Son Bir Kez Hüzzam Sharqi by Dr. Oz. for Ethno2 contest

Dear members & dear Jacques et al.

My heartfelt thanks to Jacques and his team for providing me the
marvelous oppurtunity to discover and create music with Ethno2 from
Motu. The first fruit of my labour, employing the professional sounds
of this hot audio production kit, can be heard at:

http://www.ozanyarman.com/musics.html

Click the first song on the Flash player titled: "Son Bir Kez". It is
an mp3 file in 44.1 Khz Stereo 160kbps format.

This is a Hüzzam Sharqi by me, in that rapturous maqam cherished by
Turks, in a scale I specifically formulated for this Logic8+Ethno2
project, whose final mix includes my boomy singing voice with due
embellishments and ornamentations characteristic of my thespian
manneristic interpretation of the forlorn melody AND my own (reworked)
lyrics in Turkish.

A translation of the lyrics will be attempted for those who wonder the
meanings of the words! For the moment, let me say it's a cheeky poem
about a romance gone wrong and heart-tearing libidinous longing for
someone even though the feeling is not reciprocated anymore. Just ask
me for the translation.

This electrifying recording you hear has turned into a grandiose re-
arrangment, or dare I say, "soaring", over the preliminary
lackadaisical version that featured arbitrarily/haphazardly hand-
traced MIDI pitch-bends to emulate the intonation of the maqam:
Offsets from 12-tET pitches by slides and slews of the PC mouse,
undertaken during my neophyte years in studying Maqam music, before I
even so much as knew the basics of tuning scholarship and professional
audio production.

Having discarded the preliminary pitch-bend data grotesquely
resembling Huzzam in the aforesaid novice version recorded years ago,
I used this 12-tone "Sonbirkez scale" in my fresh entry for the Ethno2
competition:

Sonbirkez Huzzam scale
12
!
8/5
121/108
847/720
57/46
4/3
81/50
3/2
64/39
121/72
847/480
171/92
2/1

There are three types of "perde hisar" (or "perde huzzam" if you will)
at 8/5 (814 cents), 81/50 (835 cents) and 64/39 (857 cents), cleverly
placed in the scale so as to complete the 12-tones to the octave
picture... a picture that I find myself constantly returning to in my
lethargic progress toward xentonality havens.

Note, that the notes C#, F# and Ab are assigned to aforesaid three
inflexions of perde hisar. All I needed to do in my project was to
move a pitch over to one of these notes for the correct, i.e. sassy,
intonation required by the ecstatic and doleful Hüzzam melody.

I took as reference Jacques's Egyptian Rast scale in the Ethno2 tuning
library when starting to formulate my scale. It appears I was left
with only 121/72 and the octave in common at the end. Such is the
incorrigibility of the Turkish Hüzzam!

The length of the piece is 4:45 minutes. I realise that this a bit
more than ordinarily expected. That is because of the "naqarat"
section, or reprises for the consequent strophes of the lyrics. If
need be, I can prepare an alternative mix that fits the 3 minute
constraint. But I truly wish the piece is preserved the way it is:
Complete as it is.

The instruments used in the mix were, Maghrib Violin+Strings, Sustained
+Tremolo Ouds, Tambourine, Oriental Tambourine, Bendir, Daire, Darbuka
and my very own singing voice. Countless hours of digital mastering in
my home studio unaccounted for!

My eyes searched for a Romanian clarinet in Ethno2, but I couldn'tfind any. The only reed-wind I found suitable for the piece imitative
of clarinet, the Bamboo Sax, was too limited in pitch register. Motu
needs URGENTLY to incorporate Turkish sounds in its future Ethno bundle!

I tackled and finished the production of "Son Bir Kez" ("One Last
Time") in a period of utter exasperation with the Ethno2 mix of my
Nishabureyn Peshrev and intense summer heat in Istanbul. The Peshrev
uses too many pitches and Ethno2 is a resource-gulper when setting it
up in such a way as to facilitate switching easily between same
instruments tuned to different tunings. I hope Jacques and his team
will understand and show leniency to me as I grapple to finish the
Ethno2 rendition of the Peshrev and also a surprise piece, hopefully
in time!

Ok, there it is... Son Bir Kez for your ears. Comments welcome!

Cordially,
Oz.

✩ ✩ ✩
www.ozanyarman.com

Ozan
Dear ozan
My dear ozan
Bravo ... ur music sent me to heaven (-;
Shaahin

--- In tuning@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
>
> Dear members & dear Jacques et al.
>
> My heartfelt thanks to Jacques and his team for providing me the
> marvelous oppurtunity to discover and create music with Ethno2 from
> Motu. The first fruit of my labour, employing the professional sounds
> of this hot audio production kit, can be heard at:
>
> http://www.ozanyarman.com/musics.html
>
> Click the first song on the Flash player titled: "Son Bir Kez". It is
> an mp3 file in 44.1 Khz Stereo 160kbps format.
>
> This is a Hüzzam Sharqi by me, in that rapturous maqam cherished by
> Turks, in a scale I specifically formulated for this Logic8+Ethno2
> project, whose final mix includes my boomy singing voice with due
> embellishments and ornamentations characteristic of my thespian
> manneristic interpretation of the forlorn melody AND my own (reworked)
> lyrics in Turkish.
>
> A translation of the lyrics will be attempted for those who wonder the
> meanings of the words! For the moment, let me say it's a cheeky poem
> about a romance gone wrong and heart-tearing libidinous longing for
> someone even though the feeling is not reciprocated anymore. Just ask
> me for the translation.
>
> This electrifying recording you hear has turned into a grandiose re-
> arrangment, or dare I say, "soaring", over the preliminary
> lackadaisical version that featured arbitrarily/haphazardly hand-
> traced MIDI pitch-bends to emulate the intonation of the maqam:
> Offsets from 12-tET pitches by slides and slews of the PC mouse,
> undertaken during my neophyte years in studying Maqam music, before I
> even so much as knew the basics of tuning scholarship and professional
> audio production.
>
> Having discarded the preliminary pitch-bend data grotesquely
> resembling Huzzam in the aforesaid novice version recorded years ago,
> I used this 12-tone "Sonbirkez scale" in my fresh entry for the Ethno2
> competition:
>
> Sonbirkez Huzzam scale
> 12
> !
> 8/5
> 121/108
> 847/720
> 57/46
> 4/3
> 81/50
> 3/2
> 64/39
> 121/72
> 847/480
> 171/92
> 2/1
>
> There are three types of "perde hisar" (or "perde huzzam" if you will)
> at 8/5 (814 cents), 81/50 (835 cents) and 64/39 (857 cents), cleverly
> placed in the scale so as to complete the 12-tones to the octave
> picture... a picture that I find myself constantly returning to in my
> lethargic progress toward xentonality havens.
>
> Note, that the notes C#, F# and Ab are assigned to aforesaid three
> inflexions of perde hisar. All I needed to do in my project was to
> move a pitch over to one of these notes for the correct, i.e. sassy,
> intonation required by the ecstatic and doleful Hüzzam melody.
>
> I took as reference Jacques's Egyptian Rast scale in the Ethno2 tuning
> library when starting to formulate my scale. It appears I was left
> with only 121/72 and the octave in common at the end. Such is the
> incorrigibility of the Turkish Hüzzam!
>
> The length of the piece is 4:45 minutes. I realise that this a bit
> more than ordinarily expected. That is because of the "naqarat"
> section, or reprises for the consequent strophes of the lyrics. If
> need be, I can prepare an alternative mix that fits the 3 minute
> constraint. But I truly wish the piece is preserved the way it is:
> Complete as it is.
>
> The instruments used in the mix were, Maghrib Violin+Strings, Sustained
> +Tremolo Ouds, Tambourine, Oriental Tambourine, Bendir, Daire, Darbuka
> and my very own singing voice. Countless hours of digital mastering in
> my home studio unaccounted for!
>
> My eyes searched for a Romanian clarinet in Ethno2, but I couldn't
> find any. The only reed-wind I found suitable for the piece imitative
> of clarinet, the Bamboo Sax, was too limited in pitch register. Motu
> needs URGENTLY to incorporate Turkish sounds in its future Ethno bundle!
>
> I tackled and finished the production of "Son Bir Kez" ("One Last
> Time") in a period of utter exasperation with the Ethno2 mix of my
> Nishabureyn Peshrev and intense summer heat in Istanbul. The Peshrev
> uses too many pitches and Ethno2 is a resource-gulper when setting it
> up in such a way as to facilitate switching easily between same
> instruments tuned to different tunings. I hope Jacques and his team
> will understand and show leniency to me as I grapple to finish the
> Ethno2 rendition of the Peshrev and also a surprise piece, hopefully
> in time!
>
> Ok, there it is... Son Bir Kez for your ears. Comments welcome!
>
> Cordially,
> Oz.
>
> ✩ ✩ ✩
> www.ozanyarman.com
>

--- In tuning@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
Just ask
> me for the translation.

I ask, I ask! Maybe I'll understand it better than your scale.

Oz!!

Incredible - and is this you singing again?

May I ask - how did you get the smooth string section sound?

And - this is not in a packaged tuning?

Again - we are smoked by you - not even Shahin is so good. Just incredible
production, composition and sound.

Truly professional!!

Chris

On Thu, Jun 17, 2010 at 2:51 AM, Ozan Yarman <ozanyarman@...>wrote:

>
>
> Dear members & dear Jacques et al.
>
> My heartfelt thanks to Jacques and his team for providing me the
> marvelous oppurtunity to discover and create music with Ethno2 from
> Motu. The first fruit of my labour, employing the professional sounds
> of this hot audio production kit, can be heard at:
>
> http://www.ozanyarman.com/musics.html
>
> Click the first song on the Flash player titled: "Son Bir Kez". It is
> an mp3 file in 44.1 Khz Stereo 160kbps format.
>
> This is a Hüzzam Sharqi by me, in that rapturous maqam cherished by
> Turks, in a scale I specifically formulated for this Logic8+Ethno2
> project, whose final mix includes my boomy singing voice with due
> embellishments and ornamentations characteristic of my thespian
> manneristic interpretation of the forlorn melody AND my own (reworked)
> lyrics in Turkish.
>
> A translation of the lyrics will be attempted for those who wonder the
> meanings of the words! For the moment, let me say it's a cheeky poem
> about a romance gone wrong and heart-tearing libidinous longing for
> someone even though the feeling is not reciprocated anymore. Just ask
> me for the translation.
>
> This electrifying recording you hear has turned into a grandiose re-
> arrangment, or dare I say, "soaring", over the preliminary
> lackadaisical version that featured arbitrarily/haphazardly hand-
> traced MIDI pitch-bends to emulate the intonation of the maqam:
> Offsets from 12-tET pitches by slides and slews of the PC mouse,
> undertaken during my neophyte years in studying Maqam music, before I
> even so much as knew the basics of tuning scholarship and professional
> audio production.
>
> Having discarded the preliminary pitch-bend data grotesquely
> resembling Huzzam in the aforesaid novice version recorded years ago,
> I used this 12-tone "Sonbirkez scale" in my fresh entry for the Ethno2
> competition:
>
> Sonbirkez Huzzam scale
> 12
> !
> 8/5
> 121/108
> 847/720
> 57/46
> 4/3
> 81/50
> 3/2
> 64/39
> 121/72
> 847/480
> 171/92
> 2/1
>
> There are three types of "perde hisar" (or "perde huzzam" if you will)
> at 8/5 (814 cents), 81/50 (835 cents) and 64/39 (857 cents), cleverly
> placed in the scale so as to complete the 12-tones to the octave
> picture... a picture that I find myself constantly returning to in my
> lethargic progress toward xentonality havens.
>
> Note, that the notes C#, F# and Ab are assigned to aforesaid three
> inflexions of perde hisar. All I needed to do in my project was to
> move a pitch over to one of these notes for the correct, i.e. sassy,
> intonation required by the ecstatic and doleful Hüzzam melody.
>
> I took as reference Jacques's Egyptian Rast scale in the Ethno2 tuning
> library when starting to formulate my scale. It appears I was left
> with only 121/72 and the octave in common at the end. Such is the
> incorrigibility of the Turkish Hüzzam!
>
> The length of the piece is 4:45 minutes. I realise that this a bit
> more than ordinarily expected. That is because of the "naqarat"
> section, or reprises for the consequent strophes of the lyrics. If
> need be, I can prepare an alternative mix that fits the 3 minute
> constraint. But I truly wish the piece is preserved the way it is:
> Complete as it is.
>
> The instruments used in the mix were, Maghrib Violin+Strings, Sustained
> +Tremolo Ouds, Tambourine, Oriental Tambourine, Bendir, Daire, Darbuka
> and my very own singing voice. Countless hours of digital mastering in
> my home studio unaccounted for!
>
> My eyes searched for a Romanian clarinet in Ethno2, but I couldn't
> find any. The only reed-wind I found suitable for the piece imitative
> of clarinet, the Bamboo Sax, was too limited in pitch register. Motu
> needs URGENTLY to incorporate Turkish sounds in its future Ethno bundle!
>
> I tackled and finished the production of "Son Bir Kez" ("One Last
> Time") in a period of utter exasperation with the Ethno2 mix of my
> Nishabureyn Peshrev and intense summer heat in Istanbul. The Peshrev
> uses too many pitches and Ethno2 is a resource-gulper when setting it
> up in such a way as to facilitate switching easily between same
> instruments tuned to different tunings. I hope Jacques and his team
> will understand and show leniency to me as I grapple to finish the
> Ethno2 rendition of the Peshrev and also a surprise piece, hopefully
> in time!
>
> Ok, there it is... Son Bir Kez for your ears. Comments welcome!
>
> Cordially,
> Oz.
>
> ✩ ✩ ✩
> www.ozanyarman.com
>
>
>

Brother, such a delight to hear you say that! :)

Thanks.

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Jun 17, 2010, at 10:33 AM, shaahin wrote:

> Ozan
> Dear ozan
> My dear ozan
> Bravo ... ur music sent me to heaven (-;
> Shaahin
>
> --- In tuning@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
>>
>> Dear members & dear Jacques et al.
>>
>> My heartfelt thanks to Jacques and his team for providing me the
>> marvelous oppurtunity to discover and create music with Ethno2 from
>> Motu. The first fruit of my labour, employing the professional sounds
>> of this hot audio production kit, can be heard at:
>>
>> http://www.ozanyarman.com/musics.html
>>
>> Click the first song on the Flash player titled: "Son Bir Kez". It is
>> an mp3 file in 44.1 Khz Stereo 160kbps format.
>>
>> This is a Hüzzam Sharqi by me, in that rapturous maqam cherished
>> by
>> Turks, in a scale I specifically formulated for this Logic8+Ethno2
>> project, whose final mix includes my boomy singing voice with due
>> embellishments and ornamentations characteristic of my thespian
>> manneristic interpretation of the forlorn melody AND my own
>> (reworked)
>> lyrics in Turkish.
>>
>> A translation of the lyrics will be attempted for those who wonder
>> the
>> meanings of the words! For the moment, let me say it's a cheeky poem
>> about a romance gone wrong and heart-tearing libidinous longing for
>> someone even though the feeling is not reciprocated anymore. Just ask
>> me for the translation.
>>
>> This electrifying recording you hear has turned into a grandiose re-
>> arrangment, or dare I say, "soaring", over the preliminary
>> lackadaisical version that featured arbitrarily/haphazardly hand-
>> traced MIDI pitch-bends to emulate the intonation of the maqam:
>> Offsets from 12-tET pitches by slides and slews of the PC mouse,
>> undertaken during my neophyte years in studying Maqam music, before I
>> even so much as knew the basics of tuning scholarship and
>> professional
>> audio production.
>>
>> Having discarded the preliminary pitch-bend data grotesquely
>> resembling Huzzam in the aforesaid novice version recorded years ago,
>> I used this 12-tone "Sonbirkez scale" in my fresh entry for the
>> Ethno2
>> competition:
>>
>> Sonbirkez Huzzam scale
>> 12
>> !
>> 8/5
>> 121/108
>> 847/720
>> 57/46
>> 4/3
>> 81/50
>> 3/2
>> 64/39
>> 121/72
>> 847/480
>> 171/92
>> 2/1
>>
>> There are three types of "perde hisar" (or "perde huzzam" if you
>> will)
>> at 8/5 (814 cents), 81/50 (835 cents) and 64/39 (857 cents), cleverly
>> placed in the scale so as to complete the 12-tones to the octave
>> picture... a picture that I find myself constantly returning to in my
>> lethargic progress toward xentonality havens.
>>
>> Note, that the notes C#, F# and Ab are assigned to aforesaid three
>> inflexions of perde hisar. All I needed to do in my project was to
>> move a pitch over to one of these notes for the correct, i.e. sassy,
>> intonation required by the ecstatic and doleful Hüzzam melody.
>>
>> I took as reference Jacques's Egyptian Rast scale in the Ethno2
>> tuning
>> library when starting to formulate my scale. It appears I was left
>> with only 121/72 and the octave in common at the end. Such is the
>> incorrigibility of the Turkish Hüzzam!
>>
>> The length of the piece is 4:45 minutes. I realise that this a bit
>> more than ordinarily expected. That is because of the "naqarat"
>> section, or reprises for the consequent strophes of the lyrics. If
>> need be, I can prepare an alternative mix that fits the 3 minute
>> constraint. But I truly wish the piece is preserved the way it is:
>> Complete as it is.
>>
>> The instruments used in the mix were, Maghrib Violin+Strings,
>> Sustained
>> +Tremolo Ouds, Tambourine, Oriental Tambourine, Bendir, Daire,
>> Darbuka
>> and my very own singing voice. Countless hours of digital mastering
>> in
>> my home studio unaccounted for!
>>
>> My eyes searched for a Romanian clarinet in Ethno2, but I couldn't
>> find any. The only reed-wind I found suitable for the piece imitative
>> of clarinet, the Bamboo Sax, was too limited in pitch register. Motu
>> needs URGENTLY to incorporate Turkish sounds in its future Ethno >> bundle!
>>
>> I tackled and finished the production of "Son Bir Kez" ("One Last
>> Time") in a period of utter exasperation with the Ethno2 mix of my
>> Nishabureyn Peshrev and intense summer heat in Istanbul. The Peshrev
>> uses too many pitches and Ethno2 is a resource-gulper when setting it
>> up in such a way as to facilitate switching easily between same
>> instruments tuned to different tunings. I hope Jacques and his team
>> will understand and show leniency to me as I grapple to finish the
>> Ethno2 rendition of the Peshrev and also a surprise piece, hopefully
>> in time!
>>
>> Ok, there it is... Son Bir Kez for your ears. Comments welcome!
>>
>> Cordially,
>> Oz.
>>
>> ✩ ✩ ✩
>> www.ozanyarman.com
>>

Dear Chris, thank you so much for this boost of morale and words of
such high esteem. :)

Yes, the tuning mentioned is not in the Ethno2 package, I had to
experiment to find the right pitches for the Son Bir Kez song in JI
format.

Thanks very much for the praises and compliments!

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Jun 17, 2010, at 4:09 PM, Chris Vaisvil wrote:

>
>
> Oz!!
>
> Incredible - and is this you singing again?
>
> May I ask - how did you get the smooth string section sound?
>
> And - this is not in a packaged tuning?
>
> Again - we are smoked by you - not even Shahin is so good. Just
> incredible production, composition and sound.
>
> Truly professional!!
>
> Chris
>
> On Thu, Jun 17, 2010 at 2:51 AM, Ozan Yarman <ozanyarman@...
> > wrote:
>
> Dear members & dear Jacques et al.
>
> My heartfelt thanks to Jacques and his team for providing me the
> marvelous oppurtunity to discover and create music with Ethno2 from
> Motu. The first fruit of my labour, employing the professional sounds
> of this hot audio production kit, can be heard at:
>
> http://www.ozanyarman.com/musics.html
>
> Click the first song on the Flash player titled: "Son Bir Kez". It is
> an mp3 file in 44.1 Khz Stereo 160kbps format.
>
> This is a Hüzzam Sharqi by me, in that rapturous maqam cherished by
> Turks, in a scale I specifically formulated for this Logic8+Ethno2
> project, whose final mix includes my boomy singing voice with due
> embellishments and ornamentations characteristic of my thespian
> manneristic interpretation of the forlorn melody AND my own (reworked)
> lyrics in Turkish.
>
> A translation of the lyrics will be attempted for those who wonder the
> meanings of the words! For the moment, let me say it's a cheeky poem
> about a romance gone wrong and heart-tearing libidinous longing for
> someone even though the feeling is not reciprocated anymore. Just ask
> me for the translation.
>
> This electrifying recording you hear has turned into a grandiose re-
> arrangment, or dare I say, "soaring", over the preliminary
> lackadaisical version that featured arbitrarily/haphazardly hand-
> traced MIDI pitch-bends to emulate the intonation of the maqam:
> Offsets from 12-tET pitches by slides and slews of the PC mouse,
> undertaken during my neophyte years in studying Maqam music, before I
> even so much as knew the basics of tuning scholarship and professional
> audio production.
>
> Having discarded the preliminary pitch-bend data grotesquely
> resembling Huzzam in the aforesaid novice version recorded years ago,
> I used this 12-tone "Sonbirkez scale" in my fresh entry for the Ethno2
> competition:
>
> Sonbirkez Huzzam scale
> 12
> !
> 8/5
> 121/108
> 847/720
> 57/46
> 4/3
> 81/50
> 3/2
> 64/39
> 121/72
> 847/480
> 171/92
> 2/1
>
> There are three types of "perde hisar" (or "perde huzzam" if you will)
> at 8/5 (814 cents), 81/50 (835 cents) and 64/39 (857 cents), cleverly
> placed in the scale so as to complete the 12-tones to the octave
> picture... a picture that I find myself constantly returning to in my
> lethargic progress toward xentonality havens.
>
> Note, that the notes C#, F# and Ab are assigned to aforesaid three
> inflexions of perde hisar. All I needed to do in my project was to
> move a pitch over to one of these notes for the correct, i.e. sassy,
> intonation required by the ecstatic and doleful Hüzzam melody.
>
> I took as reference Jacques's Egyptian Rast scale in the Ethno2 tuning
> library when starting to formulate my scale. It appears I was left
> with only 121/72 and the octave in common at the end. Such is the
> incorrigibility of the Turkish Hüzzam!
>
> The length of the piece is 4:45 minutes. I realise that this a bit
> more than ordinarily expected. That is because of the "naqarat"
> section, or reprises for the consequent strophes of the lyrics. If
> need be, I can prepare an alternative mix that fits the 3 minute
> constraint. But I truly wish the piece is preserved the way it is:
> Complete as it is.
>
> The instruments used in the mix were, Maghrib Violin+Strings,
> Sustained
> +Tremolo Ouds, Tambourine, Oriental Tambourine, Bendir, Daire, Darbuka
> and my very own singing voice. Countless hours of digital mastering in
> my home studio unaccounted for!
>
> My eyes searched for a Romanian clarinet in Ethno2, but I couldn't
> find any. The only reed-wind I found suitable for the piece imitative
> of clarinet, the Bamboo Sax, was too limited in pitch register. Motu
> needs URGENTLY to incorporate Turkish sounds in its future Ethno
> bundle!
>
> I tackled and finished the production of "Son Bir Kez" ("One Last
> Time") in a period of utter exasperation with the Ethno2 mix of my
> Nishabureyn Peshrev and intense summer heat in Istanbul. The Peshrev
> uses too many pitches and Ethno2 is a resource-gulper when setting it
> up in such a way as to facilitate switching easily between same
> instruments tuned to different tunings. I hope Jacques and his team
> will understand and show leniency to me as I grapple to finish the
> Ethno2 rendition of the Peshrev and also a surprise piece, hopefully
> in time!
>
> Ok, there it is... Son Bir Kez for your ears. Comments welcome!
>
> Cordially,
> Oz.
>
> ✩ ✩ ✩
> www.ozanyarman.com
>
>
>
>
>
>

You are most welcome !!

But time is short and I was concerned because

"3. There is no maximum of demos by participant for both categories, but
whatever the tuning choices, selected participants have to produce at least
THREE demos using the original Ethno2 tunings."

Of anyone here you have the best shot at winning!

Chris

On Thu, Jun 17, 2010 at 11:05 AM, Ozan Yarman <ozanyarman@...>wrote:

>
>
> Dear Chris, thank you so much for this boost of morale and words of such
> high esteem. :)
>
> Yes, the tuning mentioned is not in the Ethno2 package, I had to experiment
> to find the right pitches for the Son Bir Kez song in JI format.
>
> Thanks very much for the praises and compliments!
>
> Oz.
>
> ✩ ✩ ✩
> www.ozanyarman.com
>
> On Jun 17, 2010, at 4:09 PM, Chris Vaisvil wrote:
>
>
>
> Oz!!
>
> Incredible - and is this you singing again?
>
> May I ask - how did you get the smooth string section sound?
>
> And - this is not in a packaged tuning?
>
> Again - we are smoked by you - not even Shahin is so good. Just incredible
> production, composition and sound.
>
> Truly professional!!
>
> Chris
>
> On Thu, Jun 17, 2010 at 2:51 AM, Ozan Yarman <ozanyarman@...>
> wrote:
>
>>
>>
>> Dear members & dear Jacques et al.
>>
>> My heartfelt thanks to Jacques and his team for providing me the
>> marvelous oppurtunity to discover and create music with Ethno2 from
>> Motu. The first fruit of my labour, employing the professional sounds
>> of this hot audio production kit, can be heard at:
>>
>> http://www.ozanyarman.com/musics.html
>>
>> Click the first song on the Flash player titled: "Son Bir Kez". It is
>> an mp3 file in 44.1 Khz Stereo 160kbps format.
>>
>> This is a Hüzzam Sharqi by me, in that rapturous maqam cherished by
>> Turks, in a scale I specifically formulated for this Logic8+Ethno2
>> project, whose final mix includes my boomy singing voice with due
>> embellishments and ornamentations characteristic of my thespian
>> manneristic interpretation of the forlorn melody AND my own (reworked)
>> lyrics in Turkish.
>>
>> A translation of the lyrics will be attempted for those who wonder the
>> meanings of the words! For the moment, let me say it's a cheeky poem
>> about a romance gone wrong and heart-tearing libidinous longing for
>> someone even though the feeling is not reciprocated anymore. Just ask
>> me for the translation.
>>
>> This electrifying recording you hear has turned into a grandiose re-
>> arrangment, or dare I say, "soaring", over the preliminary
>> lackadaisical version that featured arbitrarily/haphazardly hand-
>> traced MIDI pitch-bends to emulate the intonation of the maqam:
>> Offsets from 12-tET pitches by slides and slews of the PC mouse,
>> undertaken during my neophyte years in studying Maqam music, before I
>> even so much as knew the basics of tuning scholarship and professional
>> audio production.
>>
>> Having discarded the preliminary pitch-bend data grotesquely
>> resembling Huzzam in the aforesaid novice version recorded years ago,
>> I used this 12-tone "Sonbirkez scale" in my fresh entry for the Ethno2
>> competition:
>>
>> Sonbirkez Huzzam scale
>> 12
>> !
>> 8/5
>> 121/108
>> 847/720
>> 57/46
>> 4/3
>> 81/50
>> 3/2
>> 64/39
>> 121/72
>> 847/480
>> 171/92
>> 2/1
>>
>> There are three types of "perde hisar" (or "perde huzzam" if you will)
>> at 8/5 (814 cents), 81/50 (835 cents) and 64/39 (857 cents), cleverly
>> placed in the scale so as to complete the 12-tones to the octave
>> picture... a picture that I find myself constantly returning to in my
>> lethargic progress toward xentonality havens.
>>
>> Note, that the notes C#, F# and Ab are assigned to aforesaid three
>> inflexions of perde hisar. All I needed to do in my project was to
>> move a pitch over to one of these notes for the correct, i.e. sassy,
>> intonation required by the ecstatic and doleful Hüzzam melody.
>>
>> I took as reference Jacques's Egyptian Rast scale in the Ethno2 tuning
>> library when starting to formulate my scale. It appears I was left
>> with only 121/72 and the octave in common at the end. Such is the
>> incorrigibility of the Turkish Hüzzam!
>>
>> The length of the piece is 4:45 minutes. I realise that this a bit
>> more than ordinarily expected. That is because of the "naqarat"
>> section, or reprises for the consequent strophes of the lyrics. If
>> need be, I can prepare an alternative mix that fits the 3 minute
>> constraint. But I truly wish the piece is preserved the way it is:
>> Complete as it is.
>>
>> The instruments used in the mix were, Maghrib Violin+Strings, Sustained
>> +Tremolo Ouds, Tambourine, Oriental Tambourine, Bendir, Daire, Darbuka
>> and my very own singing voice. Countless hours of digital mastering in
>> my home studio unaccounted for!
>>
>> My eyes searched for a Romanian clarinet in Ethno2, but I couldn't
>> find any. The only reed-wind I found suitable for the piece imitative
>> of clarinet, the Bamboo Sax, was too limited in pitch register. Motu
>> needs URGENTLY to incorporate Turkish sounds in its future Ethno bundle!
>>
>> I tackled and finished the production of "Son Bir Kez" ("One Last
>> Time") in a period of utter exasperation with the Ethno2 mix of my
>> Nishabureyn Peshrev and intense summer heat in Istanbul. The Peshrev
>> uses too many pitches and Ethno2 is a resource-gulper when setting it
>> up in such a way as to facilitate switching easily between same
>> instruments tuned to different tunings. I hope Jacques and his team
>> will understand and show leniency to me as I grapple to finish the
>> Ethno2 rendition of the Peshrev and also a surprise piece, hopefully
>> in time!
>>
>> Ok, there it is... Son Bir Kez for your ears. Comments welcome!
>>
>> Cordially,
>> Oz.
>>
>> ✩ ✩ ✩
>> www.ozanyarman.com
>>
>>
>
>
>
>
>

Ahha, ok, here is a fresh translation of the lyrics of Son Bir Kez:

Kiss me one last time,
One last time mon amour.
Come, come one last time
And let's make unrestrained love.
Don't go I implore thee,
Embrace me, I implore thee, in thine arms.
Oh heavens, how I long for
Thine rosemallow lips.

Don't make me beg, enough already, come back now...
Don't make me beg thou rapscallion!
Hast thou then forgotten or what
The days thou wert dying of thy love?
Don't go I implore thee,
Embrace me, I implore thee, in thine arms.
Oh heavens, how I long for
Thine rosemallow lips.

Singed thou my breast, without thee
Life is unbearable.
The aching in my heart
Oh beloved, knows no respite.
Don't go I implore thee,
Embrace me, I implore thee, in thine arms.
Oh heavens, how I long for
Thine rosemallow lips.

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Jun 17, 2010, at 3:22 PM, genewardsmith wrote:

>
>
> --- In tuning@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
> Just ask
>> me for the translation.
>
> I ask, I ask! Maybe I'll understand it better than your scale.
>
>

Really brilliant. All the tempo changes were natural-sounding. Great use of dynamics, trills in the strings, harmonizations.

Plus, it was just plain fun to listen to.

I second the request for translation.

Caleb

On Jun 17, 2010, at 9:09 AM, Chris Vaisvil wrote:

> Oz!!
>
> Incredible - and is this you singing again?
>
> May I ask - how did you get the smooth string section sound?
>
> And - this is not in a packaged tuning?
>
> Again - we are smoked by you - not even Shahin is so good. Just incredible production, composition and sound.
>
> Truly professional!!
>
> Chris
>
>
> On Thu, Jun 17, 2010 at 2:51 AM, Ozan Yarman <ozanyarman@...> wrote:
>
> Dear members & dear Jacques et al.
>
> My heartfelt thanks to Jacques and his team for providing me the
> marvelous oppurtunity to discover and create music with Ethno2 from
> Motu. The first fruit of my labour, employing the professional sounds
> of this hot audio production kit, can be heard at:
>
> http://www.ozanyarman.com/musics.html
>
> Click the first song on the Flash player titled: "Son Bir Kez". It is
> an mp3 file in 44.1 Khz Stereo 160kbps format.
>
> This is a Hüzzam Sharqi by me, in that rapturous maqam cherished by
> Turks, in a scale I specifically formulated for this Logic8+Ethno2
> project, whose final mix includes my boomy singing voice with due
> embellishments and ornamentations characteristic of my thespian
> manneristic interpretation of the forlorn melody AND my own (reworked)
> lyrics in Turkish.
>
> A translation of the lyrics will be attempted for those who wonder the
> meanings of the words! For the moment, let me say it's a cheeky poem
> about a romance gone wrong and heart-tearing libidinous longing for
> someone even though the feeling is not reciprocated anymore. Just ask
> me for the translation.
>
> This electrifying recording you hear has turned into a grandiose re-
> arrangment, or dare I say, "soaring", over the preliminary
> lackadaisical version that featured arbitrarily/haphazardly hand-
> traced MIDI pitch-bends to emulate the intonation of the maqam:
> Offsets from 12-tET pitches by slides and slews of the PC mouse,
> undertaken during my neophyte years in studying Maqam music, before I
> even so much as knew the basics of tuning scholarship and professional
> audio production.
>
> Having discarded the preliminary pitch-bend data grotesquely
> resembling Huzzam in the aforesaid novice version recorded years ago,
> I used this 12-tone "Sonbirkez scale" in my fresh entry for the Ethno2
> competition:
>
> Sonbirkez Huzzam scale
> 12
> !
> 8/5
> 121/108
> 847/720
> 57/46
> 4/3
> 81/50
> 3/2
> 64/39
> 121/72
> 847/480
> 171/92
> 2/1
>
> There are three types of "perde hisar" (or "perde huzzam" if you will)
> at 8/5 (814 cents), 81/50 (835 cents) and 64/39 (857 cents), cleverly
> placed in the scale so as to complete the 12-tones to the octave
> picture... a picture that I find myself constantly returning to in my
> lethargic progress toward xentonality havens.
>
> Note, that the notes C#, F# and Ab are assigned to aforesaid three
> inflexions of perde hisar. All I needed to do in my project was to
> move a pitch over to one of these notes for the correct, i.e. sassy,
> intonation required by the ecstatic and doleful Hüzzam melody.
>
> I took as reference Jacques's Egyptian Rast scale in the Ethno2 tuning
> library when starting to formulate my scale. It appears I was left
> with only 121/72 and the octave in common at the end. Such is the
> incorrigibility of the Turkish Hüzzam!
>
> The length of the piece is 4:45 minutes. I realise that this a bit
> more than ordinarily expected. That is because of the "naqarat"
> section, or reprises for the consequent strophes of the lyrics. If
> need be, I can prepare an alternative mix that fits the 3 minute
> constraint. But I truly wish the piece is preserved the way it is:
> Complete as it is.
>
> The instruments used in the mix were, Maghrib Violin+Strings, Sustained
> +Tremolo Ouds, Tambourine, Oriental Tambourine, Bendir, Daire, Darbuka
> and my very own singing voice. Countless hours of digital mastering in
> my home studio unaccounted for!
>
> My eyes searched for a Romanian clarinet in Ethno2, but I couldn't
> find any. The only reed-wind I found suitable for the piece imitative
> of clarinet, the Bamboo Sax, was too limited in pitch register. Motu
> needs URGENTLY to incorporate Turkish sounds in its future Ethno bundle!
>
> I tackled and finished the production of "Son Bir Kez" ("One Last
> Time") in a period of utter exasperation with the Ethno2 mix of my
> Nishabureyn Peshrev and intense summer heat in Istanbul. The Peshrev
> uses too many pitches and Ethno2 is a resource-gulper when setting it
> up in such a way as to facilitate switching easily between same
> instruments tuned to different tunings. I hope Jacques and his team
> will understand and show leniency to me as I grapple to finish the
> Ethno2 rendition of the Peshrev and also a surprise piece, hopefully
> in time!
>
> Ok, there it is... Son Bir Kez for your ears. Comments welcome!
>
> Cordially,
> Oz.
>
> ✩ ✩ ✩
> www.ozanyarman.com
>
>
>
>

Thanks Caleb!

Changing just the word love to passion in the second strophe for
better rhyme, here is the translation of the lyrics again:

Kiss me one last time,
One last time mon amour.
Come, come one last time
And let's make unrestrained love.
Don't go I implore thee,
Embrace me, I implore thee, in thine arms.
Oh heavens, how I long for
Thine rosemallow lips.

Don't make me beg, enough already, come back now...
Don't make me beg thou rapscallion!
Hast thou then forgotten or what
The days thou wert dying of thy passion?
Don't go I implore thee,
Embrace me, I implore thee, in thine arms.
Oh heavens, how I long for
Thine rosemallow lips.

Singed thou my breast, without thee
Life is unbearable.
The aching in my heart
Oh beloved, knows no respite.
Don't go I implore thee,
Embrace me, I implore thee, in thine arms.
Oh heavens, how I long for
Thine rosemallow lips.

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Jun 17, 2010, at 4:56 PM, caleb morgan wrote:

>
>
> Really brilliant. All the tempo changes were natural-sounding.
> Great use of dynamics, trills in the strings, harmonizations.
>
> Plus, it was just plain fun to listen to.
>
> I second the request for translation.
>
> Caleb
>
>
> On Jun 17, 2010, at 9:09 AM, Chris Vaisvil wrote:
>
>> Oz!!
>>
>> Incredible - and is this you singing again?
>>
>> May I ask - how did you get the smooth string section sound?
>>
>> And - this is not in a packaged tuning?
>>
>> Again - we are smoked by you - not even Shahin is so good. Just
>> incredible production, composition and sound.
>>
>> Truly professional!!
>>
>> Chris
>>
>>
>> On Thu, Jun 17, 2010 at 2:51 AM, Ozan Yarman <ozanyarman@...
>> > wrote:
>>
>> Dear members & dear Jacques et al.
>>
>> My heartfelt thanks to Jacques and his team for providing me the
>> marvelous oppurtunity to discover and create music with Ethno2 from
>> Motu. The first fruit of my labour, employing the professional sounds
>> of this hot audio production kit, can be heard at:
>>
>> http://www.ozanyarman.com/musics.html
>>
>> Click the first song on the Flash player titled: "Son Bir Kez". It is
>> an mp3 file in 44.1 Khz Stereo 160kbps format.
>>
>> This is a Hüzzam Sharqi by me, in that rapturous maqam cherished by
>> Turks, in a scale I specifically formulated for this Logic8+Ethno2
>> project, whose final mix includes my boomy singing voice with due
>> embellishments and ornamentations characteristic of my thespian
>> manneristic interpretation of the forlorn melody AND my own
>> (reworked)
>> lyrics in Turkish.
>>
>> A translation of the lyrics will be attempted for those who wonder
>> the
>> meanings of the words! For the moment, let me say it's a cheeky poem
>> about a romance gone wrong and heart-tearing libidinous longing for
>> someone even though the feeling is not reciprocated anymore. Just ask
>> me for the translation.
>>
>> This electrifying recording you hear has turned into a grandiose re-
>> arrangment, or dare I say, "soaring", over the preliminary
>> lackadaisical version that featured arbitrarily/haphazardly hand-
>> traced MIDI pitch-bends to emulate the intonation of the maqam:
>> Offsets from 12-tET pitches by slides and slews of the PC mouse,
>> undertaken during my neophyte years in studying Maqam music, before I
>> even so much as knew the basics of tuning scholarship and
>> professional
>> audio production.
>>
>> Having discarded the preliminary pitch-bend data grotesquely
>> resembling Huzzam in the aforesaid novice version recorded years ago,
>> I used this 12-tone "Sonbirkez scale" in my fresh entry for the
>> Ethno2
>> competition:
>>
>> Sonbirkez Huzzam scale
>> 12
>> !
>> 8/5
>> 121/108
>> 847/720
>> 57/46
>> 4/3
>> 81/50
>> 3/2
>> 64/39
>> 121/72
>> 847/480
>> 171/92
>> 2/1
>>
>> There are three types of "perde hisar" (or "perde huzzam" if you
>> will)
>> at 8/5 (814 cents), 81/50 (835 cents) and 64/39 (857 cents), cleverly
>> placed in the scale so as to complete the 12-tones to the octave
>> picture... a picture that I find myself constantly returning to in my
>> lethargic progress toward xentonality havens.
>>
>> Note, that the notes C#, F# and Ab are assigned to aforesaid three
>> inflexions of perde hisar. All I needed to do in my project was to
>> move a pitch over to one of these notes for the correct, i.e. sassy,
>> intonation required by the ecstatic and doleful Hüzzam melody.
>>
>> I took as reference Jacques's Egyptian Rast scale in the Ethno2
>> tuning
>> library when starting to formulate my scale. It appears I was left
>> with only 121/72 and the octave in common at the end. Such is the
>> incorrigibility of the Turkish Hüzzam!
>>
>> The length of the piece is 4:45 minutes. I realise that this a bit
>> more than ordinarily expected. That is because of the "naqarat"
>> section, or reprises for the consequent strophes of the lyrics. If
>> need be, I can prepare an alternative mix that fits the 3 minute
>> constraint. But I truly wish the piece is preserved the way it is:
>> Complete as it is.
>>
>> The instruments used in the mix were, Maghrib Violin+Strings,
>> Sustained
>> +Tremolo Ouds, Tambourine, Oriental Tambourine, Bendir, Daire,
>> Darbuka
>> and my very own singing voice. Countless hours of digital mastering
>> in
>> my home studio unaccounted for!
>>
>> My eyes searched for a Romanian clarinet in Ethno2, but I couldn't
>> find any. The only reed-wind I found suitable for the piece imitative
>> of clarinet, the Bamboo Sax, was too limited in pitch register. Motu
>> needs URGENTLY to incorporate Turkish sounds in its future Ethno
>> bundle!
>>
>> I tackled and finished the production of "Son Bir Kez" ("One Last
>> Time") in a period of utter exasperation with the Ethno2 mix of my
>> Nishabureyn Peshrev and intense summer heat in Istanbul. The Peshrev
>> uses too many pitches and Ethno2 is a resource-gulper when setting it
>> up in such a way as to facilitate switching easily between same
>> instruments tuned to different tunings. I hope Jacques and his team
>> will understand and show leniency to me as I grapple to finish the
>> Ethno2 rendition of the Peshrev and also a surprise piece, hopefully
>> in time!
>>
>> Ok, there it is... Son Bir Kez for your ears. Comments welcome!
>>
>> Cordially,
>> Oz.
>>
>> ✩ ✩ ✩
>> www.ozanyarman.com
>>
>>
>>
>>
>
>
>
>

--- In tuning@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
>
> Ahha, ok, here is a fresh translation of the lyrics of Son Bir Kez:

Thanks! Now that I have the words and have looked up an image of rosemallow, I'll listen again. Whoosh!

--- In tuning@yahoogroups.com, "genewardsmith" <genewardsmith@...> wrote:
>
>
>
> --- In tuning@yahoogroups.com, Ozan Yarman <ozanyarman@> wrote:
> >
> > Ahha, ok, here is a fresh translation of the lyrics of Son Bir Kez:

What's with this name Son Bir Kez, anyway? I find another Son Bir Kez by someone named Karemcem all over the place; it seems quite different and all Westernized to boot.

Well, don't you have anything to say about the music then? :)

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Jun 18, 2010, at 3:37 AM, genewardsmith wrote:

>
>
> --- In tuning@yahoogroups.com, "genewardsmith" <genewardsmith@...>
> wrote:
>>
>>
>>
>> --- In tuning@yahoogroups.com, Ozan Yarman <ozanyarman@> wrote:
>>>
>>> Ahha, ok, here is a fresh translation of the lyrics of Son Bir Kez:
>
> What's with this name Son Bir Kez, anyway? I find another Son Bir
> Kez by someone named Karemcem all over the place; it seems quite
> different and all Westernized to boot.
>
>

--- In tuning@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
>
> Well, don't you have anything to say about the music then? :)

Oh, I liked it, especially the way it brings in some polyphony. I also got a kick out of your translated lyrics. How big an audience is there for this sort of thing in Turkey? I'd hate to think people only listened to stuff like the other Son Bir Kez.

:)

The audience here is unpredictable. I have to make the album and see
for myself how many takers there are in the market for this produce.

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Jun 18, 2010, at 4:36 AM, genewardsmith wrote:

>
>
> --- In tuning@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
>>
>> Well, don't you have anything to say about the music then? :)
>
> Oh, I liked it, especially the way it brings in some polyphony. I
> also got a kick out of your translated lyrics. How big an audience
> is there for this sort of thing in Turkey? I'd hate to think people
> only listened to stuff like the other Son Bir Kez.
>
>