the Egyptians used the lute for their ceremonies and their festivals.

The barbat is an old musical instrument of origin Perse; after the Tambur, it is the oldest string instrument in Iran, going up in 800 av JC. Its invention is allotted to Barbad and Al-birbat would be its form arabized. Other sources specify that the etymology would come from beats which means chest, thus indicating a similarity of form. It is probable that the first instruments was cut in a piece of wood (handle and nonseparate case of resonance), in the same way that the Pipa Chinese (already present at the Tang (618 - 907) and the Wei of North (386 - 534)) or the Biwa Japan board (8th century), which would be descendants of the barbat brought by the Silk route.

After the Islam was established in Iran, the instrument was brought in the Empire Omeyyade and was then propagated in all the the Middle East and the the Maghreb, making these countries the cradle of the Eastern lute: the oud . This last, renovated by Zalzal Mansour (death in 791), had a separate shorter handle (at the beginning) of a larger case, like the current instrument.

Later, Médine was a meeting place of all the musicians and violin makers so that the oud acquires there an eminent reputation among all the other instruments. Thanks to the oudist Ziryab (deceased towards 852), the oud voyage until in Europe by forwarding by the Andalusia under Moorish occupation , become the capital of the Arab music.

The oud definitively took its current form at the beginning of the 9th century, (the song of Roland was undoubtedly played on an Arab lute). The case was made bars of constrained wood in the shape of vault which could be the origin of the name oud since the word means wood or stick and that the table was it also made of wood (contrary to the tables in skin of the older Luth S).

When the Islamic culture penetrated in Europe, this instrument was used with various names; lotto in Italy, loth in France, aland with the Portugal and loud in Spain. At the same period, the instrument was interdict in Iran under the Safavide S because of religious fanaticism, until recently.

The curved case was used as model with the Luth and the European Mandoline, whose cases were built many stuck flexible plates of wood. The Luth changes during the Renaissance and the period Baroque. The cords are played between the inch and the index with the little finger posed on the table and the handle comprises hoops tied in bowel to be able to play of the musics Polyphonique S. At the end of the 16th century, the new shape of lute with 12 cords appears in England (Théorbe and Chitarrone) being used more for the accompaniment that with the melody. It unceasingly evolved/moved, by the addition of serious cords, until the 18th century.

Stringed-instrument trade

The oud consists of three major parts:

• Case of resonance: In drowning or maple, it is pyriforme and consists of a score (or about thirty) coasts (more it has some better it is), forming the largest case of resonance of all the lutes. The table is bored the great hearing (1, 3 or 5), covered with rosettes. A small rest similar to that of the Guitar, is stuck there, as well as a reinforcement at the point of play.
• Handle: in drowning or fruit-loft, the handle is not hooped and is very short, such that of the Violon, making it possible to play to them (quarter tones S and all the Micro-intervalle S)
• Cordier: in drowning or fruit-loft, the angle between the handle and the rope-maker is quasi perpendicular, and that has a great importance to support the pressure of the eleven or twelve cords (out of nylon and threaded metal), coupled, fixed by boxwood ankles.

Several types of ouds are used in the Arab music. Most widespread traditional Arabic, named is the oud oud sharki in the the Maghreb. The traditional oud with four cords names there as for him ud `arbî . There exists a specific oud for the solo (with the small case, out of almond, with a rosette, the thin sound), a specific oud for the overall music (with five rosettes, very sound). There exist also very decorated ouds, encrusted with mother-of-pearl or marquetry, but they are of less musical quality. Currently, the best violin makers are in Egypt with the Cairo.

Play and agreement

The oud is held in the same way that a Guitare, by paying attention to keep the vertical face so that it is not visible by the player; the weight must be about it supported by the thigh and the right-hand man so that the left hand is free to move on the handle. In the past, many players played sitted as a tailor by ground; maintaining the majority play sitted on a chair, often using a rest-foot under their right foot.

One uses a flexible length Plectre putting the wrist in a particular angle which gives a certain sound and a great agility: the risha (" plume" in Arabic) or mezrab (in Turkish) is made of a fine section of horn of cow, of a feather of trimmed and flattened eagle or more prosaically a Médiator out of plastic. It is held between the inch, the index and the auricular one, to grip the cords of the instrument according to two techniques: simple or double pinching. One recognizes a virtuoso of the oud to the balanced use which it makes of these two techniques. The finest plectres give a very delicate sound, full with nuances, heaviest give a very strong sound. The players often make use of a plectre whose one of the ends was not modified and of which the other was thinned by its care, thus allowing him to use the most suitable form for its needs.

Instrument soloist of the Arab Music par excellence, the oud is also used like low melody or rhythmic as a whole instrumental, unless it acompagne a singer. The same applies to the Turkish Musique and Iranian. But it is also in these regions, a very popular instrument, and prette with all the folk repertory. In the same way, in Greece or Arménie, it is rather confined with this festive music.

One does not play of agreement on the oud, contrary to the Luth or the Guitare. The music being modal, one never plays several notes at the same time, but in a very fast succession, except for the cord of Bourdon. Moreover, many oudists remove the two last cords, acutest, in order to facilitate the play. Mounir to bachir with the characteristic to put the cord engraves in bottom of the others.

It is possible to grant a oud in many ways different. Arab tunings:

• Ground Re Ground C F, it is the tuning more used.
• Re Ground Re Ground C
• C F Re Ground C
• Semi C Re Ground C
• F Re Ground C F

Tunings constantinois (Algeria):

• C Re Ground, agreement in two embraced fifths.

Tunings Turkish:

• Old traditional Turkish tuning: Semi Re Re Ground
• New traditional Turkish tuning: So Semi Fa# Re Ground
• Turkish/Armenian Tuning: Semi So Semi Re
• Turkish/Armenian Tuning: Do# Fa# So Semi Re
• Cümbüş Tuning: Re Semi Re Ground C

Among the many virtuosos, one can mention:

• Mohamed abd Arahim el Masloub (Egypt)
• Abdou el Hamouli (1845 - 1900) (Egypt)
• Mohamed Otman (1855 - 1900) (Egypt)
• Salama Hijazi (1852 - 1917 (Egypt)
• Sayyed Darwish (1892 - 1923) (Egypt)
• Zakaria Ahmed (1880 - 1961) (Egypt)
• Farid El Atrache (1910 - 1975) (Egypt)
• Chirif Mohyi Iddin Haydar (Turkey)
• Mounir Bachir (1930-1997) (Iraq)
• Jamil Bachir (1921 - 1977) (Iraq).
• Ali Sriti (1919 - 2007) (Tunisia)
• Hamza El DIN (1929 - 2006) (Egypt)
• Said Chraybi (1952 -) (Morocco)
• Lotfi Bouchnak (1952 -) (Tunisia)
• Cinuçen Tanrikorur (Turkey)
• Nasseer Shamma (Iraq)
• Ahmed El Bidaoui (- 1991) (Morocco)
• Khaled BenYahia (1963 -) (Tunisia)
• Aziz Daouni (1970 -) (Morocco)
• Azzouz El Houri (1966 -) (Morocco)
• Driss El Maloumi (1970 -) (Morocco)
• Khaled Al Jaramani (Syria)
• Marc Loopuyt (France)
• Thierry " Titi" Robin (France)

The oud made an conspicuous entry in the Jazz and the impromptu Musique with creators like Anouar Brahem, Rabih Abou-Khalil, Marcel Khalifé, Dhafer Youssef or Camel Zekri.

External bonds

• barbat.us (Behrooznia)
• oudmajid.com (Majid Nazempour)
• Iranian Oud (Majid Yahyanejad)

• dejkam.com (Oud)

• tebyan.net (Oud)
• barbat.us (Barbat)
• barbat.us (Barbat & Tombak)
• barbat.us (Barbat & Tombak & Daf)
• barbat.us (Barbat & Tombak & Daf)
• barbat.us (Barbat & Tombak & Daf)