Gharnati music

Gharnati (), is an Algerian variety of Andalusian classical music originating in Tlemcen. Its name is derived from the Arabic name of the city of Granada. Gharnati has also become an established tradition in other cities in western Algeria, such as Oran, Nedroma and Sidi-Bel-AbbÃÂ¨s. In the 20th century it also spread to Morocco after being brought over by Algerian families who moved there fleeing French colonial rule in Algeria, and eventually founding conservatories in cities like Oujda and Rabat.

Features

Modes

The modes (Arabic: ÃÂ·ÃÂ¨ÃÂÃÂ¹: tÃÂ«bÃÂ«b') that are known in the school of Tlemcen are the following:

MawwÃÂl (ÃÂ§ÃÂÃÂÃÂÃÂ§ÃÂ)
MawwÃÂl (ÃÂ§ÃÂÃÂÃÂÃÂ§ÃÂ)
DÃÂ«l (ÃÂ§ÃÂÃÂ°ÃÂÃÂ)
RaÃ¡Â¹Â£d ÃÂ-DÃÂ«l (ÃÂ±ÃÂµÃÂ¯ ÃÂ§ÃÂÃÂ°ÃÂÃÂ)
MÃÂya (ÃÂ§ÃÂÃÂÃÂ§ÃÂÃÂ©)
ZÃÂ«dÃÂn (ÃÂ§ÃÂÃÂ²ÃÂÃÂ¯ÃÂ§ÃÂ)
ZÃÂ«dÃÂn (ÃÂ§ÃÂÃÂ²ÃÂÃÂ¯ÃÂ§ÃÂ)
Raml ÃÂl-ÃÂ¿AÃÂ¡iyya (ÃÂ±ÃÂÃÂ ÃÂ§ÃÂÃÂ¹ÃÂ´ÃÂÃÂ©)
MÃÂ§ÃÂnba (ÃÂ§ÃÂÃÂÃÂ¬ÃÂÃÂ¨ÃÂ©)
Raml ÃÂl-MÃÂya (ÃÂ±ÃÂÃÂ ÃÂ§ÃÂÃÂÃÂ§ÃÂÃÂ©)
Raml ÃÂl-MÃÂya (ÃÂ±ÃÂÃÂ ÃÂ§ÃÂÃÂÃÂ§ÃÂÃÂ©)
RaÃ¡Â¹Â£d (ÃÂ§ÃÂÃÂ±ÃÂµÃÂ¯)
'Iraq MaÃ¡Â¹ÂlÃÂ«q (ÃÂ§ÃÂÃÂ¹ÃÂ±ÃÂ§ÃÂ ÃÂ§ÃÂÃÂÃÂ·ÃÂÃÂÃÂ)
'Iraq MaÃ¡Â¹ÂlÃÂ«q (ÃÂ§ÃÂÃÂ¹ÃÂ±ÃÂ§ÃÂ ÃÂ§ÃÂÃÂÃÂ·ÃÂÃÂÃÂ)
Ã¡Â¸Â¤sÃÂ«n (ÃÂ§ÃÂÃÂÃÂ³ÃÂÃÂ)
ÃÂ rÃÂ«bat ÃÂl-Ã¡Â¸Â¤sÃÂ«n (ÃÂºÃÂ±ÃÂÃÂ¨ÃÂ© ÃÂ§ÃÂÃÂÃÂ³ÃÂÃÂ)
MÃÂzmÃÂ«m (ÃÂ§ÃÂÃÂÃÂ²ÃÂÃÂÃÂ)
MÃÂzmÃÂ«m (ÃÂ§ÃÂÃÂÃÂ²ÃÂÃÂÃÂ)
SÃÂ«kÃÂ (ÃÂ§ÃÂÃÂ³ÃÂÃÂÃÂ§ÃÂ)
SÃÂ«kÃÂ (ÃÂ§ÃÂÃÂ³ÃÂÃÂÃÂ§ÃÂ)
ÃÂ¦ÃÂrkÃÂ (ÃÂ§ÃÂÃÂ¬ÃÂ§ÃÂ±ÃÂÃÂ§ÃÂ)
ÃÂ¦ÃÂrkÃÂ (ÃÂ§ÃÂÃÂ¬ÃÂ§ÃÂ±ÃÂÃÂ§ÃÂ)
Ã¢ÂÂIrÃÂq MaÃ¡Â¸Â¥Ã¡Â¹Â£ÃÂ«r (ÃÂ§ÃÂÃÂ¹ÃÂ±ÃÂ§ÃÂ ÃÂ§ÃÂÃÂÃÂÃÂµÃÂÃÂ±)
Ã¢ÂÂIrÃÂq MaÃ¡Â¸Â¥Ã¡Â¹Â£ÃÂ«r (ÃÂ§ÃÂÃÂ¹ÃÂ±ÃÂ§ÃÂ ÃÂ§ÃÂÃÂÃÂÃÂµÃÂÃÂ±)
ÃÂ rÃÂ«b (ÃÂ§ÃÂÃÂºÃÂ±ÃÂÃÂ¨)

The nuba

In Tlemcen, a nuba is a musical composition consisting of an ordered suite of vocal and instrumental pieces built around five movements whose rhythm progresses from very slow to very light and which are divided into two theoretical parts, the first comprising the first three movements (mÃ¡Â¹Â£eddar, bÃ¡Â¹ÂÃÂyÃ¡Â¸Â¥ÃÂ« and derÃÂ§) and the second, the last two (inÃ¡Â¹Â£irÃÂf and meÃ¡ÂºÂles).

The structure of a typical nuba:

MÃÂ¡ÃÂlyÃÂ: an unmeasured instrumental prelude that introduces and develops the main mode and neighboring modes used in its development. It also introduces the audience into its mood and plays the role of a rhythmic introduction to the tÃÂ«ÃÂ¡iyya.
TÃÂ«ÃÂ¡iyya: instrumental ouverture composed of several patterns (each repeated once) in which follow a series of rhythmic signatures recalling the five movements that form the nuba.
* Rhythmic cycle (mÃÂ®zÃÂn): ( = 110)
** MÃÂ®zÃÂn ÃÂl-baÃÂ¡raf ÃÂ§wÃÂb "instrumental" ()
** MÃÂ®zÃÂn ÃÂl-inqilÃÂb ()
** MÃÂ®zÃÂn ÃÂl-qÃ¡Â¹Â£ÃÂ®d ÃÂ§wÃÂb "instrumental" ()
** MÃÂ®zÃÂn ÃÂl-inÃ¡Â¹Â£irÃÂf / ÃÂl-meÃ¡ÂºÂles ()
MÃÂ¡ÃÂlyÃÂ: (see above)
KÃÂ«rsi al-mÃ¡Â¹Â£eddar: a melodic and rhythmic pattern that introduces the first movement.
* Rhythmic cycle (mÃÂ®zÃÂn):
** MÃÂ®zÃÂn ÃÂl-qÃ¡Â¹Â£ÃÂ®d ÃÂ§wÃÂb "instrumental" ()
KÃÂ«rsi al-mÃ¡Â¹Â£edrayn: a melodic and rhythmic pattern that separates two mÃ¡Â¹Â£eddar-s.
MÃ¡Â¹Â£eddar (first movement): vocal and instrumental piece (one or more).
* Rhythmic cycle (mÃÂ®zÃÂn):
** Singing: mÃÂ®zÃÂn ÃÂl-qÃ¡Â¹Â£ÃÂ®d qÃÂ«l ()
** Instrumental answer: mÃÂ®zÃÂn ÃÂl-qÃ¡Â¹Â£ÃÂ®d ÃÂ§wÃÂb ()
KÃÂ«rsi al-bÃ¡Â¹ÂÃÂyÃ¡Â¸Â¥ÃÂ«: a melodic and rhythmic pattern that introduces the second movement.
* Rhythmic cycle (mÃÂ®zÃÂn):
** MÃÂ®zÃÂn ÃÂl-baÃÂ¡raf ÃÂ§wÃÂb "instrumental" ()
BÃ¡Â¹ÂÃÂyÃ¡Â¸Â¥ÃÂ« (second movement): vocal and instrumental piece (one or more).
* Rhythmic cycle (mÃÂ®zÃÂn):
** Singing: mÃÂ®zÃÂn ÃÂl-baÃÂ¡raf qÃÂ«l ()
** Instrumental answer: mÃÂ®zÃÂn ÃÂl-baÃÂ¡raf ÃÂ§wÃÂb ()
KÃÂ«rsi ÃÂl -derÃÂ§: a melodic and rhythmic pattern that introduces the third movement.
* Rhythmic cycle (mÃÂ®zÃÂn):
** MÃÂ®zÃÂn ÃÂl-derÃÂ§ ()
DerÃÂ§ (third movement): vocal and instrumental piece (one or more).
* Rhythmic cycle (mÃÂ®zÃÂn):
** MÃÂ®zÃÂn ÃÂl-derÃÂ§ ()
IstiÃ¡Â¸Â¥bÃÂr: Unmeasured vocal improvisation where the musician displays his inspiration and his virtuosity.
TÃÂ«ÃÂ¡iyyet ÃÂl-inÃ¡Â¹Â£irÃÂfÃÂt: instrumental interlude introducing the fourth movement (inÃ¡Â¹Â£irÃÂf). In its absence, the kÃÂ«rsi ÃÂl-inÃ¡Â¹Â£irÃÂf takes its place.
* Rhythmic cycle (mÃÂ®zÃÂn):
** MÃÂ®zÃÂn ÃÂl-inÃ¡Â¹Â£irÃÂf ()
InÃ¡Â¹Â£irÃÂf (fourth movement): vocal and instrumental piece (one or more).
* Rhythmic cycle (mÃÂ®zÃÂn):
** MÃÂ®zÃÂn ÃÂl-inÃ¡Â¹Â£irÃÂf ()
MeÃ¡ÂºÂles (fifth movement): vocal and instrumental piece (one or more).
* Rhythmic cycle (mÃÂ®zÃÂn):
** MÃÂ®zÃÂn ÃÂl-meÃ¡ÂºÂles ()
TÃÂ«ÃÂ¡iyyet ÃÂl -kamÃÂl: Instrumental piece ending the nuba. It may also serve to introduce another nuba.

Nubat ÃÂl-inqilÃÂbÃÂt

It is a suite composed of vocal and instrumental pieces (Muwashshah and zajal) in which different modes and rhythmic cycles follow one another (mÃÂ®zÃÂn ÃÂl-qÃ¡Â¹Â£ÃÂ®d ÃÂ§wÃÂb (8/4), mÃÂ«zÃÂn ÃÂ-sofyÃÂn (7/4), mÃÂ®zÃÂn ÃÂl-baÃÂ¡rÃÂf ÃÂ§wÃÂb (4/4) and baÃÂ¡rÃÂf qÃÂ«l (8/4), mÃÂ®zÃÂn ÃÂl-GÃÂ«bbÃÂÃ¡Â¸Â¥ÃÂ« (4/4) and mÃÂ®zÃÂn ÃÂl-inÃ¡Â¹Â£irÃÂf (6/8)).

Slisla

Slisla refers to a kind of nubat ÃÂl-inqilÃÂbÃÂt in which pieces (inqilÃÂbÃÂt) evolve in the same rhythmic cycle (mÃÂ«zÃÂn), such as slislet mÃÂ®zÃÂn ÃÂl-qÃ¡Â¹Â£ÃÂ®d, slislet mÃÂ«zÃÂn ÃÂ-Ã¡Â¹Â£ofyÃÂn, slislet mÃÂ«zÃÂn ÃÂl-baÃÂ¡raf or slislet mÃÂ«zÃÂn ÃÂl-inÃ¡Â¹Â£irÃÂf. Each slisla begins with a mÃÂ¡ÃÂlyÃÂ and a tÃÂ«ÃÂ¡iyya, and ends with a meÃ¡ÂºÂles.

Qadriyya

It is a small vocal piece composed in a mÃÂ®zÃÂn ÃÂl-inÃ¡Â¹Â£irÃÂf () often used to close a classical nuba. Qadriyya-s are found in seven modes including mawwÃÂl, zÃÂ«dÃÂn, ÃÂÃÂrkÃÂ, raml ÃÂl-MÃÂya, Ã¢ÂÂIrÃÂq and sÃÂ«kÃÂ.

Representative artists

Algeria

Composers

Mohamed ibn al-Khamis (1252-1369)
Abou Hammou Moussa II (1324-1388), the eighth sultan of the zayyanid dynasty.
Ibn al-Banna a-Tilimsani 14th century
Abi Djamaa Talalisi (1330-?), the doctor-poet of the zayyanid dynasty court.
Abou Othmane Said El Mendassi (1583-1677)
Ahmed al-Bekri (17th century)
Ibn Nachit (17th century)
Ahmed Ben Triki (1650-1750)
Abou Abdillah Mohamed Ben Ahmed Ben Msayeb (1688-1768)
Moulay Ahmed Ben Antar (18th century)
Mohamed Bendebbah a-Tilimsani (18th century)
Mohamed Touati (18th century)
MÃ¢ÂÂbarek Bouletbaq (18th century-1768)
Boumediene Bensahla (18th century-1797)

Great masters and famous performers

Current celebrities

Amina Karadja
Anis Amanallah Kalfat
Badr Eddine Khaldoun
Brahim Hadj Kacem
Dalila Mekadder
Karim Boughazi
Khalil Baba Ahmed
Nisrine Ghenim
Nouri Kouffi
Rym Hakiki
Larbi Louazani
Leila Benmrah
Lila Borsali

Morocco

Famous performers

Bouchnak Benyounes dit Afendi
Cheikh Mohammed Salah Chaabane
Chaabane Sidi Mohammed
Chaabane Nasreddine
Kerzazi Cheikh Brahim
Hamid Bazi
Amina Alaoui

France

FranÃÂ§oise Atlan