I've heard Naseer Shamma say that tuning the A to C is to make it easy to play chords on oud, and he does play a lot of chords in his music. Also, one argument I've heard is that because oud is almost muted when it's accompanied by other musical instruments, this tuning, along with transposing maqams, makes it more audible.
I have my Sukar tuned F-f and Turunz C-c. I realized at one point I probably should have had them the other way. I did the F-f so I can play a couple of songs, which now I can do on C-c. I agree with what Navid is saying. In my case, it's even worse because I'm not that great at playing, and going back and forth between the two is confusing my finger muscle memory because of the shifting down or up. I'm now convinced CFADGC on both is the way to go. My Turunz is Arabic braced, so it came CFADGC.
When you talk about this tuning, it's a must to mention the great Munair Basher because he's kind of invented this tuning. In my opinion I find it disturbing if I see this tuning on a fixed bridge Oud it loses the whole idea of the power of sound.
Hi Navid. As I've mentioned to you before, I have a 7-course Iranian oud that I tune, as the luthier suggested, C-to-F (low to high). so the lower strings are just your (good) tuning C-to-C, but this tuning provides for the higher frequencies, as one maybe would desire. The finger board is a bit wider than my 6-course, but with a little warm-up I get used to it. The higher frequencies add a little more fun, more "spice". For anyone wanting the higher frequencies but still wanting the resonant low frequencies, a 7-course may be the answer. Oh, I never once considered fish string!
I once saw an oud from Iraq, played by a kurdish guy, who was also 7 courses, and also C to F, so it seems that both iranian and iraquee use that tuning for 7 courses ouds.
well, there is a reason why F tuning is important. based on my research, there were 2 schools of tuning the Oud. the one reflected in al-kindi's writings focuses on the bass, tuning the gut Bamm to "lowest male voice" (roughly A), which would give a zir on C4. This tradition later included a fifth "hadd" string on F4. But the second tradition found in Ikhwan as-Safa and later Iranian sources, focuses on the sharpest sound possible from early on; thus, a Rast on an "iranian" F fits perfectly with Tar and Setar's natural Rast position on the F fret.
@@OudforGuitarists well, it’s most likely because there aren’t many publications about this in Farsi. “Der Bau der Laure” by Neubauer is a good source. But also Stefan Hagel’s “Al-ʿūd, pípá, Lute: An Ancient Greek Perspective on Their Prehistory”. The tuning of Oud is a relatively under-researched topic. For instance, up until 16th century, Iranians used many tunings for each maqam; for example they when played Rast a fifth higher than usual, on zir (c), they called it “şadd-e pahlavan” and tuned from Bamm to Hadd: ~C, D, G, C, F. This is a very familiar tuning now, but it’s used for rast on Hadd and not on Zir. One source gives 25 such tunings, another 31. Maraghi gives 1000!
I feel like the low base tunes is what gives most ouds its character. Never played with the high F. My first oud was c-c then I went to FADGC (5 strings) which is probably the most common found in the khaleeji region. Except in the UAE, they use the high F a lot.
I like Fa to fa. It's kinda like standard tuning on a guitar except the two high courses are put higher to make scales symmetrical.... except for the Fa bass string which is okay because I mainly use it for droning.
Thanks Navid, very informative as always. The Godin Multioud uses the F to F tuning and sounds okay when amplified and played softly but no comparison to the Yildirim. I see your Arabic Oud has a double bass string so it must have twelve pegs? Have completed Foundation 1 course now, greatly enjoyed and easy to follow - but I will need to go back over it again before moving on to Foundation 2 as am learning to read the notation - always been a block to have to think rather than just play by ear but finding it surprisingly easy. Seem to be developing an ear for the scales on the fretless neck much better - learning in a way that the guitar didn't provide - but it is having a spill over effect on the guitar playing. Wish I had started all this forty years ago .....
Wise words indeed thank you. As I immerse myself in a variety of instruments this truth is revealing itself day by day. I pick out a melody on the guitar transpose it to the Oud from there to the sitar, the Rudra veena and flute - I’m so in love with music it aches my soul. Now I am learning the cello and double bass, each instrument with its own sweet voice
@Robert Becker: ditch the sight-reading. It is a huge waste of time. Develop your ear instead. Any trained monkey can sight read. Real musicians pick up a tune immediately, by ear. It is the difference between a boy and a real man. Moreover, Arabic music thrived for centuries on being passed on through oral tradition - playing by ear by any other name - and only adopted notation in the 20th century in a useless and misguided attempt to keep up with the Joneses - Western Europe. Do you wanna compare the satisfaction derived by learning a piece all on your own with your ear and knowledge as the sole aid tool with a piece of paper, sometimes even written wrongly? There is no contest....I will leave you with an anecdote.concerning Yehuda Menuhin (no slough on the fiddle) and the immense sitarist Ravi Shankar. They recorded an album together, "East meets West" and you can read it in the original liner notes in a restrained versiion. He recounted the story in selected interviews and friends. It was one of the few times where Menhuin truly felt tiny and amateurish. Ravi could not read one written note, yet he could play.everything, everywhere, anytime, seemingly pushing a switch. Yehuda could not improvise nor coming up with ideas on the spot. He had to have everything written down. You could argue that Western and Hindustani music have different purposes. Yet Yehudi Menuhin walked out of the sessions with this distinct impression: he played music. Sometimes well, sometimes less so. But Ravi, no music notations, he could pick up the sitar And shake a room according to his mood of the moment. And for a fleeting moment, Yehuda felt he had wasted all those years pouring over written notes. Because all that had made him someone who could play music and who played music. But Ravi....Ravi WAS the music!
@@MrGiorgioud Wise words indeed thank you. As I immerse myself in a variety of instruments this truth is revealing itself day by day. I pick out a melody on the guitar transpose it to the Oud from there to the sitar, the Rudra veena and flute - I’m so in love with music it aches my soul. Now I am learning the cello and double bass, each instrument with its own sweet voice
Same same. Oud is all about that bass. But some of my favorite oud masters Nasser Houari and Munir Bashir both use high F tuning. Interesting that some of the most famous Iraqi and Morrocan oud players both use this tuning when they're so far apart geographically.
May I ask what the names are of those oud players that you listened to when you began playing? "Hamsaldin" ? also Hussein...B....(persian) ??? I am curious and would like to listen to them as well
another thing to note is in middle eastern ensembles the oud plays a mid to low role, it's almost like the bass of a jazz trio or the theorbo of a baroque ensemble. So this tuning makes you lose so much of that and gain nothing in exchange, I mean there's setar, Saz, Kanun, santoor, so many other string instruments that have way better upper notes and specialize in those anyway.
Would you recommend doubling bass C on a 12 string oud? Or am I better off with keeping the C single? I find myself most comfortable with CFAdgc. Not too fond of the F-F tuning as it seems to be more imitating of guitar in regards to higher sounds.
It sounds fine with one string. It doesn't need to be doubled, but it's possible to do. Just need to buy an extra string. You need to set it up properly so the string doesn't jangle and interfere with each other.
In North Africa, they still play the old 4 course Oud, known as a Kwitra in the local dialects. I don't know about the tuning, but it's pretty midrange. It's not as bass-y as the more modern Ouds.
The Kwitra has a reentrant tuning..that means that the 3rd course is the highest. So, the 1st course is D, 2nd A, 3rd E but an octave higher than it should be, and 4th G in the normal pitch.
i began to learn oud on fa-fa tuning but i felt the high fa is like saz more than oud . but sometimes i feel like i need to use higher notes like naseer shamma (i mean without transposing) so what about the 7 string oud ? is it a good idea to combine both ?
My friend, the bass isn't actually gone. The Fa tuning depends on F note for a bass string. So depends on F as a leading note for most of maqams (Rast, Hijaz Kar, etc...). The same maqams you used to play on C note as a bass and leading note. (I also hate this tuning) 😂
Hi Brandon, you can order the Oud from info@sultaninstruments.com. I have a coupon code, you can email me at support@oudforguitarists.com and I'll tell you how to use it.
The "iraqi" style tuning F-F I think (heard the story not sure if it is true or a legend) it has been introduced by Munir Bachir when he tried to compose a melody for Feiruz and wanted to adapt the instrument to her voice. I agree with you otherwise Oud is an Alto instrument tuning it F F makes it Soprano. I even like it better when the oud is tuning half step below: Si to Si it sounds much wormer.
What I'm more curious about is why his brother Jamil used Sol sol tuned Oud... and his was always a fixed bridge Oud too. I agree, there is something magical about tuning an Oud a half step lower. I have 2 of m Ouds tuned like that right now.
I really think that C to C is wormer which is what i like, and it's what Arabic(eastrn) music strong at... I'd like to add that the F to F is used mostly by Iraqi musicians because their ideology in playing and composing is different, and they're mostly into extremely high technic music, so it's mostly about preference really If you like C to C then see Tariq Al-jundi he's Jordanian oudist who uses C to C in extremely worm yet technical style i think you'll like him alot
I don't know. Anouar Brahem uses this tuning and his music is beautiful, i would say it just really does depend on what type of music you want to play and what you're used to. Your point of view seems sort of biased. The way you put it sounds like you automatically suppose that your viewers play/learn classical arabic music repertoire, and while that makes sense regarding your educational efforts (which i highly value) , i maybe wouldn't dogmatize this tuning for the viewers as ''without a bass/lacking the essence of oud.'' Again, take Brahem for reference. Munir Bashir used it also (in a bit of a different version).
It is biased. I am trying to target classical Arabic types. I like some players that use Fa Fa tuning like Said Chraibi. Not a huge fan of Brahem's work for some reason. But I like Munir Bashir's work. I'm not so against this tuning, and I have students that use it. I personally don't enjoy it.
Happy to help. I don't understand your question, can you clarify? D to D is the tuning or are you referring to maqam Hijaz starting on D and ending on the octave D?
@@OudforGuitarists Thankyou for your reaction. I mean is there a difference in positioning your fingers in the F-F from the positioning in D-D tuning? or is it basically the same?
Hi Navid , Qassabji used the hi F back in the 30s , Sumbatti also used it sporadically in the 50s . I can talk endlessly on the various tunings , Sumbatti changed the lower G to E in his Ashwaq Qassida . And in fact Sumbatti & Qassabji would change A to a B when playing Kurd C , I would leave you guessing ! Simon & I despise the hi F , and why is it that most players with hi F finding themselves playing Nahawand / Adam / Rast on F as if the lower register is obsolete! Imbeciles .
I agree 100%, me too, I do not like the Ff tuning, maybe some guys wanted to bring the 3ud closer to the guitar? I don't know. An 3ud is a bass instrument and as u showed too high tones do not sound 3ud-like anymore.
That's a really good point. I'm sure it is better on a better Oud, but I've tried Fa Fa tuning on all my Ouds, Dimitris, Yildirim, and also my Iraqi Faik Fadhel Oud which is higher quality. Still didn't enjoy it.
As a guitar player learning the oud it seems reasonable that having a 7 course oud gives the player the option to play traditional Do - do music as well as Fa-fa. I don’t have a knowledge base of traditional Arabic oud music but I am more drawn to the deeper base resonance compared to Fa-fa tuning. It seems that a 7 course ELECTRIC oud would allow for more sound experimentation; however, that may seem a bit offensive to the traditionalist. This is akin to the 4-5-6 string bass guitar arguments. And what makes music so powerful 😀
I should have discussed 7 course ouds here too. While I'm not opposed to it, I don't think it's necessary in the grand scheme. But I know some people who love it. I think this comes from my background starting on a 5 course Barbat. So 6 course is more than enough for me,lol.
Lowering the tuning on any Arabic oud from standard makes it sound better regardless of tuning. I don't know why we insist on continuing to use C-C or F-F.
Absolutely true, Oud is all about the warmth you feel the instant you hear it play.
Indeed
I've heard Naseer Shamma say that tuning the A to C is to make it easy to play chords on oud, and he does play a lot of chords in his music. Also, one argument I've heard is that because oud is almost muted when it's accompanied by other musical instruments, this tuning, along with transposing maqams, makes it more audible.
Yes the Oud is difficult to mix with an ensemble, especially when there is more than one violin! Why so many violins!?? Stick to the takht.
I have my Sukar tuned F-f and Turunz C-c. I realized at one point I probably should have had them the other way. I did the F-f so I can play a couple of songs, which now I can do on C-c. I agree with what Navid is saying. In my case, it's even worse because I'm not that great at playing, and going back and forth between the two is confusing my finger muscle memory because of the shifting down or up. I'm now convinced CFADGC on both is the way to go. My Turunz is Arabic braced, so it came CFADGC.
When you talk about this tuning, it's a must to mention the great Munair Basher because he's kind of invented this tuning.
In my opinion I find it disturbing if I see this tuning on a fixed bridge Oud it loses the whole idea of the power of sound.
Hi Navid. As I've mentioned to you before, I have a 7-course Iranian oud that I tune, as the luthier suggested, C-to-F (low to high). so the lower strings are just your (good) tuning C-to-C, but this tuning provides for the higher frequencies, as one maybe would desire. The finger board is a bit wider than my 6-course, but with a little warm-up I get used to it. The higher frequencies add a little more fun, more "spice". For anyone wanting the higher frequencies but still wanting the resonant low frequencies, a 7-course may be the answer. Oh, I never once considered fish string!
I once saw an oud from Iraq, played by a kurdish guy, who was also 7 courses, and also C to F, so it seems that both iranian and iraquee use that tuning for 7 courses ouds.
Thanks Navid for info.
Thanks for watching.
well, there is a reason why F tuning is important.
based on my research, there were 2 schools of tuning the Oud.
the one reflected in al-kindi's writings focuses on the bass, tuning the gut Bamm to "lowest male voice" (roughly A), which would give a zir on C4. This tradition later included a fifth "hadd" string on F4. But the second tradition found in Ikhwan as-Safa and later Iranian sources, focuses on the sharpest sound possible from early on; thus, a Rast on an "iranian" F fits perfectly with Tar and Setar's natural Rast position on the F fret.
I have wondered why this tuning is not used more often by Persian oud players. That's interesting. I'd like to learn more about that.
@@OudforGuitarists well, it’s most likely because there aren’t many publications about this in Farsi. “Der Bau der Laure” by Neubauer is a good source. But also Stefan Hagel’s “Al-ʿūd, pípá, Lute: An Ancient Greek Perspective on Their Prehistory”.
The tuning of Oud is a relatively under-researched topic. For instance, up until 16th century, Iranians used many tunings for each maqam; for example they when played Rast a fifth higher than usual, on zir (c), they called it “şadd-e pahlavan” and tuned from Bamm to Hadd: ~C, D, G, C, F. This is a very familiar tuning now, but it’s used for rast on Hadd and not on Zir. One source gives 25 such tunings, another 31. Maraghi gives 1000!
I feel like the low base tunes is what gives most ouds its character. Never played with the high F.
My first oud was c-c then I went to FADGC (5 strings) which is probably the most common found in the khaleeji region. Except in the UAE, they use the high F a lot.
Indeed!
I like Fa to fa. It's kinda like standard tuning on a guitar except the two high courses are put higher to make scales symmetrical.... except for the Fa bass string which is okay because I mainly use it for droning.
I think the extended range w/ 8 (or more) Courses would give you more versatility
I'm still discovering and attempting to master new music to play on my six courses. I think I will need another lifetime to explore any more.
@@OudforGuitarists Tablature would help and guide lines on the fingerboard might help
Thanks Navid, very informative as always. The Godin Multioud uses the F to F tuning and sounds okay when amplified and played softly but no comparison to the Yildirim. I see your Arabic Oud has a double bass string so it must have twelve pegs? Have completed Foundation 1 course now, greatly enjoyed and easy to follow - but I will need to go back over it again before moving on to Foundation 2 as am learning to read the notation - always been a block to have to think rather than just play by ear but finding it surprisingly easy. Seem to be developing an ear for the scales on the fretless neck much better - learning in a way that the guitar didn't provide - but it is having a spill over effect on the guitar playing. Wish I had started all this forty years ago .....
Sounds great Robert. And it's never too late to learn.
Wise words indeed thank you. As I immerse myself in a variety of instruments this truth is revealing itself day by day. I pick out a melody on the guitar transpose it to the Oud from there to the sitar, the Rudra veena and flute - I’m so in love with music it aches my soul. Now I am learning the cello and double bass, each instrument with its own sweet voice
@Robert Becker: ditch the sight-reading. It is a huge waste of time. Develop your ear instead. Any trained monkey can sight read. Real musicians pick up a tune immediately, by ear. It is the difference between a boy and a real man. Moreover, Arabic music thrived for centuries on being passed on through oral tradition - playing by ear by any other name - and only adopted notation in the 20th century in a useless and misguided attempt to keep up with the Joneses - Western Europe. Do you wanna compare the satisfaction derived by learning a piece all on your own with your ear and knowledge as the sole aid tool with a piece of paper, sometimes even written wrongly? There is no contest....I will leave you with an anecdote.concerning Yehuda Menuhin (no slough on the fiddle) and the immense sitarist Ravi Shankar. They recorded an album together, "East meets West" and you can read it in the original liner notes in a restrained versiion. He recounted the story in selected interviews and friends. It was one of the few times where Menhuin truly felt tiny and amateurish. Ravi could not read one written note, yet he could play.everything, everywhere, anytime, seemingly pushing a switch. Yehuda could not improvise nor coming up with ideas on the spot. He had to have everything written down. You could argue that Western and Hindustani music have different purposes. Yet Yehudi Menuhin walked out of the sessions with this distinct impression: he played music. Sometimes well, sometimes less so. But Ravi, no music notations, he could pick up the sitar And shake a room according to his mood of the moment. And for a fleeting moment, Yehuda felt he had wasted all those years pouring over written notes. Because all that had made him someone who could play music and who played music. But Ravi....Ravi WAS the music!
@@MrGiorgioud Wise words indeed thank you. As I immerse myself in a variety of instruments this truth is revealing itself day by day. I pick out a melody on the guitar transpose it to the Oud from there to the sitar, the Rudra veena and flute - I’m so in love with music it aches my soul. Now I am learning the cello and double bass, each instrument with its own sweet voice
Same same. Oud is all about that bass. But some of my favorite oud masters Nasser Houari and Munir Bashir both use high F tuning. Interesting that some of the most famous Iraqi and Morrocan oud players both use this tuning when they're so far apart geographically.
Indeed. I do also enjoy Nasser Houari and Munir Bashir's work.
He's good with the instrument. One day, I'll play like this - 100 year from now :)
May I ask what the names are of those oud players that you listened to when you began playing? "Hamsaldin" ? also Hussein...B....(persian) ??? I am curious and would like to listen to them as well
Hamza El-Din (Nubian), Hossein Behroozinia (yes, Persian), & Said Chraibi (Morocco)
Hey navid, im intrested in ur opinion on tuning the base F to E, i found it really beautiful with kurd and hijaz on MI. ❤❤❤ thanks
Sure it can work well for those. But I don't know any situation that I would need to use it.
Hello，where could I purchase the second oud（Do-Do），I really like its sound！ Thanks！
sultaninstrument.com
Thanx! Could you tell me where you got you C tuned Oud from? Looks cool, and sound's beautiful!
yildirim
another thing to note is in middle eastern ensembles the oud plays a mid to low role, it's almost like the bass of a jazz trio or the theorbo of a baroque ensemble. So this tuning makes you lose so much of that and gain nothing in exchange, I mean there's setar, Saz, Kanun, santoor, so many other string instruments that have way better upper notes and specialize in those anyway.
Agree with you all the feeling of oud is in its bases, and tuning c
THanks for your comment.
Would you recommend doubling bass C on a 12 string oud? Or am I better off with keeping the C single? I find myself most comfortable with CFAdgc. Not too fond of the F-F tuning as it seems to be more imitating of guitar in regards to higher sounds.
It sounds fine with one string. It doesn't need to be doubled, but it's possible to do. Just need to buy an extra string. You need to set it up properly so the string doesn't jangle and interfere with each other.
Hello, I'm from Ecuador, what strings can I put on the Oud, Bashir tuning, strings for GAlta gg-gg-dd-aa-ee-dd,
I don't know. You should contact a string company to get a custom set.
In North Africa, they still play the old 4 course Oud, known as a Kwitra in the local dialects.
I don't know about the tuning, but it's pretty midrange. It's not as bass-y as the more modern Ouds.
Indeed.
The Kwitra has a reentrant tuning..that means that the 3rd course is the highest. So, the 1st course is D, 2nd A, 3rd E but an octave higher than it should be, and 4th G in the normal pitch.
i began to learn oud on fa-fa tuning but i felt the high fa is like saz more than oud . but sometimes i feel like i need to use higher notes like naseer shamma (i mean without transposing) so what about the 7 string oud ? is it a good idea to combine both ?
Well, if you like the sound sure. But I still think the high ff string starts to make the instrument sound too different for my taste.
My friend, the bass isn't actually gone. The Fa tuning depends on F note for a bass string. So depends on F as a leading note for most of maqams (Rast, Hijaz Kar, etc...). The same maqams you used to play on C note as a bass and leading note.
(I also hate this tuning) 😂
Yes that's fair.
I tune my oud to the piano from E to F. I like that better then F to F
What Oud is your Do to Do, where can I buy one like yours?
Hi Brandon, you can order the Oud from info@sultaninstruments.com. I have a coupon code, you can email me at support@oudforguitarists.com and I'll tell you how to use it.
If you dont like the soud of high pitch notes from the oud try to listen to abady al-johar song called dokhoon
دخون
Thanks. I really like Abadi
The "iraqi" style tuning F-F I think (heard the story not sure if it is true or a legend) it has been introduced by Munir Bachir when he tried to compose a melody for Feiruz and wanted to adapt the instrument to her voice.
I agree with you otherwise
Oud is an Alto instrument tuning it F F makes it Soprano.
I even like it better when the oud is tuning half step below: Si to Si it sounds much wormer.
What I'm more curious about is why his brother Jamil used Sol sol tuned Oud... and his was always a fixed bridge Oud too.
I agree, there is something magical about tuning an Oud a half step lower. I have 2 of m Ouds tuned like that right now.
Agreed. I tried it on a Turkish oud, it just never clicked.
Thanks for watching and your comment.
I really think that C to C is wormer which is what i like, and it's what Arabic(eastrn) music strong at... I'd like to add that the F to F is used mostly by Iraqi musicians because their ideology in playing and composing is different, and they're mostly into extremely high technic music, so it's mostly about preference really
If you like C to C then see Tariq Al-jundi he's Jordanian oudist who uses C to C in extremely worm yet technical style i think you'll like him alot
I joke.. but by technical do you mean obsessed with arpeggios?
Indeed, Tariq is great. Fantastic artist.
The second Oud is real worthy
Indeed.
I don't know. Anouar Brahem uses this tuning and his music is beautiful, i would say it just really does depend on what type of music you want to play and what you're used to. Your point of view seems sort of biased. The way you put it sounds like you automatically suppose that your viewers play/learn classical arabic music repertoire, and while that makes sense regarding your educational efforts (which i highly value) , i maybe wouldn't dogmatize this tuning for the viewers as ''without a bass/lacking the essence of oud.'' Again, take Brahem for reference. Munir Bashir used it also (in a bit of a different version).
It is biased. I am trying to target classical Arabic types. I like some players that use Fa Fa tuning like Said Chraibi. Not a huge fan of Brahem's work for some reason. But I like Munir Bashir's work. I'm not so against this tuning, and I have students that use it. I personally don't enjoy it.
Is there a difference in Maqamat/Hijaz in this tuning from D to D? Great video and keep on posting you’re helping me a lot!’ 🙏🏻
Happy to help. I don't understand your question, can you clarify? D to D is the tuning or are you referring to maqam Hijaz starting on D and ending on the octave D?
@@OudforGuitarists Thankyou for your reaction. I mean is there a difference in positioning your fingers in the F-F from the positioning in D-D tuning? or is it basically the same?
@@maranmagedwelson3580 OH, by D-D you mean Do-Do (solfege "Do"). The positioning is the same, but your fingers reach a little differently.
@@OudforGuitarists Okay Great that's all! Thanks a lot for your videos en explanations!
@@maranmagedwelson3580 You're welcome. Thanks for watching.
Which strings do do you use?
All kinds. Really strings don't matter that much in my experience. Each Oud sounds better or worse when using different sets.
How did Farid al Attrache tune his oud?
He tuned FADgc (5 courses) as far as I know. He also tuned a half step or more lower to accomodate his voice.
@@OudforGuitarists you are 100% , this what Fareed did . Only once he used hi F in a song he wrote to the great Lebanese singer Sabah , فستان العروسه
Hi Navid , Qassabji used the hi F back in the 30s , Sumbatti also used it sporadically in the 50s . I can talk endlessly on the various tunings , Sumbatti changed the lower G to E in his Ashwaq Qassida . And in fact Sumbatti & Qassabji would change A to a B when playing Kurd C , I would leave you guessing ! Simon & I despise the hi F , and why is it that most players with hi F finding themselves playing Nahawand / Adam / Rast on F as if the lower register is obsolete! Imbeciles .
I know you have enough stories and knowledge to fill several books. It was a great pleasure talking to you at the retreat.
شو مشان انو انا كتير عجبني صوت العوت لما دوزن وتر فا القرار لاصلو اللي هو ( مي ) حسيتو كتير حلو ب كرد المي وحجاز المي ❤❤ بس رجعت لل فافا بسبب التمارين والمقطوعات
merci
You are welcome.
Dear Navid, I'm just curious have you heard any Armenian-American oud players?
Yes, of course. It's not my go-to thing, but there are a bunch of great Armenia-American Oud players. Why?
I tune to EADGCF
I agree 100%, me too, I do not like the Ff tuning, maybe some guys wanted to bring the 3ud closer to the guitar? I don't know. An 3ud is a bass instrument and as u showed too high tones do not sound 3ud-like anymore.
Hi Robabnawaz, nice music you have there. Thanks for your comment.
@@OudforGuitarists you're welcome, I follow your chanell too :-)
Navid, You didn't like f tuning because u r using fixed bridge oud, and a low quality one
That's a really good point. I'm sure it is better on a better Oud, but I've tried Fa Fa tuning on all my Ouds, Dimitris, Yildirim, and also my Iraqi Faik Fadhel Oud which is higher quality. Still didn't enjoy it.
I created my own tuning, from high to low: F C G D A C . It's still tuned in fifth excepted for the low C
That's interesting. I've tried to imagine a tuning in fifths but I lost the ability to play certain juicy ornaments.
432khz old oud tunning
is that right?
As a guitar player learning the oud it seems reasonable that having a 7 course oud gives the player the option to play traditional Do - do music as well as Fa-fa.
I don’t have a knowledge base of traditional Arabic oud music but I am more drawn to the deeper base resonance compared to Fa-fa tuning.
It seems that a 7 course ELECTRIC oud would allow for more sound experimentation; however, that may seem a bit offensive to the traditionalist. This is akin to the 4-5-6 string bass guitar arguments. And what makes music so powerful 😀
I should have discussed 7 course ouds here too. While I'm not opposed to it, I don't think it's necessary in the grand scheme. But I know some people who love it. I think this comes from my background starting on a 5 course Barbat. So 6 course is more than enough for me,lol.
I'm sorry pakehas, I can't tell you what "fa-fa" means..
Does it have something to do with fa'afafine? Or I confuse it with Samoan? 😅
OK, now I'm really curious
@@jakubbaran28 whāwhā means to feel with the hands, it is a PRINCE TUI TEKA joke... Check out his video of When The Last Teardrop Falls on UA-cam.
@@jakubbaran28 and yeah fa'afafine is Samoan
@@Hyderomastgroningem0 aaaah I was trying to find the word in the web but I forgot in Maori "f" is "wh"
I'll check that video.
i use D E A D G C
That tuning works quite nicely too especially when playing any maqam in D.
I use this tuning too!! I learn the oud in Tetouan, Morocco.
Interesting. I arrived at DFADGC. Also, thanks Maestro for your videos. You seem very cool.
@@masonhancock5350 interesting
@@masonhancock5350 DFADgc is also a pretty stellar tuning. Thanks for watching. Glad you enjoyed.
هالشب بيحكي عربي شي يا جماعة ؟؟
Lower the higher f dow to e, U'ill see...
Lowering the tuning on any Arabic oud from standard makes it sound better regardless of tuning. I don't know why we insist on continuing to use C-C or F-F.
@@OudforGuitarists F,A,D,G,C,E: Try this one.
@@davidschaaf114 huh, why? 3rds throw off everything. It's bad enough with the F and A string side by side.
@@OudforGuitarists that's true, that is why if you want to use it, u gotta get a new structure of playing... But u're right.
@@davidschaaf114 how does this tuning benefit you in the way you use it?