B-A-G-D-A-D
• OVERVIEW •
‘I once met a mysterious musician from Mesopotamia, who would only play guitar in his local tuning…’
Pattern: 10>10>7>7>5
Harmony: D6(sus4) | 6-5-4-1-5-1
• TUNING TONES •
Multi-step meend in Raag Bageshri: some riyaz improv in one of my all-time favourite ragas
Sep 30
E8 Boogie (Squarepusher): @sqpusher did I get them right? Tried to work out guitar voicings for this curious chord sequence in E8 Boogie (…originally at the request of a student!)
Sep 27
Raag Jaiwanti Todi (SrgmPDnS): An Ahiri-prakriti raga introduced by Maharaja Jaiwant Singh Waghela (1904-1980): the hereditary ruler of Sanand who gained wide renown as a spiritual teacher, vocal educator, and generous patron of the nascent Mewati gharana (also the creator of Gyankali and other ragas). Sung here by his student Pandit Jasraj – a bandish I’ve always loved, especially the ferocious taan and colourful harmonium accompaniment…
Sep 22
Raag Prabhateshwari (SrgmPDnS): A mysterious raga created by Hariprasad Chaurasia, played here by his nephew Rakesh – resembling a blend of the morning Ahir Bhairav and the late night Bageshri. I was inspired to learn the raga when researching Maa Annapurna Devi’s time teaching Hariprasad (many thanks to my crack team of experts including Rupak Kulkarni, Alam Khan, George Ruckert, Suresh Vyas, Anindya Banerjee, and Gopi Shanker, who all gave valuable assistance in illuminating the raga’s origins)
Sep 15
—Home | Menu | About—
• Support ad-free, AI-free musicology by joining my PATREON. And to intensify your six-string imagination, try some online lessons: get in touch to book a free taster session!
Apologies to anyone experiencing page-load issues in the past few weeks: this is due to bot-scraper requests overloading the server – a fix is in the works (…if you have expertise in this area, hit me up!)
#raga #jazzguitar #indianmusic #icm #londonmusic
Original: Squarepusher/Tom Jenkinson (from 1997’s Hard Normal Daddy)
#jungle #jazzguitar #warprecords #idm #dnb @warprecords
—Original: Pandit Jasraj (khayal); Appa Jalgaonkar (harmonium); Nizamuddin Khan? (tabla)
#raga #khayal #indianmusic #worldmusic #icm
—Original: Rakesh Chaurasia (bansuri), live at Darbar 2008 @chaurasia_rakesh @darbarfestival
#raga #darbarfestival #indianmusic #bansuri #worldmusic
• SOUNDS •
The actual music of Baghdad spans a rich variety of sonic and social influences, both ancient and modern. Long renowned as a cultural and intellectual hub, the city was for many centuries the world’s most populous (likely between around 800 and 1250 AD). It has produced countless musical masters over the years – including virtuosi of the oud (fretless lute), joza (4-string fiddle), and santur (hammered dulcimer: also see the North Indian santoor, which arrived to the Subcontinent via the mountains of Kashmir).
Baghdad’s traditional music draws heavily from the microtonal maqam systems of Islamic music – as explained by scholar Sami Abu Shumays, each maqam contains “habitual melodic phrases, modulation possibilities, ornamentation techniques, and aesthetic conventions, that together form a rich melodic framework and artistic tradition” (n.b. maqam is like a ‘distant cousin’ of North Indian raga: both share a Persian influence). Check out vocal legend Nazem al-Ghazali (Maqam Hakimi), modern oud master Ahmed Mukhtar (Raqsat Albedoi), folk-fusion guitarist Ilham al-Madfai (Khuttar), and The Iraqi Maqam Ensemble (Maqam Dash). Also see the 2015 documentary On the Banks of the Tigris.
- Trailer: On the Banks of the Tigris – documentary (2015):
“In those ancient days, when the good destinies had been decreed…Enki, lord of broad wisdom and master of destinies…laid side-by-side the Tigris and the Euphrates, and caused them to bring water from the mountains. He scoured out the smaller streams, and positioned the other watercourses…Enki made spacious sheep-folds and cattle-pens, provided shepherds and herdsmen, and founded cities and settlements throughout the earth…” (from Debate Between Bird and Fish: an cuneiform essay written on clay tablets circa 2,000 BC)
Share this page! My site is 100% reliant on organic visitors – send this page to fellow sonic searchers!
—Join my PATREON!—
• My Music | Global Guitar •
(Currently accepting Zoom students! Book in a free taster session)
Like everything on my site, the World of Tuning will always remain 100% open-access and ad-free: however, this doesn’t pay the bills! I put as much into these projects as time and finances allow – so, if you like them, you can:
• Support the site! •
—Documenting more altered tunings—
—Engaging with peg-twisting guitarists—
—Ensuring that high-quality guitar knowledge will remain open to all!—
Insights to share? Get in touch!
• NUMBERS •
| 6str | 5str | 4str | 3str | 2str | 1str | |
| Note | B | A | G | D | A | D |
| Alteration | -5 | 0 | -7 | -5 | -2 | -2 |
| Tension (%) | -44 | 0 | -55 | -44 | -21 | -21 |
| Freq. (Hz) | 62 | 110 | 98 | 147 | 220 | 294 |
| Pattern (>) | 10 | 10 | 7 | 7 | 5 | – |
| Semitones | 0 | 10 | 8 | 15 | 22 | 27 |
| Intervals | 6 | 5 | 4 | 1 | 5 | 1 |
- See my Tunings Megatable for further such nerdery: more numbers, intervallic relations, comparative methods, etc. And to any genuine vibratory scientists reading: please critique my DIY analysis!
• RELATED •
—Associated tunings: proximities of shape, concept, context, etc…
- Funky Avocado: same tones, middle strings switched
- Ten Years: more quasi-incidentally melodious spelling
- Oud (Turkish): turn to a different Islamic-world lute
• MORE INFO •
—Further learnings: sources, readings, lessons, other onward links…
- More snapshots of Baghdad: a British Pathé clip with street views from the 1950s, a 2019 PBS cultural feature (“Baghdad is experiencing a phase of rare stability that is allowing the community to rebuild its art scene…”), and a historico-culinary guide by Nawal Nasrallah (“After acknowledging the emergence of the ‘art of cooking’ as a respectable field in this modern age, Queen Aliyya embarked…”)
- Mesopotamian history: e.g. the city’s foundations in al-Mansur’s 8th-century ‘Round City‘ (“I have never seen a city of greater height, more perfect circularity, more endowed with superior merits…”), and its role as a scientific epicentre in the ‘Islamic Golden Age‘ circa 9-10th century, and Tower of Skulls, an LRB feature by Malise Ruthven (“A famous Sumerian writer described the scene here in 2000 BC, saying that people are looting and killing, and nobody knows who the king is. So you see, nothing is new…”) – also see more of the ‘Sumerian Disputations‘ from above (a stacked card featuring matchups such as ‘sheep vs. grain‘, ‘silver & copper‘, and ‘hoe vs. plough‘)
Header image: The Fall of Baghdad (14th-century, Jāmiʿ al-tawārīkh)
Search the Altered Tunings Menu (100+): type in notes, artists, adjectives, intervals, sequences, etc. Also see Tag List:
.
—TUNING TAGS—
ALL (100) | 2-note (6) | 3-note (28) | 4-note (26) | 5-note (30) | 6-note (8) | 7th: Dom. (7) | 7th: Maj (12) | 7th: Min (21) | A-listers (11) | Alliterative (16) | Drone (4) | Drop (6) | Global (20) | Inst. (12) | Interval (6) | Narrow (12) | Non-taut (63) | Odd jumps (10) | Oddball (17) | Power (26) | Re-ent. (7) | Slack-key (5) | Slide (12) | Standard (11) | Superlow (15) | Sus. (22) | Triad: Maj (11) | Triad: Min (7) | 1-twist(7) | 2-twist (12) | 3-twist (16) | 4-twist (20) | 5-twist (20) | 6-twist (24) | Wide (24)
George Howlett is a London-based musician, writer, and teacher (guitars, sitar, tabla, & santoor). Above all I seek to enthuse fellow sonic searchers, interconnecting fresh vibrations with the voices, cultures, and passions behind them. See Home & Writings, and hit me up for Online Lessons!
—Join the Patreon!—
(Get in touch for Zoom lessons!)
my site is ad-free, AI-free, & open-access