Abd al-Wahhab al-Qayyali did not see that the prevalence of commercial singing in Jordan and the Arab world affected the experiences of serious musicians who sought a real connection with their cultural heritage, which included the cultures of the region spanning from Central Asia. In contrast to North Africa, he said in more than one press interview, market openness and technological development since the 1990s have contributed to expanding the presence of Jordanian and Arab musical models, which have a different depth of vision.

Composer and Oud Player, Ph.D. A graduate may have led to the creation of a richer, more complex and complex sound.

Together with Jordanian artist and musician Fadi Hattar, Al-Qayyali will perform a concert tomorrow Friday at 7:30pm at the Rainbow Theater in Amman. The evening comes three years after his last concert in the Jordanian capital.

One of the pieces performed by the two musicians is titled “Hira” and reflects a melodic narrative of various tones and polyphony. It will withstand further additions, changes and improvements at advanced stages of the project as the tools seek to develop. Music in this context.

In an interview with The New Arab, Kayali says: “I worked on the project and created it to try to take advantage of the similar tonal range between the oud and the cello, which I had recently studied at one point in my music education. At the ‘National Conservatory’ in Amman, the sound systems of the two instruments (tala structure) combined and extended to harp and cello) to create music that transcends tradition, boundaries, conventions and genres.

(This scheme combines the curved structure of the shell with the elongated structure of the cello.)

He adds, “In this project, I extend my experiences in combining maham music with harmony and polyphony to create neo-classical music that bridges East and West. Most of the compositions come from my own compositions that I started working on in the ‘Roots’ album. In Amman, Jordanian cellist Fadi I would partner with Hutter and work with him on several projects including ‘Roots’.

Kayyali’s first album contains five songs composed and arranged by her: “In the Mind”, “Morning Breeze”, “Fara”, “Nava” and “Samehini”, and three compositions were reissued: “Karib – Samayi Hijaz” Turkish Qanun Player “Dance of Jobian and Beautiful Girls” by Koksel Bakhtakir and Armenian-American ode player Alan Shavarsh Bardspanian and “Shurook” by Iraqi ode player Jamil Bashir.

Al-Qayali points out that his productions were lacking because of his firm belief that if something could not be added to the music, be it melodically, spiritually, or technically, there was no need to compose it, as he wrote. Juzur” pieces between 2009 and 2015, distributing them in different stages, and ending with his final musical creation in 2016.

Kayali describes “transposition” as “moving or altering musical pitch is a musical expression, but its broader meaning is temporal, spatial, rhythmic, modal, natural, or/and creating new expressive instruments. Thus, this project allows one type of musician’s instruments to easily transfer to another.” “The focus is on portability and adaptability to new environments,” he said, adding that he began working on the project last December under a grant from the Arts Council. Canada with Canadian cellist Sheila Hannigan.

At tomorrow’s concert, Kayali will present works from her books; They are: “In Mind” (Amman, 2012), “Forgive Me” (Rabat, 2015), “Volcano” (Montreal, 2021), “Hira” (Montreal, 2021), and “Emigrant” (Montreal, 2022) . ), and he will perform with Fadi Hattar “Karib – Samai Hijaz” composed by Kokzel Bakhtakir and “Zabian Dance – Beautiful Girls” written by Alan Shavarsh Bardaspanian from the Greek tradition.

It is noteworthy that Abdul-Wahab Al-Qayyali founded the band “Juzoor” in 2012 with other musicians and made his first album bearing the name of the band with the participation of Muhammad Dahboub (violin), Fadi. Hattar (cello), Nasser Salama (percussion), and Arab Samirat (editing and mixing).