tag:blogger.com,1999:blog-51864619662091479392024-02-20T17:31:33.957-08:00Arabic Music Sheets & NotesThis page is The Most important page in Arabic Music Sheets . You will have any Arab Egyptian Music Score you want FREE .
We have the ability of writing any music Scores what you need just contact us from Egypt and all over the world. (((( HERE You will find new sheets weekly )))) ...Thanks for your visiting ......elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comBlogger31125tag:blogger.com,1999:blog-5186461966209147939.post-42775272280451969822020-04-10T16:41:00.000-07:002020-04-10T16:43:26.043-07:00" Nassam Alayna EL Hawa " Music Sheets<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">" <span style="background-color: white; font-family: "lucida grande" , "tahoma" , "verdana" , "arial" , sans-serif; line-height: 14px;">Nassam Alayna EL Hawa</span></span><span style="font-size: large;"> </span>" Song Sheet</h2>
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<span style="font-size: small; font-weight: normal;"><span style="font-weight: bold;">Words & Composed : </span></span><span style="background-color: white; font-family: "arial" , sans-serif; font-size: small; white-space: nowrap;">Rahbani brothers</span></h3>
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<span class="" id="result_box" lang="en" style="font-size: small;"><span class="hps">Sing </span><span class="">:</span> Fairuz</span></h3>
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<span style="font-size: small;"> </span><span style="font-size: small;">It's scale " Kurd " in A = Phyrgian scale in F</span><span style="font-size: small;"><span class="st"><i> major</i></span></span><br />
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-36433539536155416182020-03-26T19:39:00.002-07:002020-04-05T20:23:48.738-07:00" Set El Habayeb " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;"><span style="font-family: "times new roman";">" </span><span style="font-family: "lucida grande" , "tahoma" , "verdana" , "arial" , sans-serif;">Set El Habayeb </span></span><span style="font-family: "times new roman";">" Song Sheet</span></h2>
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<span class="" id="result_box" lang="en" style="font-size: small;"><span class="">Words :</span> Hussien el sayed</span></h3>
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<span style="font-size: small;"></span><span class="" id="result_box" lang="en"><span class="hps" style="font-size: small;"> </span><span style="font-size: small;"> </span><span class="hps" style="font-size: small;">Composer :</span><span style="font-size: small;"> Mohamed abd el wahab</span></span></h3>
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<span class="" id="result_box" lang="en" style="font-size: small;"><span class="hps">Sing </span><span class="">:</span> Fayza ahmed</span></h3>
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<span style="font-size: small;"><br /></span><span style="font-size: small;"> </span><span style="font-size: small;">It's scale " Bayati</span> " in D = Phrygian Scale in Bb major but different in second note<br />
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-56167653874717717582015-08-11T19:06:00.002-07:002015-08-11T19:06:27.022-07:00" Li Beirut " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">" <span style="background-color: white; font-family: 'lucida grande', tahoma, verdana, arial, sans-serif; line-height: 14px;">Li Beirut</span></span> " Song Sheet</h2>
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<span class="" id="result_box" lang="en" style="font-size: small;"><span class="">Words :</span> J</span><span style="font-size: small;">oseph Harb</span></h3>
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<span style="font-size: small;"></span><span class="" id="result_box" lang="en"><span class="hps" style="font-size: small;"> </span><span style="font-size: small;"> </span><span class="hps" style="font-size: small;">Composer :</span><span style="font-size: small;"> Inspired of</span></span><span style="font-size: small;"> Aranjuez by Joaquín Rodrigo</span></h3>
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<span style="font-size: small;"><span style="font-weight: bold;">Arranged By : </span></span><span style="background-color: white; font-family: arial, sans-serif; font-weight: bold; white-space: nowrap;">Rahbani brothers</span></div>
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<span class="" id="result_box" lang="en" style="font-size: small;"><span class="hps">Sing </span><span class="">:</span> Fairuz</span></h3>
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<span style="font-size: small;"> </span><span style="font-size: small;">It's scale " Nahawand " in A = a</span><span style="font-size: small;"><span class="st"><i> minor</i></span></span><br />
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-14057394496971785352014-01-01T01:36:00.000-08:002020-02-13T18:33:14.681-08:00<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="color: red; font-size: x-large;">WELCOME TO ARABIC MUSIC SHEETS</span></h2>
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<span style="color: red;">sorry for late , you will find new version</span></h2>
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<span style="font-size: small;">This page is The Most important page in Arabic Music Sheets . You
will have any Arab Music Score you want FREE .
We have the ability of writing any music Scores what you need just
contact us . (((( HERE You will find new sheets every Thursday at 03:00 pm GMT )))) ...Thanks
for your visiting ......</span></h3>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-54417269349305570672013-07-07T12:02:00.003-07:002013-07-07T12:14:15.974-07:00" Ya Ein Moulayetin " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;">" <span style="font-family: arial, sans-serif; text-align: start; white-space: nowrap;">Ya Ein Moulayetin </span>" Song Sheet</span></h2>
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<span style="font-size: large;"><span class="" id="result_box" lang="en"><span class="hps">Sing </span><span class="">:</span> </span><span style="font-family: arial, sans-serif; text-align: start; white-space: nowrap;">Samira Tawfik</span></span></h3>
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<span style="font-size: large;"> It's scale " Bayyaty " in Re = <span class="st"><i>Phrygian scale in Sib But different in 2nd note ( quarter )</i></span></span><br />
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-71558749132514669512013-04-29T13:03:00.003-07:002013-06-21T04:05:53.927-07:00" Howwa Sahih " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="" style="clear: both; text-align: center;">
<h2>
" Howwa Sahih " Song Sheet</h2>
</div>
<div style="text-align: center;">
<h3>
<span class="" id="result_box" lang="en" style="font-size: small;"><span class="">Words :</span> </span><span class="st"><i>Beram El</i>-<i>Tonsy</i></span></h3>
</div>
<div style="text-align: center;">
<h3>
<span style="font-size: small;">
</span><span style="font-size: small;">
<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer :</span> </span><span class="" id="result_box" lang="en"> Zakarya Ahmed</span></span></h3>
</div>
<div style="text-align: center;">
<h3>
<span class="" id="result_box" lang="en" style="font-size: small;"><span class="hps">Sing </span><span class="">:</span> <span class="hps">Umm Kulthum</span> </span></h3>
<h3>
<span class="" id="result_box" lang="en" style="font-size: small;"> </span></h3>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdE1yZ34AOgFcq_aYnhEQIgY3c6gAZIHV9qYRzsR9bdTg4txnyDyhFYfcGpzvJauJPuBrTUtpa8iYNk49gaPZn9pxFXK58lz1_4nQjpmjcP8gF3tsnG-irkxNszHDc9VofBUW1sf1TmOor/s1600/um+kulthom.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Umm Kulthum" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdE1yZ34AOgFcq_aYnhEQIgY3c6gAZIHV9qYRzsR9bdTg4txnyDyhFYfcGpzvJauJPuBrTUtpa8iYNk49gaPZn9pxFXK58lz1_4nQjpmjcP8gF3tsnG-irkxNszHDc9VofBUW1sf1TmOor/s200/um+kulthom.jpg" title="Umm Kulthum" width="197" /></a></div>
<div style="text-align: center;">
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"> </span><span style="font-size: small;">It's scale " Saba " in D = </span><span style="font-size: small;"><span class="st"><i>D Minor .. 2nd note is quarter and 5th flat </i></span></span><br />
<a name='more'></a></div>
<div style="text-align: center;">
<div>
( http://en.wikipedia.org/wiki/Umm_Kulthum )</div>
<div>
<br /></div>
<h3 style="text-align: left;">
<span class="mw-headline" id="Golden_age">Golden age</span></h3>
<div style="text-align: left;">
Umm Kulthum's musical directions in the 1940s and early 1950s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early 1940s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el-Tunsi cast in styles considered to be indigenously Egyptian. This represented a dramatic departure from the modernist romantic songs of the 1930s, mainly led by Mohammad El-Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early 1940s. Their last stage song collaboration in 1941 was "Raq el Habib" ("The Lover's Heart Softens"), one of her most popular, intricate, and high-caliber songs.</div>
<div style="text-align: left;">
The reason for the separation is not clear. It is speculated that this was due in part to the popular failure of the movie <i>Aida</i>, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera.</div>
<div style="text-align: left;">
Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Lebanon and was the only serious competitor for Umm Kulthum before Asmahan's death in a car accident in 1944.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad El-Sombati. While Sombati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience. The result of collaborations with Rami/Sombati and al-Tunisi/Ahmad was a populist and popular repertoire that had lasting appeal for the Egyptian audience.</div>
<div class="thumb tright" style="text-align: left;">
<div class="thumbinner" style="width: 222px;">
<br />
<div class="thumbcaption">
<div class="magnify">
<a class="internal" href="http://en.wikipedia.org/wiki/File:Kulthum.jpg" title="Enlarge"><img alt="" height="11" src="http://bits.wikimedia.org/static-1.22wmf1/skins/common/images/magnify-clip.png" width="15" /></a></div>
Umm Kulthum singing around 1960</div>
</div>
</div>
<div style="text-align: left;">
In 1946, Umm Kulthum defied all odds by presenting a religious poem in classical Arabic during one of her monthly concerts, "Salou Qalbi" ("Ask My Heart"), written by Ahmad Shawqi and composed by Sombati. The success was immediate. It reconnected Umm Kulthum with her early singing years, defined Sombati's unique style in composing and established him as the best composer of music for poems in classical Arabic, toppling Mohammed Abdel Wahab. Similar poems written by Shawqi were subsequently composed by Sombati and sung by Umm Kulthum, including "Woulida el Houda" ("The Prophet is Born"; 1949), in which she raised eyebrows of royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists".</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
At the peak of her career, in 1950, Umm Kulthum sang Sombati's composition of excerpts of what Ahmad Rami considered the accomplishment of his career: the translation into classical Arabic of Omar Khayyám's quartets (<i>Rubayyiat el Khayyam</i>). The song included quartets that dealt with both epicurism and redemption. Ibrahim Nagi's poem "Al-Atlal" ("The Ruins"), composed by Sonbati and premiered in 1966, is considered by many as Umm Kulthum's best song. While this is debatable, as Umm Kulthum's vocal abilities had regressed considerably by then, the song can be viewed as the last example of genuine Arabic music at a time when even Umm Kulthum had started to compromise by singing Western-influenced pieces composed by her old rival Mohammed Abdel Wahab.</div>
<div style="text-align: left;">
The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience and Umm Kulthum's own mood for creativity.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
An improvisatory technique, which was typical of old classical Arabic singing, and which she executed for as long as she could have (both her regressing vocal abilities with age and the increased Westernization of Arabic music became an impediment to this art), was to repeat a single line or stance over and over, subtly altering the emotive emphasis and intensity and exploring one or various musical modal scales (<i>maqām</i>) each time to bring her audiences into a euphoric and ecstatic state known in Arabic as "tarab" طرب. For example, the available live performances (about 30) of <i>Ya Zalemni</i>, one of her most popular songs, varied in length from 45 to 90 minutes, depending on both her creative mood for improvisations and the audience request for more repetitions, illustrating the dynamic relationship between the singer and the audience as they fed off each other's emotional energy.</div>
<div style="text-align: left;">
The spontaneous creativity of Umm Kulthum as a singer is most impressive when, upon listening to these many different renditions of the same song over a time span of five years (1954–1959), the listener is offered a totally unique and different experience. This intense, highly personalized relationship was undoubtedly one of the reasons for Umm Kulthum's tremendous success as an artist. Worth noting though that the length of a performance did not necessarily reflect either its quality or the improvisatory creativity of Umm Kulthum. Some of her best performances were 25–45 minutes in duration, such as the three available renditions, including the commercial version of <i>El Awwila Fi'l Gharam</i> ("First in Love"), and <i>Ana Fi Intizarak</i> ("I am waiting for you"), (commercial and 3-3-1955 performance). On the other hand, her songs as of the mid-1960s would extend sometimes over a duration of two hours (premiere of <i>Enta Omri</i>, <i>Enta el Hobb</i>, etc.); however, the repetitions, mostly executed upon the request of the audience, were often devoid of creative musical improvisations and limited to vocal colorful variations on a syllable, letter or word.</div>
<div style="text-align: left;">
Around 1965, Umm Kulthum started cooperating with composer Mohammed Abdel Wahab. Her first song composed by Abdel Wahab, "Enta Omri" (You are my Life"), was considered the "summit meeting". Several beautiful songs composed by Abdel Wahab followed, such as "Amal Hayati" ("The Hope of my Life"), "Fakkarouni" ("They reminded Me"), and others.</div>
<div style="text-align: left;">
Umm Kulthum also sang for composers Mohammad El Mougi and Sayyed Mikkawi.</div>
</div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-19770504104566632442013-04-19T13:35:00.000-07:002013-06-21T04:06:11.489-07:00" Lessa Faker " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
<div class="" style="clear: both; text-align: center;">
<h2>
" Lessa Faker " Song Sheet</h2>
</div>
<div style="text-align: center;">
<h3>
<span class="" id="result_box" lang="en" style="font-size: small;"><span class="">Words :</span> </span><span class="st"><i>Abd-el Fattah Mostafa </i><i></i></span></h3>
</div>
<div style="text-align: center;">
<h3>
<span style="font-size: small;">
</span><span style="font-size: small;">
<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer :</span> </span><span class="" id="result_box" lang="en"> Mohamed Al-Qasabgi</span></span></h3>
</div>
<div style="text-align: center;">
<h3>
<span class="" id="result_box" lang="en" style="font-size: small;"><span class="hps">Sing </span><span class="">:</span> <span class="hps">Umm Kulthum</span> </span></h3>
<h3>
<span class="" id="result_box" lang="en" style="font-size: small;"> </span></h3>
</div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdE1yZ34AOgFcq_aYnhEQIgY3c6gAZIHV9qYRzsR9bdTg4txnyDyhFYfcGpzvJauJPuBrTUtpa8iYNk49gaPZn9pxFXK58lz1_4nQjpmjcP8gF3tsnG-irkxNszHDc9VofBUW1sf1TmOor/s1600/um+kulthom.jpg" style="margin-left: 1em; margin-right: 1em;"><img alt="Umm Kulthum" border="0" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdE1yZ34AOgFcq_aYnhEQIgY3c6gAZIHV9qYRzsR9bdTg4txnyDyhFYfcGpzvJauJPuBrTUtpa8iYNk49gaPZn9pxFXK58lz1_4nQjpmjcP8gF3tsnG-irkxNszHDc9VofBUW1sf1TmOor/s200/um+kulthom.jpg" title="Umm Kulthum" width="197" /></a></div>
<div style="text-align: center;">
<span style="font-size: small;"><br /></span>
<span style="font-size: small;"> </span><span style="font-size: small;">It's scale " Ajam " in Do = <i>C Major</i></span><br />
<a name='more'></a></div>
<div style="text-align: center;">
<div>
( http://en.wikipedia.org/wiki/Umm_Kulthum )</div>
<div>
<br /></div>
<h3 style="text-align: left;">
<span class="mw-headline" id="Golden_age">Golden age</span></h3>
<div style="text-align: left;">
Umm Kulthum's musical directions in the 1940s and early 1950s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early 1940s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el-Tunsi cast in styles considered to be indigenously Egyptian. This represented a dramatic departure from the modernist romantic songs of the 1930s, mainly led by Mohammad El-Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early 1940s. Their last stage song collaboration in 1941 was "Raq el Habib" ("The Lover's Heart Softens"), one of her most popular, intricate, and high-caliber songs.</div>
<div style="text-align: left;">
The reason for the separation is not clear. It is speculated that this was due in part to the popular failure of the movie <i>Aida</i>, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera.</div>
<div style="text-align: left;">
Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Lebanon and was the only serious competitor for Umm Kulthum before Asmahan's death in a car accident in 1944.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad El-Sombati. While Sombati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience. The result of collaborations with Rami/Sombati and al-Tunisi/Ahmad was a populist and popular repertoire that had lasting appeal for the Egyptian audience.</div>
<div class="thumb tright" style="text-align: left;">
<div class="thumbinner" style="width: 222px;">
<br />
<div class="thumbcaption">
<div class="magnify">
<a class="internal" href="http://en.wikipedia.org/wiki/File:Kulthum.jpg" title="Enlarge"><img alt="" height="11" src="http://bits.wikimedia.org/static-1.22wmf1/skins/common/images/magnify-clip.png" width="15" /></a></div>
Umm Kulthum singing around 1960</div>
</div>
</div>
<div style="text-align: left;">
In 1946, Umm Kulthum defied all odds by presenting a religious poem in classical Arabic during one of her monthly concerts, "Salou Qalbi" ("Ask My Heart"), written by Ahmad Shawqi and composed by Sombati. The success was immediate. It reconnected Umm Kulthum with her early singing years, defined Sombati's unique style in composing and established him as the best composer of music for poems in classical Arabic, toppling Mohammed Abdel Wahab. Similar poems written by Shawqi were subsequently composed by Sombati and sung by Umm Kulthum, including "Woulida el Houda" ("The Prophet is Born"; 1949), in which she raised eyebrows of royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists".</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
At the peak of her career, in 1950, Umm Kulthum sang Sombati's composition of excerpts of what Ahmad Rami considered the accomplishment of his career: the translation into classical Arabic of Omar Khayyám's quartets (<i>Rubayyiat el Khayyam</i>). The song included quartets that dealt with both epicurism and redemption. Ibrahim Nagi's poem "Al-Atlal" ("The Ruins"), composed by Sonbati and premiered in 1966, is considered by many as Umm Kulthum's best song. While this is debatable, as Umm Kulthum's vocal abilities had regressed considerably by then, the song can be viewed as the last example of genuine Arabic music at a time when even Umm Kulthum had started to compromise by singing Western-influenced pieces composed by her old rival Mohammed Abdel Wahab.</div>
<div style="text-align: left;">
The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience and Umm Kulthum's own mood for creativity.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
An improvisatory technique, which was typical of old classical Arabic singing, and which she executed for as long as she could have (both her regressing vocal abilities with age and the increased Westernization of Arabic music became an impediment to this art), was to repeat a single line or stance over and over, subtly altering the emotive emphasis and intensity and exploring one or various musical modal scales (<i>maqām</i>) each time to bring her audiences into a euphoric and ecstatic state known in Arabic as "tarab" طرب. For example, the available live performances (about 30) of <i>Ya Zalemni</i>, one of her most popular songs, varied in length from 45 to 90 minutes, depending on both her creative mood for improvisations and the audience request for more repetitions, illustrating the dynamic relationship between the singer and the audience as they fed off each other's emotional energy.</div>
<div style="text-align: left;">
The spontaneous creativity of Umm Kulthum as a singer is most impressive when, upon listening to these many different renditions of the same song over a time span of five years (1954–1959), the listener is offered a totally unique and different experience. This intense, highly personalized relationship was undoubtedly one of the reasons for Umm Kulthum's tremendous success as an artist. Worth noting though that the length of a performance did not necessarily reflect either its quality or the improvisatory creativity of Umm Kulthum. Some of her best performances were 25–45 minutes in duration, such as the three available renditions, including the commercial version of <i>El Awwila Fi'l Gharam</i> ("First in Love"), and <i>Ana Fi Intizarak</i> ("I am waiting for you"), (commercial and 3-3-1955 performance). On the other hand, her songs as of the mid-1960s would extend sometimes over a duration of two hours (premiere of <i>Enta Omri</i>, <i>Enta el Hobb</i>, etc.); however, the repetitions, mostly executed upon the request of the audience, were often devoid of creative musical improvisations and limited to vocal colorful variations on a syllable, letter or word.</div>
<div style="text-align: left;">
Around 1965, Umm Kulthum started cooperating with composer Mohammed Abdel Wahab. Her first song composed by Abdel Wahab, "Enta Omri" (You are my Life"), was considered the "summit meeting". Several beautiful songs composed by Abdel Wahab followed, such as "Amal Hayati" ("The Hope of my Life"), "Fakkarouni" ("They reminded Me"), and others.</div>
<div style="text-align: left;">
Umm Kulthum also sang for composers Mohammad El Mougi and Sayyed Mikkawi.</div>
</div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-21686640219030153472013-04-18T13:52:00.001-07:002014-02-05T16:34:30.067-08:00" Emta Hataraf " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Emta Hataraf " Song Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="">Words :</span> </span><span class="" id="result_box" lang="en"><span class="hps alt-edited">Mamoun El Shennawy</span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps"> </span></span><span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span> Mohamed Al-Qasabgi</h4>
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<span class="" id="result_box" lang="en"><span class="hps">singer : Asmahan </span></span></h4>
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<span style="font-size: x-small;"> </span><span style="font-size: x-small;">It's scale " Nahawand " in Do = </span><span style="font-size: x-small;"><span class="st"><i>c mino</i></span></span></div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-39132357593479206452013-04-15T01:30:00.000-07:002013-06-21T04:06:33.354-07:00" Efrah Ya Albi " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Efrah Ya Albi " Song Sheet</h2>
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<span class="" id="result_box" lang="en" style="font-size: small;"><span class="">Words :</span> </span><span class="" id="result_box" lang="en" style="font-size: small;"><span class="hps alt-edited">Ahmad Ramy</span></span></h3>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer :</span> </span><span class="" id="result_box" lang="en"> Riyad-El-Sonbaty, </span></span></h3>
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<span class="" id="result_box" lang="en" style="font-size: small;"><span class="hps">Sing </span><span class="">:</span> <span class="hps">Umm Kulthum</span> </span></h3>
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<span class="" id="result_box" lang="en"><span class="hps">Production</span>: </span><span class="" id="result_box" lang="en"><span class="hps">1937</span></span></h4>
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<span style="font-size: small;"> </span><span style="font-size: small;">It's scale " Nahawand " in Do = </span><span style="font-size: small;"><span class="st"><i>c minor </i></span></span><br />
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( http://en.wikipedia.org/wiki/Umm_Kulthum )</div>
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<span class="mw-headline" id="Golden_age">Golden age</span></h3>
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Umm Kulthum's musical directions in the 1940s and early 1950s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early 1940s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el-Tunsi cast in styles considered to be indigenously Egyptian. This represented a dramatic departure from the modernist romantic songs of the 1930s, mainly led by Mohammad El-Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early 1940s. Their last stage song collaboration in 1941 was "Raq el Habib" ("The Lover's Heart Softens"), one of her most popular, intricate, and high-caliber songs.</div>
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The reason for the separation is not clear. It is speculated that this was due in part to the popular failure of the movie <i>Aida</i>, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera.</div>
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Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Lebanon and was the only serious competitor for Umm Kulthum before Asmahan's death in a car accident in 1944.</div>
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Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad El-Sombati. While Sombati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience. The result of collaborations with Rami/Sombati and al-Tunisi/Ahmad was a populist and popular repertoire that had lasting appeal for the Egyptian audience.</div>
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Umm Kulthum singing around 1960</div>
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In 1946, Umm Kulthum defied all odds by presenting a religious poem in classical Arabic during one of her monthly concerts, "Salou Qalbi" ("Ask My Heart"), written by Ahmad Shawqi and composed by Sombati. The success was immediate. It reconnected Umm Kulthum with her early singing years, defined Sombati's unique style in composing and established him as the best composer of music for poems in classical Arabic, toppling Mohammed Abdel Wahab. Similar poems written by Shawqi were subsequently composed by Sombati and sung by Umm Kulthum, including "Woulida el Houda" ("The Prophet is Born"; 1949), in which she raised eyebrows of royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists".</div>
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At the peak of her career, in 1950, Umm Kulthum sang Sombati's composition of excerpts of what Ahmad Rami considered the accomplishment of his career: the translation into classical Arabic of Omar Khayyám's quartets (<i>Rubayyiat el Khayyam</i>). The song included quartets that dealt with both epicurism and redemption. Ibrahim Nagi's poem "Al-Atlal" ("The Ruins"), composed by Sonbati and premiered in 1966, is considered by many as Umm Kulthum's best song. While this is debatable, as Umm Kulthum's vocal abilities had regressed considerably by then, the song can be viewed as the last example of genuine Arabic music at a time when even Umm Kulthum had started to compromise by singing Western-influenced pieces composed by her old rival Mohammed Abdel Wahab.</div>
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The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience and Umm Kulthum's own mood for creativity.</div>
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An improvisatory technique, which was typical of old classical Arabic singing, and which she executed for as long as she could have (both her regressing vocal abilities with age and the increased Westernization of Arabic music became an impediment to this art), was to repeat a single line or stance over and over, subtly altering the emotive emphasis and intensity and exploring one or various musical modal scales (<i>maqām</i>) each time to bring her audiences into a euphoric and ecstatic state known in Arabic as "tarab" طرب. For example, the available live performances (about 30) of <i>Ya Zalemni</i>, one of her most popular songs, varied in length from 45 to 90 minutes, depending on both her creative mood for improvisations and the audience request for more repetitions, illustrating the dynamic relationship between the singer and the audience as they fed off each other's emotional energy.</div>
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The spontaneous creativity of Umm Kulthum as a singer is most impressive when, upon listening to these many different renditions of the same song over a time span of five years (1954–1959), the listener is offered a totally unique and different experience. This intense, highly personalized relationship was undoubtedly one of the reasons for Umm Kulthum's tremendous success as an artist. Worth noting though that the length of a performance did not necessarily reflect either its quality or the improvisatory creativity of Umm Kulthum. Some of her best performances were 25–45 minutes in duration, such as the three available renditions, including the commercial version of <i>El Awwila Fi'l Gharam</i> ("First in Love"), and <i>Ana Fi Intizarak</i> ("I am waiting for you"), (commercial and 3-3-1955 performance). On the other hand, her songs as of the mid-1960s would extend sometimes over a duration of two hours (premiere of <i>Enta Omri</i>, <i>Enta el Hobb</i>, etc.); however, the repetitions, mostly executed upon the request of the audience, were often devoid of creative musical improvisations and limited to vocal colorful variations on a syllable, letter or word.</div>
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Around 1965, Umm Kulthum started cooperating with composer Mohammed Abdel Wahab. Her first song composed by Abdel Wahab, "Enta Omri" (You are my Life"), was considered the "summit meeting". Several beautiful songs composed by Abdel Wahab followed, such as "Amal Hayati" ("The Hope of my Life"), "Fakkarouni" ("They reminded Me"), and others.</div>
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Umm Kulthum also sang for composers Mohammad El Mougi and Sayyed Mikkawi.</div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-34735227091464902502013-03-24T06:40:00.000-07:002013-07-08T07:43:48.130-07:00 " Bent El Balad " Music Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Bent El Balad " Music Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en"> Mohamed Abd El-wahab</span></h4>
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<span style="font-size: x-small;"><br /></span>
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<span style="font-size: x-small;"> It's scale " Bayyaty " in <span style="font-size: x-small;">Re</span> =</span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"> </span></span></span></span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="st"><i>Phrygian scale <span style="font-size: x-small;">in <span style="font-size: x-small;">Sib <span style="font-size: x-small;"><span style="font-size: x-small;">But </span>different i<span style="font-size: x-small;">n 2nd note ( quarter <span style="font-size: x-small;">)</span></span> </span></span></span></i></span></span></span></span></span></div>
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(( http://en.wikipedia.org/wiki/Mohammed_Abdel_Wahab ))</div>
<div style="text-align: center;">
<h2>
<span class="mw-headline" id="Biography">Biography</span></h2>
Born in
Bab El-Shaariyah area of Cairo, Egypt (where his statue stands), Abdel
Wahab played oud before the Prince of Poets, Ahmed Shawqi. Abdel Wahab
acted in several movies. Mohammed Abdel Wahab was a very close friend to
singer Abdel Halim Hafez.<br />
<h2>
<span class="mw-headline" id="Contribution_to_Arab_music">Contribution to Arab music</span></h2>
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<img alt="" class="thumbimage" height="273" src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Mohammed_Abel_Wahab_statue-_Bab_El-Sheariyia0.JPG/200px-Mohammed_Abel_Wahab_statue-_Bab_El-Sheariyia0.JPG" width="200" /></div>
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Despite
the fact that Abdel Wahab composed many songs and musical
pieces of classical Arab music, he was always criticized for his
orientation to Western music. In fact, he introduced Western rhythms to
Arab songs in a way appropriate to the known forms of Arab songs. For
example, in 1941, he introduced a waltz rhythm in his song "Al Gondol,"
and, in 1957, he introduced a rock and roll rhythm in Abdel Halim
Hafez's song "Ya Albi Ya Khali".<br />
Abdel Wahab played oud before the
prominent Arab poet, Ahmed Shawqi, and acted in several movies. He
composed ten songs for Umm Kulthum (أم كلثوم). He was the first Egyptian
singer to move from silent-era acting to singing.<sup class="reference" id="cite_ref-3">[3]</sup>
He was interviewed in one of the most famous program named "ALNAHR
ALKHALED" the immortal river. This show was a great success briefing his
great biography from him personally.<br />
<h2>
<span class="mw-headline" id="Legacy">Legacy</span></h2>
His personal
belongings were put in his museum in the Music institute
in Cairo. A statue was erected in Bab El-Sheriya square (where he grew
up) to keep his memory. As a memorial and honor for him, Omar Khayrat,
an Egyptian composer, rearranged some of Abdel Wahab's music and
released them on an album called <i>Wahabiat</i>. He died of heart failure.</div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-15834811225296166752013-01-28T08:07:00.000-08:002013-01-28T09:08:29.960-08:00" Sama3y Kurd " Music Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" <i>Sama3y Kurd </i>" Music Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en"> Abdo Dagher </span> </h4>
<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBD04OBpPE17xktLq4ruBh2oIY8rEmL8nbDNj1hv9I805n-24id0hWR3ZBFXS7lh03u8HCsQJosq2pt680-Tb7vlyNjf97P9r3wd7M6pPg6Cz3Ty4WxkC1LOllZODf9g6VB4GhNRrEcmlx/s1600/abdo+dagher.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img alt="( Abdo Dagher )" border="0" height="246" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBD04OBpPE17xktLq4ruBh2oIY8rEmL8nbDNj1hv9I805n-24id0hWR3ZBFXS7lh03u8HCsQJosq2pt680-Tb7vlyNjf97P9r3wd7M6pPg6Cz3Ty4WxkC1LOllZODf9g6VB4GhNRrEcmlx/s320/abdo+dagher.jpg" title="( Abdo Dagher )" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">( Abdo Dagher )</td></tr>
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<span style="font-size: small;"> It's scale " Kurd " in Re =<i> </i><span class="st"><i>Phrygian scale in Sib Major</i></span></span></div>
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<span style="font-size: large;"><span class="st"><i></i></span></span><br />
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-46105351646231110912012-12-22T01:54:00.004-08:002013-01-02T03:06:04.235-08:00" Heday-yet El Eid " Music Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" <i>Heday-yet El Eid </i>" Music Sheet</h2>
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<span class="" id="result_box" lang="en"><span class=""></span></span><span class="" id="result_box" lang="en"><span class="hps alt-edited"></span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en"> <span class="hps alt-edited">Mohamed Abd-el-Wahab</span><span class="hps"></span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps"></span></span><i></i></h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3mLg0-MO-s5e5MRzq9xP5THPPfVji2G3bKjKjdS85QSDR2bOleG3hImZDQFQCEVKzj1bs1xJI9fhBFUbxkwb-uJYOCdff-3nCclZS5GjcyqkUyrozK_QJKW0HKAFT9ZlD0N1lFB5U4OSz/s1600/abdelwahab10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Mohamed Abdel Wahab" border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3mLg0-MO-s5e5MRzq9xP5THPPfVji2G3bKjKjdS85QSDR2bOleG3hImZDQFQCEVKzj1bs1xJI9fhBFUbxkwb-uJYOCdff-3nCclZS5GjcyqkUyrozK_QJKW0HKAFT9ZlD0N1lFB5U4OSz/s1600/abdelwahab10.jpg" title="Mohamed Abdel Wahab" /></a></div>
<span style="font-size: small;"><br /></span></div>
<span style="font-size: x-small;"><br /></span>
<br />
<div style="text-align: center;">
<span style="font-size: small;"> It's scale " Bayyaty " in Re =</span><span style="font-size: small;"> </span><span style="font-size: small;"><span class="st"><i>Phrygian scale in Sib But different in 2nd note ( quarter ) </i></span></span></div>
<div style="text-align: center;">
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<a name='more'></a><div style="text-align: center;">
(( http://en.wikipedia.org/wiki/Mohammed_Abdel_Wahab ))</div>
<div style="text-align: center;">
<h2>
<span class="mw-headline" id="Biography">Biography</span></h2>
Born in Bab El-Shaariyah area of Cairo, Egypt (where his statue stands), Abdel Wahab played oud before the Prince of Poets, Ahmed Shawqi. Abdel Wahab acted in several movies. Mohammed Abdel Wahab was a very close friend to singer Abdel Halim Hafez.<br />
<h2>
<span class="mw-headline" id="Contribution_to_Arab_music">Contribution to Arab music</span></h2>
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<img alt="" class="thumbimage" height="273" src="http://upload.wikimedia.org/wikipedia/commons/thumb/7/72/Mohammed_Abel_Wahab_statue-_Bab_El-Sheariyia0.JPG/200px-Mohammed_Abel_Wahab_statue-_Bab_El-Sheariyia0.JPG" width="200" /></div>
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Despite the fact that Abdel Wahab composed many songs and musical
pieces of classical Arab music, he was always criticized for his
orientation to Western music. In fact, he introduced Western rhythms to
Arab songs in a way appropriate to the known forms of Arab songs. For
example, in 1941, he introduced a waltz rhythm in his song "Al Gondol," and, in 1957, he introduced a rock and roll rhythm in Abdel Halim Hafez's song "Ya Albi Ya Khali".<br />
Abdel Wahab played oud before the prominent Arab poet, Ahmed Shawqi, and acted in several movies. He composed ten songs for Umm Kulthum (أم كلثوم). He was the first Egyptian singer to move from silent-era acting to singing.<sup class="reference" id="cite_ref-3"><span>[</span>3<span>]</span></sup>
He was interviewed in one of the most famous program named "ALNAHR
ALKHALED" the immortal river. This show was a great success briefing his
great biography from him personally.<br />
<h2>
<span class="mw-headline" id="Legacy">Legacy</span></h2>
His personal belongings were put in his museum in the Music institute
in Cairo. A statue was erected in Bab El-Sheriya square (where he grew
up) to keep his memory. As a memorial and honor for him, Omar Khayrat, an Egyptian composer, rearranged some of Abdel Wahab's music and released them on an album called <i>Wahabiat</i>. He died of heart failure.</div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-73462649560414572462012-12-17T14:09:00.001-08:002012-12-17T14:18:42.830-08:00" Zekrayaty " Music Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Zekrayaty " Music Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en"> </span>Mohamed Al-Qasabgi</h4>
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<span style="font-size: small;"> </span><span style="font-size: small;">It's scale " Nahawand " in Do = </span><span style="font-size: small;"><span class="st"><i>c minor </i></span></span><br />
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-45860175297097828422012-12-14T12:26:00.001-08:002013-06-21T04:06:50.094-07:00" Amal Hayati " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Amal Hayati " Song Sheet</h2>
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<span class="" id="result_box" lang="en" style="font-size: large;"><span class="">Words :</span> </span><span class="" id="result_box" lang="en" style="font-size: large;"><span class="hps alt-edited">Ahmad Shafiq Kamel</span></span></h3>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer :</span> </span><span class="" id="result_box" lang="en"> <span class="hps alt-edited"><i>Mohamed Abd El Wa</i></span></span><i>hab</i></span></h3>
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<span class="" id="result_box" lang="en" style="font-size: large;"><span class="hps">Sing </span><span class="">:</span> <span class="hps">Umm Kulthum</span> </span></h3>
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<span style="font-size: small;"> It's scale " Kurd " in La =<i> </i><span class="st"><i>Phrygian scale in F Major</i></span></span><br />
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<span class="mw-headline" id="Golden_age">Golden age</span></h3>
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Umm Kulthum's musical directions in the 1940s and early 1950s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early 1940s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el-Tunsi cast in styles considered to be indigenously Egyptian. This represented a dramatic departure from the modernist romantic songs of the 1930s, mainly led by Mohammad El-Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early 1940s. Their last stage song collaboration in 1941 was "Raq el Habib" ("The Lover's Heart Softens"), one of her most popular, intricate, and high-caliber songs.</div>
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The reason for the separation is not clear. It is speculated that this was due in part to the popular failure of the movie <i>Aida</i>, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera.</div>
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Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Lebanon and was the only serious competitor for Umm Kulthum before Asmahan's death in a car accident in 1944.</div>
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Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad El-Sombati. While Sombati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience. The result of collaborations with Rami/Sombati and al-Tunisi/Ahmad was a populist and popular repertoire that had lasting appeal for the Egyptian audience.</div>
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Umm Kulthum singing around 1960</div>
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In 1946, Umm Kulthum defied all odds by presenting a religious poem in classical Arabic during one of her monthly concerts, "Salou Qalbi" ("Ask My Heart"), written by Ahmad Shawqi and composed by Sombati. The success was immediate. It reconnected Umm Kulthum with her early singing years, defined Sombati's unique style in composing and established him as the best composer of music for poems in classical Arabic, toppling Mohammed Abdel Wahab. Similar poems written by Shawqi were subsequently composed by Sombati and sung by Umm Kulthum, including "Woulida el Houda" ("The Prophet is Born"; 1949), in which she raised eyebrows of royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists".</div>
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At the peak of her career, in 1950, Umm Kulthum sang Sombati's composition of excerpts of what Ahmad Rami considered the accomplishment of his career: the translation into classical Arabic of Omar Khayyám's quartets (<i>Rubayyiat el Khayyam</i>). The song included quartets that dealt with both epicurism and redemption. Ibrahim Nagi's poem "Al-Atlal" ("The Ruins"), composed by Sonbati and premiered in 1966, is considered by many as Umm Kulthum's best song. While this is debatable, as Umm Kulthum's vocal abilities had regressed considerably by then, the song can be viewed as the last example of genuine Arabic music at a time when even Umm Kulthum had started to compromise by singing Western-influenced pieces composed by her old rival Mohammed Abdel Wahab.</div>
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The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience and Umm Kulthum's own mood for creativity.</div>
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An improvisatory technique, which was typical of old classical Arabic singing, and which she executed for as long as she could have (both her regressing vocal abilities with age and the increased Westernization of Arabic music became an impediment to this art), was to repeat a single line or stance over and over, subtly altering the emotive emphasis and intensity and exploring one or various musical modal scales (<i>maqām</i>) each time to bring her audiences into a euphoric and ecstatic state known in Arabic as "tarab" طرب. For example, the available live performances (about 30) of <i>Ya Zalemni</i>, one of her most popular songs, varied in length from 45 to 90 minutes, depending on both her creative mood for improvisations and the audience request for more repetitions, illustrating the dynamic relationship between the singer and the audience as they fed off each other's emotional energy.</div>
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The spontaneous creativity of Umm Kulthum as a singer is most impressive when, upon listening to these many different renditions of the same song over a time span of five years (1954–1959), the listener is offered a totally unique and different experience. This intense, highly personalized relationship was undoubtedly one of the reasons for Umm Kulthum's tremendous success as an artist. Worth noting though that the length of a performance did not necessarily reflect either its quality or the improvisatory creativity of Umm Kulthum. Some of her best performances were 25–45 minutes in duration, such as the three available renditions, including the commercial version of <i>El Awwila Fi'l Gharam</i> ("First in Love"), and <i>Ana Fi Intizarak</i> ("I am waiting for you"), (commercial and 3-3-1955 performance). On the other hand, her songs as of the mid-1960s would extend sometimes over a duration of two hours (premiere of <i>Enta Omri</i>, <i>Enta el Hobb</i>, etc.); however, the repetitions, mostly executed upon the request of the audience, were often devoid of creative musical improvisations and limited to vocal colorful variations on a syllable, letter or word.</div>
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Around 1965, Umm Kulthum started cooperating with composer Mohammed Abdel Wahab. Her first song composed by Abdel Wahab, "Enta Omri" (You are my Life"), was considered the "summit meeting". Several beautiful songs composed by Abdel Wahab followed, such as "Amal Hayati" ("The Hope of my Life"), "Fakkarouni" ("They reminded Me"), and others.</div>
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Umm Kulthum also sang for composers Mohammad El Mougi and Sayyed Mikkawi.</div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-88745890258185782632012-12-07T15:29:00.000-08:002012-12-23T00:46:12.964-08:00" Hammal El Asyya " Song sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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<h2>
<b>" Hammal El Asyya " Song sheet</b></h2>
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<span class="" id="result_box" lang="en"><span class="">Words :</span> </span><span class="" id="result_box" lang="en"><span class="hps">Hussein</span> <span class="hps alt-edited">El Sayed</span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en">Mohamed Abdel Wahab<span class="hps"></span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps">Sing</span><span class="">er :</span> </span><i><i>Fayza Ahmed</i></i></b></span></h3>
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<span style="font-size: small;"><b><i><i> </i></i></b></span></h3>
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<span style="font-size: x-small;"> It's scale " Hozam " in E ( Quarter ) =</span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"> </span></span></span></span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="st"><i>Phrygian scale 4th flat <span style="font-size: x-small;">in <span style="font-size: x-small;">Mi <span style="font-size: x-small;"><span style="font-size: x-small;">But </span>different i<span style="font-size: x-small;">n 1st note ( quarter <span style="font-size: x-small;">)</span></span> </span></span></span></i></span></span></span></span></span></div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-50595531881660247782012-12-02T14:27:00.000-08:002012-12-02T14:27:09.140-08:00" Awel Marra " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Awel Marra " Song Sheet</h2>
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<span class="" id="result_box" lang="en" style="font-size: large;"><span class="">Words :</span> </span><span style="font-size: large;"><span class="short_text" id="result_box" lang="en"><span class="hps">Ismail</span> <span class="hps">Alhabrok</span></span></span></h3>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer :</span> </span><span class="" id="result_box" lang="en"> </span><span class="short_text" id="result_box" lang="en"><span class="hps">Mounir</span> <span class="hps">Murad</span></span></span></h3>
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</span><span class="" id="result_box" lang="en" style="font-size: large;"><span class="hps">Sing </span><span class="">:</span> </span><span style="font-size: large;"><em>Abdel Halim</em> Hafez</span></h3>
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<span style="font-size: small;"><br /></span>
<span style="font-size: small;"> It's scale " Kurd " in Sol =<i> </i><span class="st"><i>Phrygian scale in Eb Major</i></span></span><br />
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-88862169222582551682012-11-30T14:36:00.000-08:002012-12-14T15:31:20.224-08:00" Dar Ya Dar " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" <i>Dar Ya Dar </i>" Song Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="">Words :</span> </span><span class="" id="result_box" lang="en"><span class="hps">Hussein</span> <span class="hps alt-edited">El Sayed</span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en"> <span class="hps alt-edited">Baligh</span> <span class="hps">Hamdi</span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps">Sing</span><span class="">er :</span> </span><i>Wadih</i> El <i>Safi</i></h4>
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<span style="font-size: x-small;"> It's scale " Bayyaty " in <span style="font-size: x-small;">Re</span> =</span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"> </span></span></span></span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="st"><i>Phrygian scale <span style="font-size: x-small;">in <span style="font-size: x-small;">Sib <span style="font-size: x-small;"><span style="font-size: x-small;">But </span>different i<span style="font-size: x-small;">n 2nd note ( quarter <span style="font-size: x-small;">)</span></span> </span></span></span></i></span></span></span></span></span></div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-29386810627692616782012-11-29T12:07:00.000-08:002012-12-07T09:50:22.650-08:00 " Bellazy Askar " Music Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Bellazy Askar " Music Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span>Unknown ( very old Music )</h4>
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<span style="font-size: x-small;"> It's scale " Bayyaty " in <span style="font-size: x-small;">Re</span> =</span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"> </span></span></span></span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="st"><i>Phrygian scale <span style="font-size: x-small;">in <span style="font-size: x-small;">Sib <span style="font-size: x-small;"><span style="font-size: x-small;">But </span>different i<span style="font-size: x-small;">n 2nd note ( quarter <span style="font-size: x-small;">)</span></span> </span></span></span></i></span></span></span></span></span></div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-34315750325104885972012-11-29T01:22:00.003-08:002020-04-05T21:30:32.703-07:00 " Enta Omri " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Enta Omri " Song Sheet</h2>
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<b><img alt="" border="0" height="1" src="https://www.assoc-amazon.com/e/ir?t=egyptmusic0c-20&l=as2&o=1&a=B00005OSWV" style="border: none !important; margin: 0px !important;" width="1" />
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<span class="" id="result_box" lang="en" style="font-size: large;"><span class="">Words :</span> </span><span class="" id="result_box" lang="en" style="font-size: large;"><span class="hps alt-edited">Ahmad Shafiq Kamel</span></span></h3>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer :</span> </span><span class="" id="result_box" lang="en"> <span class="hps alt-edited"><i>Mohamed Abd El Wa</i></span></span><i>hab</i></span></h3>
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<span class="" id="result_box" lang="en" style="font-size: large;"><span class="hps">Sing </span><span class="">:</span> <span class="hps">Umm Kulthum</span> </span></h3>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQq3TH4mrGfd4crwFmMBNqEl8rIar4ampS1KOFLneMi-fdCsIK5ocagQu77B1R2GrPxta2jtXmRfxb22A84YGlBVioW0Jwl4dpkdol-DSzdrSoBLWLrLVyIQskF-LnGx-kweVgWXH0NrF3/s1600/um+kulthom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><b><img border="0" data-original-height="300" data-original-width="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgQq3TH4mrGfd4crwFmMBNqEl8rIar4ampS1KOFLneMi-fdCsIK5ocagQu77B1R2GrPxta2jtXmRfxb22A84YGlBVioW0Jwl4dpkdol-DSzdrSoBLWLrLVyIQskF-LnGx-kweVgWXH0NrF3/s1600/um+kulthom.jpg" /></b></a></div>
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<b><span style="font-size: small;"><br /></span>
<span style="font-size: small;"> It's scale " Kurd " in La =<i> </i><span class="st"><i>Phrygian scale in F Major </i></span></span></b><br />
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<b>( http://en.wikipedia.org/wiki/Umm_Kulthum )</b></div>
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<h3 style="text-align: left;">
<span class="mw-headline" id="Golden_age">Golden age</span></h3>
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<b>Umm Kulthum's musical directions in the 1940s and early 1950s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early 1940s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el-Tunsi cast in styles considered to be indigenously Egyptian. This represented a dramatic departure from the modernist romantic songs of the 1930s, mainly led by Mohammad El-Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early 1940s. Their last stage song collaboration in 1941 was "Raq el Habib" ("The Lover's Heart Softens"), one of her most popular, intricate, and high-caliber songs.</b></div>
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<b>The reason for the separation is not clear. It is speculated that this was due in part to the popular failure of the movie <i>Aida</i>, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera.</b></div>
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<b>Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Lebanon and was the only serious competitor for Umm Kulthum before Asmahan's death in a car accident in 1944.</b></div>
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<b>Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad El-Sombati. While Sombati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience. The result of collaborations with Rami/Sombati and al-Tunisi/Ahmad was a populist and popular repertoire that had lasting appeal for the Egyptian audience.</b></div>
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<b>Umm Kulthum singing around 1960</b></div>
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<b>In 1946, Umm Kulthum defied all odds by presenting a religious poem in classical Arabic during one of her monthly concerts, "Salou Qalbi" ("Ask My Heart"), written by Ahmad Shawqi and composed by Sombati. The success was immediate. It reconnected Umm Kulthum with her early singing years, defined Sombati's unique style in composing and established him as the best composer of music for poems in classical Arabic, toppling Mohammed Abdel Wahab. Similar poems written by Shawqi were subsequently composed by Sombati and sung by Umm Kulthum, including "Woulida el Houda" ("The Prophet is Born"; 1949), in which she raised eyebrows of royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists".</b></div>
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<b>At the peak of her career, in 1950, Umm Kulthum sang Sombati's composition of excerpts of what Ahmad Rami considered the accomplishment of his career: the translation into classical Arabic of Omar Khayyám's quartets (<i>Rubayyiat el Khayyam</i>). The song included quartets that dealt with both epicurism and redemption. Ibrahim Nagi's poem "Al-Atlal" ("The Ruins"), composed by Sonbati and premiered in 1966, is considered by many as Umm Kulthum's best song. While this is debatable, as Umm Kulthum's vocal abilities had regressed considerably by then, the song can be viewed as the last example of genuine Arabic music at a time when even Umm Kulthum had started to compromise by singing Western-influenced pieces composed by her old rival Mohammed Abdel Wahab.</b></div>
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<b>The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience and Umm Kulthum's own mood for creativity.</b></div>
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<b> An improvisatory technique, which was typical of old classical Arabic singing, and which she executed for as long as she could have (both her regressing vocal abilities with age and the increased Westernization of Arabic music became an impediment to this art), was to repeat a single line or stance over and over, subtly altering the emotive emphasis and intensity and exploring one or various musical modal scales (<i>maqām</i>) each time to bring her audiences into a euphoric and ecstatic state known in Arabic as "tarab" طرب. For example, the available live performances (about 30) of <i>Ya Zalemni</i>, one of her most popular songs, varied in length from 45 to 90 minutes, depending on both her creative mood for improvisations and the audience request for more repetitions, illustrating the dynamic relationship between the singer and the audience as they fed off each other's emotional energy.</b></div>
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<b>The spontaneous creativity of Umm Kulthum as a singer is most impressive when, upon listening to these many different renditions of the same song over a time span of five years (1954–1959), the listener is offered a totally unique and different experience. This intense, highly personalized relationship was undoubtedly one of the reasons for Umm Kulthum's tremendous success as an artist. Worth noting though that the length of a performance did not necessarily reflect either its quality or the improvisatory creativity of Umm Kulthum. Some of her best performances were 25–45 minutes in duration, such as the three available renditions, including the commercial version of <i>El Awwila Fi'l Gharam</i> ("First in Love"), and <i>Ana Fi Intizarak</i> ("I am waiting for you"), (commercial and 3-3-1955 performance). On the other hand, her songs as of the mid-1960s would extend sometimes over a duration of two hours (premiere of <i>Enta Omri</i>, <i>Enta el Hobb</i>, etc.); however, the repetitions, mostly executed upon the request of the audience, were often devoid of creative musical improvisations and limited to vocal colorful variations on a syllable, letter or word.</b></div>
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<b>Around 1965, Umm Kulthum started cooperating with composer Mohammed Abdel Wahab. Her first song composed by Abdel Wahab, "Enta Omri" (You are my Life"), was considered the "summit meeting". Several beautiful songs composed by Abdel Wahab followed, such as "Amal Hayati" ("The Hope of my Life"), "Fakkarouni" ("They reminded Me"), and others.</b></div>
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<b>Umm Kulthum also sang for composers Mohammad El Mougi and Sayyed Mikkawi.</b></div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-87984933911258645822012-11-28T06:21:00.004-08:002013-06-21T04:07:43.698-07:00" Baed Annak " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Baed Annak " Song Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="">Words :</span> </span><span class="" id="result_box" lang="en"><span class="hps alt-edited">Mamoun El Shennawy</span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en"> <span class="hps alt-edited">Baligh</span> <span class="hps">Hamdi</span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps">Sing</span><span class="">:</span> <span class="hps">Umm Kulthum</span> </span></h4>
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<span style="font-size: x-small;">I<span style="font-size: x-small;">t<span style="font-size: x-small;">'s scale <span style="font-size: x-small;">" Kurd " in <span style="font-size: x-small;">La</span> = </span></span></span></span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="st"><i>Phrygian scale <span style="font-size: x-small;">in <span style="font-size: x-small;"><span style="font-size: x-small;">F M<span style="font-size: x-small;">ajor<span style="font-size: x-small;"> </span></span></span></span></span></i></span></span></span></span></span></div>
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( http://en.wikipedia.org/wiki/Umm_Kulthum )</div>
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<h3 style="text-align: left;">
<span class="mw-headline" id="Golden_age">Golden age</span></h3>
<div style="text-align: left;">
Umm Kulthum's musical directions in the 1940s and early 1950s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early 1940s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el-Tunsi cast in styles considered to be indigenously Egyptian. This represented a dramatic departure from the modernist romantic songs of the 1930s, mainly led by Mohammad El-Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early 1940s. Their last stage song collaboration in 1941 was "Raq el Habib" ("The Lover's Heart Softens"), one of her most popular, intricate, and high-caliber songs.</div>
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The reason for the separation is not clear. It is speculated that this was due in part to the popular failure of the movie <i>Aida</i>, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera.</div>
<div style="text-align: left;">
Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Lebanon and was the only serious competitor for Umm Kulthum before Asmahan's death in a car accident in 1944.</div>
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Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad El-Sombati. While Sombati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience. The result of collaborations with Rami/Sombati and al-Tunisi/Ahmad was a populist and popular repertoire that had lasting appeal for the Egyptian audience.</div>
<div class="thumb tright" style="text-align: left;">
<div class="thumbinner" style="width: 222px;">
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<div class="thumbcaption">
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<a class="internal" href="http://en.wikipedia.org/wiki/File:Kulthum.jpg" title="Enlarge"><img alt="" height="11" src="http://bits.wikimedia.org/static-1.22wmf1/skins/common/images/magnify-clip.png" width="15" /></a></div>
Umm Kulthum singing around 1960</div>
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In 1946, Umm Kulthum defied all odds by presenting a religious poem in classical Arabic during one of her monthly concerts, "Salou Qalbi" ("Ask My Heart"), written by Ahmad Shawqi and composed by Sombati. The success was immediate. It reconnected Umm Kulthum with her early singing years, defined Sombati's unique style in composing and established him as the best composer of music for poems in classical Arabic, toppling Mohammed Abdel Wahab. Similar poems written by Shawqi were subsequently composed by Sombati and sung by Umm Kulthum, including "Woulida el Houda" ("The Prophet is Born"; 1949), in which she raised eyebrows of royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists".</div>
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At the peak of her career, in 1950, Umm Kulthum sang Sombati's composition of excerpts of what Ahmad Rami considered the accomplishment of his career: the translation into classical Arabic of Omar Khayyám's quartets (<i>Rubayyiat el Khayyam</i>). The song included quartets that dealt with both epicurism and redemption. Ibrahim Nagi's poem "Al-Atlal" ("The Ruins"), composed by Sonbati and premiered in 1966, is considered by many as Umm Kulthum's best song. While this is debatable, as Umm Kulthum's vocal abilities had regressed considerably by then, the song can be viewed as the last example of genuine Arabic music at a time when even Umm Kulthum had started to compromise by singing Western-influenced pieces composed by her old rival Mohammed Abdel Wahab.</div>
<div style="text-align: left;">
The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience and Umm Kulthum's own mood for creativity.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
An improvisatory technique, which was typical of old classical Arabic singing, and which she executed for as long as she could have (both her regressing vocal abilities with age and the increased Westernization of Arabic music became an impediment to this art), was to repeat a single line or stance over and over, subtly altering the emotive emphasis and intensity and exploring one or various musical modal scales (<i>maqām</i>) each time to bring her audiences into a euphoric and ecstatic state known in Arabic as "tarab" طرب. For example, the available live performances (about 30) of <i>Ya Zalemni</i>, one of her most popular songs, varied in length from 45 to 90 minutes, depending on both her creative mood for improvisations and the audience request for more repetitions, illustrating the dynamic relationship between the singer and the audience as they fed off each other's emotional energy.</div>
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The spontaneous creativity of Umm Kulthum as a singer is most impressive when, upon listening to these many different renditions of the same song over a time span of five years (1954–1959), the listener is offered a totally unique and different experience. This intense, highly personalized relationship was undoubtedly one of the reasons for Umm Kulthum's tremendous success as an artist. Worth noting though that the length of a performance did not necessarily reflect either its quality or the improvisatory creativity of Umm Kulthum. Some of her best performances were 25–45 minutes in duration, such as the three available renditions, including the commercial version of <i>El Awwila Fi'l Gharam</i> ("First in Love"), and <i>Ana Fi Intizarak</i> ("I am waiting for you"), (commercial and 3-3-1955 performance). On the other hand, her songs as of the mid-1960s would extend sometimes over a duration of two hours (premiere of <i>Enta Omri</i>, <i>Enta el Hobb</i>, etc.); however, the repetitions, mostly executed upon the request of the audience, were often devoid of creative musical improvisations and limited to vocal colorful variations on a syllable, letter or word.</div>
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Around 1965, Umm Kulthum started cooperating with composer Mohammed Abdel Wahab. Her first song composed by Abdel Wahab, "Enta Omri" (You are my Life"), was considered the "summit meeting". Several beautiful songs composed by Abdel Wahab followed, such as "Amal Hayati" ("The Hope of my Life"), "Fakkarouni" ("They reminded Me"), and others.</div>
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Umm Kulthum also sang for composers Mohammad El Mougi and Sayyed Mikkawi.</div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-62096817649114750682012-11-27T14:02:00.001-08:002013-06-25T01:46:48.342-07:00" Khatwet Habibi " Music Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Khatwet Habibi " Music Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en"> Mohamed Abd El-wahab<span class="hps alt-edited"></span></span></h4>
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<span style="font-size: x-small;">I<span style="font-size: x-small;">t<span style="font-size: x-small;">'s scale <span style="font-size: x-small;">" <span style="font-size: x-small;">Shahenaz</span> " in Re = <span style="font-size: x-small;"><i>g minor ( 4<span style="font-size: x-small;">th <span style="font-size: x-small;"># )</span></span></i></span></span></span></span></span> begin in D<br />
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(( http://en.wikipedia.org/wiki/Mohammed_Abdel_Wahab ))</div>
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<span class="mw-headline" id="Biography">Biography</span></h2>
Born in Bab El-Shaariyah area of Cairo, Egypt (where his statue stands), Abdel Wahab played oud before the Prince of Poets, Ahmed Shawqi. Abdel Wahab acted in several movies. Mohammed Abdel Wahab was a very close friend to singer Abdel Halim Hafez.<br />
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<span class="mw-headline" id="Contribution_to_Arab_music">Contribution to Arab music</span></h2>
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Despite the fact that Abdel Wahab composed many songs and musical pieces of classical Arab music, he was always criticized for his orientation to Western music. In fact, he introduced Western rhythms to Arab songs in a way appropriate to the known forms of Arab songs. For example, in 1941, he introduced a waltz rhythm in his song "Al Gondol," and, in 1957, he introduced a rock and roll rhythm in Abdel Halim Hafez's song "Ya Albi Ya Khali".<br />
Abdel Wahab played oud before the prominent Arab poet, Ahmed Shawqi, and acted in several movies. He composed ten songs for Umm Kulthum (أم كلثوم). He was the first Egyptian singer to move from silent-era acting to singing.<sup class="reference" id="cite_ref-3">[3]</sup> He was interviewed in one of the most famous program named "ALNAHR ALKHALED" the immortal river. This show was a great success briefing his great biography from him personally.<br />
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<span class="mw-headline" id="Legacy">Legacy</span></h2>
His personal belongings were put in his museum in the Music institute in Cairo. A statue was erected in Bab El-Sheriya square (where he grew up) to keep his memory. As a memorial and honor for him, Omar Khayrat, an Egyptian composer, rearranged some of Abdel Wahab's music and released them on an album called <i>Wahabiat</i>. He died of heart failure.</div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-85957516361595841482012-11-27T09:07:00.000-08:002020-04-06T14:37:23.424-07:00 " Dakat Kalb " Music Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" DAKAT kALB " Music Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en"> <span class="hps alt-edited">Ahmed Fouad Hassan</span><span class="hps"></span></span></h4>
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<span style="font-size: x-small;">I<span style="font-size: x-small;">t<span style="font-size: x-small;">'s scale <span style="font-size: x-small;">" Nahawand " in <span style="font-size: x-small;">Do</span> = </span></span></span></span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="st"><i><span style="font-size: x-small;">c</span> minor </i></span></span></span></span></span><br />
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-27993071706051944542012-11-27T01:16:00.003-08:002013-06-21T04:04:51.374-07:00" Ansak " Song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Ansak " Song Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="">Words :</span> </span><span class="" id="result_box" lang="en"><span class="hps alt-edited">Mamoun El Shennawy</span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en"> <span class="hps alt-edited">Baligh</span> <span class="hps">Hamdi</span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps">Sing</span><span class="">:</span> <span class="hps">Umm Kulthum</span> </span></h4>
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<span class="" id="result_box" lang="en"><span class="hps">Production</span>: </span><span class="" id="result_box" lang="en"><span class="hps">1962</span></span></h4>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdE1yZ34AOgFcq_aYnhEQIgY3c6gAZIHV9qYRzsR9bdTg4txnyDyhFYfcGpzvJauJPuBrTUtpa8iYNk49gaPZn9pxFXK58lz1_4nQjpmjcP8gF3tsnG-irkxNszHDc9VofBUW1sf1TmOor/s1600/um+kulthom.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="Umm Kulthum" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgdE1yZ34AOgFcq_aYnhEQIgY3c6gAZIHV9qYRzsR9bdTg4txnyDyhFYfcGpzvJauJPuBrTUtpa8iYNk49gaPZn9pxFXK58lz1_4nQjpmjcP8gF3tsnG-irkxNszHDc9VofBUW1sf1TmOor/s320/um+kulthom.jpg" title="Umm Kulthum" width="316" /></a></div>
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<span style="font-size: small;"> It's scale " Rast " in Do = <i>Major scale but different in 3rd and 7th note ( Quarter )</i></span><br />
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( http://en.wikipedia.org/wiki/Umm_Kulthum )</div>
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<span class="mw-headline" id="Golden_age">Golden age</span></h3>
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Umm Kulthum's musical directions in the 1940s and early 1950s and her mature performing style led this period to becoming popularly known as "the golden age" of Umm Kulthum. In keeping with changing popular taste as well as her own artistic inclinations, in the early 1940s, she requested songs from composer Zakariya Ahmad and colloquial poet Mahmud Bayram el-Tunsi cast in styles considered to be indigenously Egyptian. This represented a dramatic departure from the modernist romantic songs of the 1930s, mainly led by Mohammad El-Qasabgi. Umm Kulthum had abstained from singing Qasabgi's music since the early 1940s. Their last stage song collaboration in 1941 was "Raq el Habib" ("The Lover's Heart Softens"), one of her most popular, intricate, and high-caliber songs.</div>
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The reason for the separation is not clear. It is speculated that this was due in part to the popular failure of the movie <i>Aida</i>, in which Umm Kulthum sings mostly Qasabgi's compositions, including the first part of the opera.</div>
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Qasabgi was experimenting with Arabic music, under the influence of classical European music, and was composing a lot for Asmahan, a singer who immigrated to Egypt from Lebanon and was the only serious competitor for Umm Kulthum before Asmahan's death in a car accident in 1944.</div>
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Simultaneously, Umm Kulthum started to rely heavily on a younger composer who joined her artistic team a few years earlier: Riad El-Sombati. While Sombati was evidently influenced by Qasabgi in those early years, the melodic lines he composed were more lyrical and more acceptable to Umm Kulthum's audience. The result of collaborations with Rami/Sombati and al-Tunisi/Ahmad was a populist and popular repertoire that had lasting appeal for the Egyptian audience.</div>
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Umm Kulthum singing around 1960</div>
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In 1946, Umm Kulthum defied all odds by presenting a religious poem in classical Arabic during one of her monthly concerts, "Salou Qalbi" ("Ask My Heart"), written by Ahmad Shawqi and composed by Sombati. The success was immediate. It reconnected Umm Kulthum with her early singing years, defined Sombati's unique style in composing and established him as the best composer of music for poems in classical Arabic, toppling Mohammed Abdel Wahab. Similar poems written by Shawqi were subsequently composed by Sombati and sung by Umm Kulthum, including "Woulida el Houda" ("The Prophet is Born"; 1949), in which she raised eyebrows of royalists by singing a verse that describes the Prophet Mohammad as "the Imam of Socialists".</div>
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At the peak of her career, in 1950, Umm Kulthum sang Sombati's composition of excerpts of what Ahmad Rami considered the accomplishment of his career: the translation into classical Arabic of Omar Khayyám's quartets (<i>Rubayyiat el Khayyam</i>). The song included quartets that dealt with both epicurism and redemption. Ibrahim Nagi's poem "Al-Atlal" ("The Ruins"), composed by Sonbati and premiered in 1966, is considered by many as Umm Kulthum's best song. While this is debatable, as Umm Kulthum's vocal abilities had regressed considerably by then, the song can be viewed as the last example of genuine Arabic music at a time when even Umm Kulthum had started to compromise by singing Western-influenced pieces composed by her old rival Mohammed Abdel Wahab.</div>
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The duration of Umm Kulthum's songs in performance was not fixed, but varied based on the level of emotive interaction between the singer and her audience and Umm Kulthum's own mood for creativity.</div>
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An improvisatory technique, which was typical of old classical Arabic singing, and which she executed for as long as she could have (both her regressing vocal abilities with age and the increased Westernization of Arabic music became an impediment to this art), was to repeat a single line or stance over and over, subtly altering the emotive emphasis and intensity and exploring one or various musical modal scales (<i>maqām</i>) each time to bring her audiences into a euphoric and ecstatic state known in Arabic as "tarab" طرب. For example, the available live performances (about 30) of <i>Ya Zalemni</i>, one of her most popular songs, varied in length from 45 to 90 minutes, depending on both her creative mood for improvisations and the audience request for more repetitions, illustrating the dynamic relationship between the singer and the audience as they fed off each other's emotional energy.</div>
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The spontaneous creativity of Umm Kulthum as a singer is most impressive when, upon listening to these many different renditions of the same song over a time span of five years (1954–1959), the listener is offered a totally unique and different experience. This intense, highly personalized relationship was undoubtedly one of the reasons for Umm Kulthum's tremendous success as an artist. Worth noting though that the length of a performance did not necessarily reflect either its quality or the improvisatory creativity of Umm Kulthum. Some of her best performances were 25–45 minutes in duration, such as the three available renditions, including the commercial version of <i>El Awwila Fi'l Gharam</i> ("First in Love"), and <i>Ana Fi Intizarak</i> ("I am waiting for you"), (commercial and 3-3-1955 performance). On the other hand, her songs as of the mid-1960s would extend sometimes over a duration of two hours (premiere of <i>Enta Omri</i>, <i>Enta el Hobb</i>, etc.); however, the repetitions, mostly executed upon the request of the audience, were often devoid of creative musical improvisations and limited to vocal colorful variations on a syllable, letter or word.</div>
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Around 1965, Umm Kulthum started cooperating with composer Mohammed Abdel Wahab. Her first song composed by Abdel Wahab, "Enta Omri" (You are my Life"), was considered the "summit meeting". Several beautiful songs composed by Abdel Wahab followed, such as "Amal Hayati" ("The Hope of my Life"), "Fakkarouni" ("They reminded Me"), and others.</div>
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Umm Kulthum also sang for composers Mohammad El Mougi and Sayyed Mikkawi. </div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-61313365306639884302012-11-25T12:03:00.002-08:002012-11-27T01:46:55.089-08:00 " Ya Habibti Ya Masr " song Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" <i>Ya Habibti Ya Masr</i> " Song Sheet</h2>
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<span class="" id="result_box" lang="en"><span class="">Words :</span> </span><span class="" id="result_box" lang="en"><span class="hps alt-edited">Mohamed Hamza</span><span class="hps alt-edited"></span><span class="hps"></span><span class=""></span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en"> <span class="hps alt-edited">Baligh</span> <span class="hps">Hamdi</span></span></h4>
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<span class="" id="result_box" lang="en"><span class="hps">Sing</span><span class="">er :</span> shadia </span></h4>
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<span style="font-size: small;"><i></i></span><a class="l" href="http://en.wikipedia.org/wiki/Farid_al-Atrash"> </a></h3>
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<span style="font-size: x-small;"> It's scale " Bayyaty " in <span style="font-size: x-small;">Re</span> =</span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"> </span></span></span></span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="st"><i>Phrygian scale <span style="font-size: x-small;">in <span style="font-size: x-small;">Sib <span style="font-size: x-small;"><span style="font-size: x-small;">But </span>different i<span style="font-size: x-small;">n 2nd note ( quarter <span style="font-size: x-small;">)</span></span> </span></span></span></i></span></span></span></span></span></div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.comtag:blogger.com,1999:blog-5186461966209147939.post-81666502081233962842012-11-24T15:45:00.001-08:002012-11-27T01:47:14.777-08:00" Tota " Music Sheet<div dir="ltr" style="text-align: left;" trbidi="on">
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" Tota " Music Sheet</h2>
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<span class="" id="result_box" lang="en" style="font-size: small;"><span class="hps"> </span> <span class="hps">Composer:</span> </span><span class="" id="result_box" lang="en" style="font-size: small;"> </span><span style="font-size: small;"><i>Farid al</i>-<i>Atrash</i></span><a class="l" href="http://en.wikipedia.org/wiki/Farid_al-Atrash"> </a></h3>
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<span style="font-size: x-small;"> It's scale " Hejaz Kar Kord " " kurd " in Do =</span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><i><span style="font-size: x-small;"></span></i></span><span style="font-size: x-small;"> </span></span></span></span><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span style="font-size: x-small;"><span class="st"><i>Phrygian scale <span style="font-size: x-small;">in <span style="font-size: x-small;">( La b) A s</span><span style="font-size: x-small;"><span style="font-size: x-small;"> </span></span></span></i></span></span></span></span></span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjhTaGztfsWf6mFe6FXC70_KV90lbhWocFGGVNnasqrnvygWnLO_85QDQA1fnTIoR_hXgC-IATonypqxyGX3-Ds_MCGSM7mNc_cTNr8QG8V3xPF6RkFzIdezvxxcezXnIYcy_2TBkADc-j/s1600/tota2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img alt="" Tota " Music Sheet" border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjhTaGztfsWf6mFe6FXC70_KV90lbhWocFGGVNnasqrnvygWnLO_85QDQA1fnTIoR_hXgC-IATonypqxyGX3-Ds_MCGSM7mNc_cTNr8QG8V3xPF6RkFzIdezvxxcezXnIYcy_2TBkADc-j/s320/tota2.jpg" title="" Tota " Music Sheet" width="236" /></a></div>
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elegimyhttp://www.blogger.com/profile/17131712444097684467noreply@blogger.com