#Luxury Oud instrument

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The Difference Between Arabic and Turkish Ouds

You may have heard of Arabic or Turkish ouds. But what exactly is the difference between these two types of ouds? Read on to learn about the differences between these two types and their respective properties. And then, decide whether you want to purchase an Arabic oud or a Turkish oud. Listed below are a few things to consider when you're shopping for an oud for sale. This article also covers what makes each type of oud special. Turkish oud When you're looking for a Turkish Oud for sale, you'll need to consider its tone and size. The Turkish Oud is the most popular choice, as it is played in North African and Near Eastern music. This lute is typically made with 11 or 12 strings, with five double-courses. These instruments are well-known for their low string action, which allows musicians to play them comfortably. The low action also gives the oud an easy-flowing feel. The Turkish Oud features eleven strings, with 10 of them paired up and the lowest string remaining single. The peg box is bent back at 45 to 90 degrees. The Turkish Oud also has 1-3 sound holes, which are oval or circular and symbolize the celestial bodies. This instrument is made with all-natural wood and is perfect for any level of player. It also features a decorative fingerboard and pickup. Its low-string action makes it easier to play, while its bright, mellow tone makes it a perfect accent piece for any home. Arabic oud While the exact location of the origin of the Arabic oud is unknown, it is one of the oldest musical instruments in the world. The Arabic oud is one of the earliest string instruments, dating back to around 3,000 BC in northern Syria. The instrument looks similar to a lute, but plays very differently, having eleven strings instead of 10. Although it has a similar appearance, each type has a unique energy. Learn more about the difference between these two instruments, as well as how to spot a quality one. When buying an oud, the first thing to do is to research the instruments. Find out the origin of the instrument. Ouds come from different regions of the world, including North Africa, Lebanon, Iraq, Iran, and Turkey. A good place to start is a YouTube search for ouds. Listening to these musical instruments will help you make an informed decision on what type to purchase. In the end, you will have an excellent instrument to play for years to come. Egyptian oud

If you're searching for a fine quality Egyptian oud for sale, then the DarubukaPlanet collection is the right place to start. Their collection contains the best makers, including Gawharet El Fan and El-Masry. The Oud, a fretless stringed instrument, is unique in appearance and sound, and each of these instruments comes with a gigbag for safe transportation. The Turkish Oud is easy to spot. Its fingerboard and soundboard are flush with each other, making it easy to identify. Most Turkish Ouds have a tiny ornament on the soundboard, which looks like an extension of the fingerboard. Some Turkish Ouds have the same ornament, but not all. Luxury Oud instrument They are slightly smaller than their Arabic counterparts, measuring approximately 58.5 cm from bridge to nut. They also have fewer strings, which makes them more versatile. Synthetic oud If you're considering buying Oud for your perfume or cologne, you may be wondering how to tell if it's genuine or synthetic. The price range for Oud is huge, with high-grade Kyara costing upwards of $1000 per ounce. A good synthetic equivalent, however, is much cheaper. The difference between the two comes down to the process used to create the oil. Let's take a closer look. First, we'll cover the differences between natural and synthetic Oud. Natural Oud is rarer and more expensive than synthetic versions, and the most expensive ones are harvested by barefoot virgins in the Laotian mountains. However, the higher price does not always translate into quality. A good synthetic will cost a few bucks, but probably not double as much. Luckily, there are a number of synthetic alternatives.

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How to Change the String on the Oud Instrument

If you've been wanting to play the oud but don't know which string to use, read this article. You'll learn how to change the string on the oud instrument in just a few simple steps. First, unwind the strings at the pegs. Next, untie the loop on the bridge. Now, tie the new string in the hole of the bridge with a knot made of two or four loops. Once you've finished, wrap the new string around the peg. Turkish oud The Turkish oud is an acoustic instrument with a width of about 14.5 inches and a length of about 32 inches. The instrument features eleven wooden pegs and is shaped like a long neck. Luxury Oud For sale It has three Rosette sound holes and a realistic tone that's neither too thin nor too loud. This instrument was developed by combining Persian and Arabic styles and has been played throughout history. It is a popular instrument for classical music performances and is often compared to the lute. The oud's shape is derived from the shape of a gourd or pear. The instrument's soundboard is made of a soft wood, such as ebony or gypsum, which has enhanced resonance. The soundboard has three sound holes, usually adorned with a pattern known as purfling. The resonator is a bowl-shaped body made of between fifteen and twenty staves of wood. Common woods used to make a Turkish oud instrument include walnut, maple, padauk, and mahogany. Arabic oud The Arabic oud is a stringed acoustic instrument with five pairs of strings and a bass string. The strings are tuned in harmony, with C, F, A, D, and G making up the most common tuning. The instrument's shape and sound are dependent on the wood used in its construction. Traditionally, the oud's strings were made of animal gut. Modern versions use plastic or tortoise shell as plectrums.

The Oud is played with a plectrum, but is also possible to play it with an acoustic guitar. Its sound is unique to the Middle East, and it can be heard across the region. Oud instruments are often used as special replacements for guitars or acoustic guitar. A number of Palestinian artists have also used the instrument in their music, including Kamilya Jubran and Omar Sadeghi. Persian oud The Persian oud is a unique and beautiful stringed instrument, with a bowl structure similar to a half pear. The bowl part is made of hardwoods, with the dorsal side of the instrument comprised of twenty or more equal parts. The plectrum is also longer than other plectrum instruments, and is held in between the fingers. Oud music is a popular genre in Iran, Azerbaijan, Greece, and Armenia. Oud music is known for its full and warm sound, unlike other stringed instruments. Thousands of Ouds landed in Iran in the early 2000s, mostly from Turkey and Syria. In this period of liberalization, Iran had a thriving arts scene. While the Shiite clergy places importance on religious jurisprudence and the close study of the Koran, the arts scene in Iran has experienced a rebirth of sorts. Today, artists like the Tunisian Dhafer Youssef have woven Persian poetry into his classical repertoire, which has given Persian musicians a place in many international orchestras.

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How To Sell Mystical Noir To A Skeptic

Perfumes and fragrances have captivated our senses for centuries, enveloping current trend of niche perfumes us in the planet of delightful aromas and evoking impressive thoughts. From ancient civilizations to modern day-day indulgence, the art of perfumery has advanced, nevertheless its attract continues to be unchanged. In this article, we embark with a fragrant journey, Discovering the intricacies of perfumes, the tricks of scent composition, plus the impact of fragrances on our lives. Be a part of us as we delve to the enchanting environment of perfumes, unraveling the mystique powering their creation, and celebrating the profound connection concerning scents and our senses.

The History of Perfumes:

The origins of perfumery could be traced back again A huge number of years, with historic civilizations like Egypt, Mesopotamia, and India harnessing the power of scent. Perfumes were being treasured for their sacred and luxurious features, used in religious rituals, as choices to deities, and as adornments of royalty. The procedures of extracting fragrance from botanical resources, such as bouquets, resins, and spices, have been created, laying the muse for that artwork of perfumery.

Perfume Composition: The Artistry Unveiled:

Making a perfume is a delicate combination of science and artistry. Perfumers, often called "noses," meticulously Incorporate many aromatic components, referred to as notes, to compose fascinating fragrances. The perfume pyramid is made up of three layers: major notes, coronary heart notes, and base notes. Best notes are definitely the Preliminary, fleeting scents that greet our senses, while dolce gabbana velvet desert oud perfume coronary heart notes kind the Main on the fragrance and linger for an extended period. Foundation notes present depth and longevity, rising following the Original dry-down.

The Impact of Fragrances on Emotions:

The power of scent extends much past its aesthetic appeal. Fragrances Use a profound impact on our feelings and perfectly-staying. Sure scents can evoke nostalgia, transport us to distant Recollections, or uplift https://en.wikipedia.org/wiki/?search=click here our spirits. Lavender, for instance, is renowned for its calming Qualities, though citrus scents invigorate and energize. Fragrances can enhance our temper, Increase self confidence, and in many cases develop a perception of sensuality. Perfumes serve as particular signatures, making it possible for persons to express their distinctive personalities and evoke particular feelings.

Perfume Sorts and People:

Perfumes could be categorised into several varieties and households based on their own focus of aromatic oils. Eau de Cologne, Eau de Toilette, Eau de Parfum, and Perfume (Parfum) vary in their oil nuudelipelti focus, with perfume obtaining the highest and longest-lasting depth. Fragrance households include things like Floral, Oriental, Woody, Citrus, Chypre, and Fougère, Every single characterized by particular notes and olfactory experiences. Exploring unique https://en.search.wordpress.com/?src=organic&q=click here perfume family members can open doorways to an enormous assortment of scents, catering to numerous preferences and situations.

Perfume as a Type of Self-Expression:

Perfumes usually are not merely accessories; They may be powerful instruments of self-expression. Equally as we meticulously pick out our apparel, the choice of fragrance can discuss volumes about our identity and magnificence. No matter whether picking a Daring and seductive scent, a clean and invigorating aroma, or a fragile and intimate fragrance, our perfume gets to be an extension of ourselves. It leaves an indelible perception on Other people and serves as a personal olfactory signature, https://www.washingtonpost.com/newssearch/?query=click here uniquely defining who we're.

Conclusion:

Perfumes and fragrances are intricately woven into The material of our life. They transportation us to incredible realms, evoke highly effective feelings, and turn into a part of our id. The art of perfumery proceeds to evolve, pushing the boundaries of creativity and innovation. As we discover the enchanting environment of scents, allow us to embrace the myriad fragrances that encompass us, enabling them to complement our encounters, uplift our spirits, and generate lasting memories. So, let your senses be captivated by the beauty of perfumes, and will your journey throughout the fragrant landscape be an intoxicating a person.

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What to Look For in a Luxury Oud Instrument

If you are looking for a luxury oud instrument, there are many options available. From Ritter Instruments' Royal series to a 10,000-year-old piece by Mohammed Fadel, there is a high price tag attached to luxury instruments. But what exactly should you look for? How does a luxury instrument compare to other similar instruments? Here are a few tips. Hopefully you'll find this information useful! Oud instrument After all, the oud is one of the most important instruments in a musician's collection. Ritter's 'Royal' series The quality of an Oud's sound depends largely on the quality of the wood used in its construction. A high-quality Oud will have an ebony or silver-coated fretboard, a spruce neck, and a fingerboard made of ebony or silver. The wood used in an Oud's bowl is typically walnut or maple, and the instrument's body is made from a variety of hardwoods. Mohammed Fadel's oud If the Oud was a luxury, would we still be interested in it today? Perhaps the answer would be no. But what's with the current obsession with the Oud? Why would someone spend money on one? It might be because the Oud is such a luxury item? Or perhaps it's because the Oud is so important to Iraqis that they want to play it as often as they can. Craftsmanship involved in making an oud There are many important steps involved in the crafting process of an oud, including the selection of the right wood, the creation of templates, and the application of the correct finishing. A skilled maker will make sure the fretboard is completely flat and straight to prevent buzzing sounds and ensure the Oud will play beautifully. Another important step in the crafting process is the hand-sculpting of the bridge. Once these are completed, the Oud is ready to play! Loudness The main difference between a luxury Oud instrument and its cheaper counterpart is the sound it makes. Loudness of an Oud depends on several factors. The sound quality depends on the materials it's made of and the workmanship of the instrument. While good materials are important, if the workmanship is not balanced, the sound is likely to be low and ineffective. The cover board, keyboard, and augers are all important elements that contribute to the volume of the sound. If you're looking for a high-end instrument, you should look for a lighter instrument. Sound quality If you're looking for an Oud that is going to sound amazing, look no further. The Oud is a traditional instrument with an elongated body and a rounded back. Its soundboard is a flat sheet of wood that is enclosed by a rosette of 15 to 25 strips. These strips provide vibrations and create a warm, full tone. Ouds are a unique musical instrument that offers endless creative potential.

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The Characteristics of the Oud

The oud is a traditional musical instrument with several distinctive features. Its fingerboard is adorned with exquisite designs and its soundboard is remarkably thin. It has 11 strings and smaller sound holes. When played, the sound produced by the instrument is exceptionally bright and clear. Many players of the oud have won the hearts of audiences all over the world. In this article, you will learn about the various characteristics of this instrument. This article also introduces the famous players who played the oud. Luxury Oud instrument Lessons to learn to play the oud If you want to learn to play the oud, you must set goals and devise a plan for reaching them. These goals will guide your learning process, and you must keep practicing to improve your skills and become a proficient player. Oud lessons should be conducted in an environment where you can practice anywhere, and your instructor should be available for any questions or corrections. The following are some tips to succeed in your studies. Before you begin your lessons, you should have a basic understanding of how the instrument sounds and is held. Then you can learn how to pluck the strings with a plectrum or Risha. Once you know how to hold the Oud, you can move on to Lesson 1. You can also opt to take private lessons if you want to play this instrument. You can also join the Oud for Guitarists newsletter and receive the first Lesson. Characteristics of the oud The Oud is a traditional Arabic stringed instrument. The back of the Oud is made of strips of wood. The strings are tuned to create the traditional Arabic maqam music. The Oud has many musical applications and has been adopted in numerous musical cultures of the Middle East, North Africa, and Europe. Listed below are the main characteristics of an Oud. - A wide tonal range. - A staved bowl-like body and two or three sound-holes on the instrument's sides allow the instrument to reverberate and produce complex tones. Ouds generally have one to three sound-holes that are oval or circular and may be decorated with bones. They can range from soft, warm, and airy to harsh and powerful. The Oud is an essential part of Middle Eastern music, and its distinctive sound is often a signature of Middle Eastern and Arabic music. Tuning of the oud The Oud has five pairs of strings, one of which is the bass string. Generally, this instrument is tuned to C, F, A, D, and G, making perfect fourths. Historically, the string is made from animal gut, but the risha is now made of plastic or tortoise horn. Many Oud players use slightly different tunings to suit their own style. Here are some differences between the tunings of two Ouds: The tuning of the Oud instrument varies by region. The Turkish or Arabic tuning is the most common. It is a fourth above where the instrument is played and allows for a wide range of lower tones and echo. It is important to choose the right strings for the Oud based on its brand and manufacturer. To do so, consult a reputable seller for the Oud. If you are uncertain, use the Turkish or Arabic notes to get the best results. Famous oud players While most people associate the oud with classical music, there are actually many notable artists who use this instrument to create a completely unique and captivating sound. Here are some of the most notable names in the music world: Saddam Hussein's brutal regime caused many to lose limbs, and among the casualties was Iraqi oud player Ahmed Fayaq, who lost his right arm during the war. Despite his disability, he promised to play the oud with his left hand. Now, he performs with his left hand and lobbies Arab governments for assistance in the country. But not everyone is so lucky.

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An unfinished obit for Leo Sarkisian (January 4, 1921 – June 8, 2018): Leo Sarkisian arrived home from World War II as a man in his mid-20s with nine battle stars including a bronze star “for meritorious service” and initiative, energy, and perseverance. He had volunteered straight out of art school in September, 1942 and for a year a half had been a topographical cartographer for the U.S., stationed in Algeria as part of Engineer Intelligence Services. Because he had been tasked with studying overhead photographs of German bases in Salerno, he was sent in with the Commandos in Italy because he knew the lay of the land. He walked in with the assault. A third of the U.S. force died. He had seen that – friends his age. The war over, Sarkisian lived first with his uncle, a dry cleaner, in New York City on 8th Avenue near 24th Street. His uncle got him a job as an illustrator – magazines and books – during the day. Lots of Armenians were engravers and illustrators. At night, he went out and listened to music and drank and blew his wages in jazz clubs in the Village listening to Artie Shaw, Lionel Hampton, and Vido Musso, Benny Goodman’s Italian tenor saxophonist. Leo had always been a clarinetist himself and played jazz. Then there were the “oriental” clubs up and down 8th Ave, where music in Turkish, Greek, and Armenian thrived among the immigrants - The Egyptian Gardens, The Brittania. The music there was close to the music from childhood in Lawrence, Massachusetts, where the older Armenian men played oud, violin, zurna, and dumbek and sang Ottoman folk songs in Turkish, listening to Marko Melkon and “Sugar Mary” Vartanian, and Louis Matalon, Sephardic Jew at whose side Leo often sat, watching him play the 72-string dulcimer, the kanun. That was when Leo wasn’t throwing money at the dancers or ordering another drink. And it was like the fleeting, fun nights in Rabat and Casablanca when Leo had heard Arabs playing the same instruments with bellydancers. There was one night when he had been chased off by the French police because the music “stirred up the locals.” There was another when he had a moment of stardom because he, an American G.I., had gotten up and played oud and rocked the house. A bellydancer had wrapped her arms around him because played a song he knew from back in Lawrence. The nightclubs in New York were for the weekends. Weeknights were all in the New York Public Library. Four nights a week, Leo read anything about music from Asia and Africa. There he saw patterns of expansion of instruments and ideas. The kanun and its scales travel from here to there. One instrument travels to another place. A local instrument replaces it, but the idea of how it’s played remains. There is a connection from the Ottoman Empire to the Arab world. Then, Africa to India and China… There is a deep musical connection among all of these people, including a boy from Lawrence, Massachusetts who feel compelled under the city’s lights to understand how his own feeling of music connects so many other people. “I don’t know why,” he told me in 2014, when he was 94 years old. “I’m reading, reading all this stuff. There was something in me that I had that feeling that whoever wrote those books didn’t really have that feeling… Even if someone does get a degree in music and stuff like that, there’s something between – under – inside of you. They can’t get that.” Leo’s father arrived through the port of Boston from Diyarbekir in present-day Turkey in 1901 with the great wave of Armenian immigration following the Hammidean massacres of 1891-96. A quarter of a million Armenians died in that wave of killings, twenty years before more than a million more Armenians were killed by Ottoman forces. That moment coincided with one of the largest waves of emigration to the United States that the country ever saw with Christians and Jews from Eastern and Southern Europe flowing in to just the port of New York, never mind Boston, San Francisco, or anywhere else, at a rate of 1,000 souls a day, week after week, year after year, decade after decade. Most of them came from Eastern and Southern Europe, meaning that most of them were not from the Northern European counties who were the culturally dominant ethnic stock of the U.S. That wave came only about forty years after the 14th Amendment to the Constitution of the U.S. gave equal protection to all naturalized (male) citizens to the U.S., including the right to vote. The existing Protestant majority of the U.S. took such a dim view of idea that the Catholic and Jewish immigrants might vote that Congress had hearings in which mid-Western eugenicist authorities argued effectively that the breeding stock of the U.S. would be diluted if a serious change in immigration policy were not implemented. With the 1896 Chinese Exclusion Act as precedent, in 1924, three years after Leo Sarkisian was born and nine years after the genocide in the Ottoman Empire, the Reed-Johnson act set quotas for immigrants by country of origin, based on a complicated set of mathematics aimed at keeping the U.S. ethnically stable and exactly as White as it ever was. 51,227 Germans were allowed to emigrate each year. 54,009 from Great Britain and Northern Ireland. 5,982 from Poland. Only 120 Armenians a year were allowed. Zero from Africa or Asia. Living in a room over beer joint in the Village in 1952, Leo showed a friend of his some notes he’d made on Central Asian music at the library. He’d made some smart connections between the descriptions of one imperialist traveler and other, and when Leo’s friend showed them to Irving B. Fogel of Tempo Records, a friend of Walt Disney’s whom everyone called “Colonel,” Fogel knocked on Leo’s door and asked him to move to Hollywood to work for Tempo. “You’re who I’ve been looking for,” Fogel said. Leo said OK and took with him an Armenian girl who had gone to his same high school in Lawrence but whom he’d met when they were both in the military. Tempo was largely a specialty label offering among the first muzak-type sound programs. After a year of luxury in Hollywood and working with great sound engineers, he worked on the hit record “Sweet Georgia Brown” by Brother Bones and the soundtracks of African Queen, and six Tarzan movies. Fogel decided to send Leo and Mary to record music in Pakistan, Afghanistan, and Burma for the label. So, in 1950, still in their late 20s, Leo and Mary went first to Karachi then in Lahore before pushing through the Khyber Pass in a jeep loaded with recording equipment, Budwiser and vodka to Kabul. They were treated as dignitaries, and Tempo released the 10” LP Drums Over Afghanistan from their efforts. That trip was Leo’s phD in listening to people – dignitaries and folks alike – hanging out with them, drinking, talking, digging music, and making friends. There were diplomatic problems with Russians, but nothing he couldn’t handle. On the way back across the subcontinent, he met and recorded Alludin Khan, Ali Akbar Khan, Bismillah Khan. There was a world of master musicians he had access to now for only the reason that he was American and had learned how to travel and to be good guest and cared deeply about music. Leo was learning to be a great ambassador for the U.S. At the same time, he was learning that wherever you go, you meet Armenians. Leo and Mary were greeted on New Year’s Day 1955 at the airport at Dacca, East Pakistan (now Bangladesh) by a delegation of Armenians who took him to the Armenian church and the cemetery, where they saw graves of Armenians dating to the 15th century. “The big guy looks out for me,” he told laughingly. “Because God is Armenian!” In 1959, Tempo relocated Leo and Mary, then in their late 30s to Ghana and then, about a year later to Guinea with an eye to creating African recordings for the American market. A knock came at their door in 1963 in their home in Conakry, Guinea. Incredibly it was Edward R. Murrow, who had been appointed head of the United States Information Agency by President John F. Kennedy. Leo and Mary invited Murrow in to listen to some of Leo’s recordings, and Murrow offered Leo a job as the Voice of America’s broadcaster for Africa. They were allowed two years to travel the continent to learn before Leo first broadcast Music Time in Africa in 1965 from Liberia where they lived until 1969, when they moved close to Washington D.C. For more than forty years, Leo broadcast African music to Africa and made many trips. He claimed to have visited every country on the continent, and he drew hundreds of faces. The Leo Sarkisian Library at the Voice of America now houses not only his LPs and CDs but also 10,000 reel-to-reel tapes that he made on his travels, including early performances by musicians who later gained recognition, Fela Kuti among them. It is for Music Time in Africa that he will always be remembered, among the pioneers of Western recordists of African music including the Opika brothers, Hugh Tracey, and Willard Rhodes. There were fan clubs through the continent in the 70s and 80s. Bags of letters came thanking him for celebrating what was good about being African. His enthusiasm for the music was obvious. He never referred to anyone’s “band,” always an “orchestra.” In D.C., he continued to play kanun with Armenian bands, playing on a couple of LPs as a talented sideman. His Silver Spring, Maryland home was covered in his paintings of the faces of African women. When Mary’s vision failed, he said, “she took care of me for fifty years. Now, I have to take care of her for fifty years.” He donated his personal collection of instruments to the University of Michigan. The defunding of the VOA under the Obama administration such that he could not travel there as he liked troubled him deeply. He had served the United States under thirteen presidents, every one since Truman, and it pained him when at the age of 91, the oldest federal employee, he stepped down from Music Time in Africa, handing the reins to Heather Maxwell.

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Jordan’s Travel Highlights: Wadi Rum & Petra

Deep in the deserts of southern Jordan, lie two incredible sights: the mysterious ancient city of Petra, and the boundless Wadi Rum. You could spend one day and one night in each place and see the highlights, or, you could spend days exploring each and every crevice. I’m Tristan, an NYU student, avid backpacker and travel geek who spent a week doing just that recently…

Petra, known as the “Red Rock” or “Rose City” was the capital of the ancient Nabatean people. The Nabateans were a cave-dwelling tribe that controlled part of the Silk Road trade routes a long long time ago and much of their history is still debated.

To get into Petra, walk through Al-Siq, a long canyon corridor carved by the river long ago. Notice the stratification of the rock, the canyon’s layers are beautifully marbled. Through the clearing, the Treasury, Petra’s most iconic structure, begins to appear. (If you haven’t seen the third Indiana Jones movie “The Last Crusade”, you should watch it before going! Just don’t get any ideas; it is not possible to enter the Sanctuary.)

  is a massive park, with dozens of sites and trails scattered off of the main old city boulevard. All of the trails are walkable, and most things are within a 45-minute radius. However, some of the really far sites within the park (Tomb of Aaron, etc.) can take up to 6 hours to get to on foot.

If you only have 1 day in Petra (there are 1, 2, or 3-day passes), I highly suggest taking a donkey/mule or camel to expedite the journey, and looking at the map beforehand to make sure you’ll have time to see what you want.

Not sure which path to take? The best thing to see (after the Treasury, which you can’t miss) is the Monastery, which even larger. To get there, walk or take a donkey up the narrow winding path. The many ancient tombs and amphitheater are generally along the way to the Monastery, so if you arrive early in the day with a plan, it’s possible to see all the major sites at a relaxed pace. For a breathtaking view, head up to the top of the mountain which overlooks the Treasury. Most people don’t come up here, but it’s a perfect photo-op.

  Bargain hard, the guides may tell you it’s 20JD to ride the donkey up the hill to see the Sanctuary– it’s not, you can do it for 5, it’s only a ten or twenty-minute ride. Longer treks are about 10-20JD, for real, and may take an hour or longer. To ride the horses back to the entrance after a long day hiking, it’s 2JD — the horse ride is actually included in the ticket, but it’s customary to tip the horsemen. You don’t need to tip a lot, so discuss the tip before riding, and don’t let them con you into tipping outrageous amounts. At the end of each trail, there are incredible viewpoints and bedouin-tent-style cafes. Further up from the Monastery, there is a view over Petra’s mountain into Israel. I sat up here with some friends and hung out with the Bedouins for a while.

  I hope you like your coffee black and your tea extra sweet!

“Petra at Night” is an additional activity offered at the park; around 8 or 9, three days a week, there is a traditional Bedouin music show and the Treasury is lit up. I went to Petra by night last year, and it was incredible. Al-Siq is full of luminaria leading up to the magnificent Treasury, where we were served tea and listened to oud and flute music. This year, it was terrible– they recently added colored lights, making the Treasury neon green, then purple, then blue, it’s really unfortunate. I wouldn’t recommend it anymore. Still a nice experience but pretty cheesy. If you have lots of time, check out ‘Little Petra’, more ruins that are a little farther away from the rest of the park. Little Petra is free to enter and close to the Bedouin village. The Bedouin here are nothing like the slightly-obnoxious businessmen of Petra, and will you show you nothing but hospitality. (Political correctness isn’t really a thing for the shopkeepers here, so don’t be offended if people loudly call to you by your nationality, or at least, what they think your nationality is.)

  Wadi Rum

Further into Jordan is the famous Wadi Rum, a really great camping spot. Not your typical camping though– Bedouin-style camping. Scattered throughout the desert are Bedouin tents of varying luxury. Last year, I stayed in a traditional cloth tent and slept on the ground. This year, we stayed in a much nicer place, the “tents” even had showers in them; so don’t feel thrown off by the idea of ‘camping’, it’s not really camping unless you want it to be! The most expensive places are essentially 4-star hotels; private king-sized beds inside futuristic dome-shaped buildings, some even have large skylights on the ceiling so you can stargaze from your bed! Lower to mid-level Bedouin tents, about $10/night.

Wadi Rum is known for its rock bridges and red-orange sand. Jeep or camel tours take tourists on excursions every day, to explore the expansive desert. Other than the beautiful landscape, there are also Nabatean ruins and carvings, General T.E. Lawrence’s old lean-to, and other small sites.

  The archeological sites are interesting but nothing compared to Petra. My advice is just to enjoy the jeep ride, hike up the biggest rock you can find, and soak it all in. It doesn’t get much better than this; the wind in your hair and the hot desert sun beating down while you cruise around the sandy trails. (If you haven’t seen the movie, Lawrence of Arabia, add that one to your list too.)

After a day trekking around, your Bedouin hosts will prepare some kind of feast; there are a few interesting Bedouin cooking techniques, some of which involve cooking food underground. It’s always a big production! Bedouin hospitality is unparalleled.

After dinner, drink some more sweet Bedouin tea and relax under the stars. I highly recommend planning your trip around the moon cycle– the best day obviously is the New Moon– my first trip to Wadi Rum, I saw more stars than I’d ever seen in my life. Absolutely insane. Last weekend, unfortunately, the moon was about 80% full so we could hardly see any stars. Still don’t know how to do this ‘astral photography’ thing but you get the idea– lots of stars! It’s fun to hang out with your friends in Petra and Wadi Rum, but also totally doable as a solo traveler. Either way, make sure to take some time to talk to the Bedouin and ask them about their lives; the Bedouin way of life is fascinating and the culture is rich.

  A Bedouin man showing me his rababa, a traditional bowed instrument

  Jordan: Know before you go

  When is the best time to visit Jordan?

Also, I highly recommend going late February-April or October-November when it’s not too hot but not too cold either! It’s freezing in January, and boiling in the Summer.

  How safe is it to travel in Jordan?

Don’t worry– Jordan is completely safe, probably safer than America.

  Learn the language: Basic Arabic (Jordanian Levantine dialect)

Hello (Peace): Salam Good Morning: Sabbah el-khreer Good Evening: Messeh el-khreer How are you?: Kayf ha-lek? What’s your name?: Shu Ismek ? My name is: Ismi.. I’m lost: Ana die-e-aw Where is the…?: Wayn el… Toilet: hammam Bus station: mahata el autobeese I want: Bidi What is this?: Shu hathe? How much?: Adesh hathe? Yes (formal): nam Yeah: aye-wa No: leh Sorry: asif Please/Excuse me: lao samaht Thank you: shukran

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[eccentricandanachronistic]

‘Vselennaya Zvuka’ - The Universe of Sound... (Part 1 of 3)

I had been a regular visitor at the hallowed Tchaikovsky Moscow State Conservatory, having caught in here some of the finest musical performances in my entire life (and for good reason - this is where the likes of Tchaikovsky have taught, and which among its alumni boasts of names like Khachaturian and Rachmaninoff). It didn't matter whether it was a full blown orchestra, a chamberpiece, or one of the many student performances, or open rehearsals – once I sat and closed my eyes, I would feel one with all the sounds and vibrations of the universe, while my heart rode its waves…

The Mosow Conservatory Building with the Tchaikovsky Monument visible in front Naturally then, I was beyond thrilled when earlier in May this year, fellow music lover and mother figure, Debasmita di (Debasmita Moulick, Senior Journalist), introduced me to Dr. Margarita Karatygina, Musicologist and Head of the 'World Music Cultures Center' at the Conservatory. She informed us of the upcoming International Music Festival 'Vselennaya Zvuka' (Universe of Sound) which, in its 15th edition this year, would be bringing together artists and performances in Classical Music from various parts of the world. Thus, as a volunteer, photographer and Assistant to the Press, I was able to get a ringside view of the complete Festival over its full duration of a month and a half, and I couldn't be more grateful for this incredible opportunity to have come my way.

Presenting below some highlights and my personal favourite parts of the Festival… 

An Evening of Soulful Iranian Music

Kicking off the festival was the Iranian Classical Music Concert “Symmetry of Shadows”, at the Rachmaninoff Zal of the Moscow Conservatory on the 8th of May 2017. The concert featured music written by various Iranian songwriters over the years. The composer and arranger for the evening was Shahin Sarikhani, while Hosein Nursharg was the Artistic Director.

Right from the moment the concert began, a palpable tranquil and ethereal atmosphere drew the listeners right in, with the musicians performing immersed in the moment and with their eyes closed. The powerful vocals of Sarang Seyfizadeh and Alirezakili Manesh were on display through their deft technique, while all the while making it seem effortless yet full of expression. The inability to comprehend the language did not seem much of a handicap at the moment, for the appeal of the precious words in those verses could still be felt. The great synergy between the vocalists and instrumentalists – for each could not have better complemented the other – resulted in creating a powerful ambience simmering with emotions.

The complete ensemble

Vocalists Sarang Seyfizadeh and Alirezakili Manesh The compositions gave adequate room to each of the instruments that were part of the ensemble to get the spotlight in turns; namely, the 'Tar' (string instrument – one of the most important in Iranian classical music) played by Azadeh Amiri, 'Kamancheh' (Iranian bowed string instrument) played by Nazanin Ghanizadeh, Mortaza Sanayei on the 'Nei' (flute), and Maryam Molla masterfully beating on the 'Tombak' (drum). The ensemble also included members of "Anno Domini', comprising of Mikhail Akinfin on the First violin, Nataliya Dyachenko on the Second violin, Alexandra Zhelbakova playing the Viola, and Samson Tatosyan on the Cello.

'Kamancheh' played by Nazanin Ghanizadeh

Maryam Molla on the 'Tombak'

Mortaza Sanayei on the 'Nei' (flute), Alexandra Zhelbakova on the Viola and Samson Tatosyan on the Cello All in all, the evening served as a wonderful introduction to Iranian Classical music, which – with its inherent sense of purity, virtuousness and unbridled devotion – left the audience wanting more.

More Treasures from Iran – Seven Flights, Seven Breaths

The magic of Iranian Classical Music returned with renewed fervour to the 'Maliy Zal' (Little Hall) of the Tchaikovsky Moscow State Conservatory on 23 June 2017, when Hossein Nursharg teamed up with the group 'Caravan' to present the Concert 'Seven Flights, Seven Breaths'.

Hossein Nursharg was born in Borujen in Iran, and besides being one of the primary exponents of the Iranian classical music form of 'Avaz', is also an actor, consultant and cultural ambassador. Since the beginning of his association with the Moscow Conservatory in 2008, he has actively promoted the study of musical traditions of his region, and has been instrumental in the development of cultural cooperation between Russia and Iran. With his assistance, the Moscow Conservatory started offering classes in Iranian classical music, and over the years has held more than thirty concerts and launched several projects.

The performers at the Maliy Zal

Hossein Nursharg

Born from a potent concoction of the sacred chants of the 'Vedas' (ancient Hindu scriptures) and the 'Avesti' (Zoroastrian Archives), and perfected over centuries in the luxurious palatial environs of the Persian Empire, which played host to intellectual exchanges among the finest poets and philosophers from back in the day, Iranian classical music holds profound historical significance and is the very essence of one of the most ancient and richest cultures the world has ever seen. The vast repository of rhythms and melodies, created by generations of gifted composers, continues to be used by musicians to this day, and has been organized under the modal system of "Dastgāh" ('Dast' – hand; 'Gāh' – place). There are seven dastgāhs in all, namely, "Šur", "Māhur", "Segāh", "Čahārgāh", "Rāst-Panjgāh", "Homāyun" and "Navā". Further derived from dastgāhs are seven "Āvāzes" (vocal sections), with five of these being under Šur alone. The concert centered around the Afšārī āvāz under the Šur dastgāh.

Various moods of the performers

There were seven parts (seven 'breaths') to the programme, starting with "Sharaab e Gazal", a poem composed by Majid Wahid and set to the Šur dastgāh. Many "Tasnifs" (ballads) followed, such as "Ku Ye Jonun", "Negar", "Sarv-e-Hajel", "Na Godrat Ke Ba Vei Neshinam", among others, including a "Saaz o Avaz" (medley) of the Afšārī āvāz. The evening finally ended with the electrifying songs "Dush Dush" and "Tond Tond". The atmosphere remained charged throughout and the music had an enchanting and hauntingly melodious effect. The accomplished vocals of Hossein Nursharg were of course responsible for a large part of the magic; but giving him abundant support were members of the group 'Caravan', namely, Zabihollah Vahid on the "Kamancheh" (Iranian bowed string instrument), Misag Mehrpur on "Oud" (pear-shaped string instrument), Masoud Tadayoni on the "Setar" (bowed lute), and Homayun Jahanshahi on the "Tombak" (drum).

Masoud Tadayoni on "Setar"

Misag Mehrpur on "Oud"

Zabihollah Vahid on "Kamancheh"

Homayun Jahanshahi on "Tombak" It is indeed admirable that we have proponents of art forms of such mystique and power among us. These lines by Iranian poet Bahman Rafei seem befitting in honour of such artists committed towards sharing the depths of their soul with the world:

“There remain in my lips, Many a poem unborn. Till I have this voice, To not be silent I have sworn“

(Continued in Part 2)