TRACK LISTING
1-Habibi Ya Ayni ( 6:13 ) Begins with soulful keyboard taxim for a beautiful flowing entrance with a veil . Call and answer with singer , chorus , and percussion – allows the dancer to mirror the call answer structure in the music . The musical theme becomes more complex with percussion , and the typical “ Yallah Yalla , Yalla ” is sung . Then , the nai is heard in the next section . Then , a return to the singer and chorus for the central theme . There is a percussion break with call and answer followed by a keyboard taqsim section with a musical drone and syncopation styling . I love the musical interactions and exchanges between instruments . A nice Maqsum with percussive solos makes it an exciting piece with syncopation , rolls , and change in dynamics to a quiet end .
2-Mona Nay Solo ( 9:07 ) I Love this elegant taqasim keyboard introduction . Next is a 2 / 4 Dawr Hindy rhythm that builds with an exciting theme into percussion bridges . A nai call and response with the band and the percussion is beautiful . Teachers , this is an excellent piece for traveling ¾ shimmies punctuated with shimmies and accented steps to the 4 / 4 Bamby rhythm . Nai returns with a call and response from the other musicians . The driving keyboard section transitions into a 2 / 4 Karachy rhythm section with a sudden stop . Then , a beautiful nai section with the sound of wind and lilting nai for a deeply felt taqasim . This section would work for either a slow veil or a balancing act with a sword or tray . This section could even work well for a “ dance on water glasses atop a silk veil .” The following percussion section begins with a complex Maqsum with drum rolls and syncopated accents . Next , you ’ ll hear a whistle and Yalla – as the piece goes into an intricate percussion set with riq and def , with the call and answer between drums and other percussionists . In the end , the keyboard leads the Tutah finale with bongos and doumbeq to an exciting finish .
3-Yollar Uzak , Yarim Kalan Ask , Yesillim ( 7:02 ) Nai leads this piece , accompanied by keyboard and percussion in 4 / 4 rhythm with a beautiful melody with syncopated accents . Opportunity for the dancer to dance , stop , and do shimmy and undulation accents to mirror the maqam runs and percussive accents . The piece slows and moves on with a beautiful Bolero rhythm with percussive accents and trills and slides to follow and ornament your dancing - a must to dance this piece with a lovely and dynamic veil with turns and poses with undulations . The Bolero section is accented with intricate leit motifs – an absolute pleasure to dance with that makes your performance dynamic . The piece finishes with a 2 / 4 Karachy finale and the song “ Yesillim ”. Teachers , this piece offers the complexity of musical ornamentation that provides a “ teachable opportunity ” to educate dancers about the Middle Eastern musicality and structure of ornamentation : trills , accented percussion , leit motif musical designs , maqam runs as well as changes to different rhythms in this piece .
4-Nadya ( 3:45 ) This piece begins with an exciting introduction with windchime and percussion patterns in a rhythmic Ayub 2 / 4 . You ’ ll love the musical accents for the opportunity to make a performance exciting by mirroring the musicality . Tribal dancers will love the zurna sound . The piece would be ideal for a party performance with audience participation .
5-Mastika ( 4:07 ) You ’ ll love this dynamic entrance with percussion , including the tabla Balady drum , drone mizmar , zurna , and mizwig — an exciting 9 / 8 piece with Faruk and Ibrahim singing . I love the next part of this set with the percussion call and answer in the middle of the work . Then the singing continues , featuring the Hadji playing alto saxophone for an excellent soulful taqasim section . Finally , handclapping indicates the end of the piece with saghareets and the typical Opah !
6-Tfarrak Al Halawah ( 3:49 ) A fast piece with nai and zurna . A good selection for a fast cane dance . Or an excellent musical piece for a party . Many dance troupes have choreographies ready for this piece ( I can recall and picture John Compton ’ s Habibi Ru Troupe and Amina Goodyear ’ s Aswan Dancers dancing to this piece ). You will love how exciting this version is . I love the rhythmic change to the slower , then picks up again to the end . Saidi rhythm that features the nai and zurna .
7-Zennube Nay Solo ( 5:45 ) What a grand opening – nai and alto nai duet . Then , percussion leads into the song with a snappy 4 / 4 . Next , nay is featured , then joined by tabla Balady percussion and zurna . Another great piece of music for a dance troupe . Halfway through , the music stops and transitions with a soulful nay solo with windchimes for an entrancing taqasim . Then the percussion enters the mix and plays the unique Zeffah rhythm and the exotic sound of a gong .
52 The Belly Dance Chronicles � September 2022