Arabic Music Theory

Who is this for?

The topics covered in Arabic music theory lessons are included in oud and maqam lessons, seamlessly matching your ability in performance. You may want a more focused approach, however, if:

1. You can already play well but want to sharpen your notation skills.

2. You’re looking for a short introduction to maqam and iqa’ mechanics.

What to expect?

For those who want to focus on notation, we’ll focus on the core skills (tailored to your needs) of reading and writing maqam music, including:

• How to read/write rhythms, time signatures, and recognise the iqa’at.

• How to read/write pitches, key signatures, accidentals.

• How to identify the ajnas and maqamat.

• How to negotiate all the signs and squiggles on a score.

• A sight-reading practice program can also be tailored to your needs.

For those who already read music and/or want an introduction to the concepts of the maqamat and iqa’at in contemporary practice:

• How to recognize the maqamat by listening, and in notation.

• How maqam classification works and understanding the relationships between maqamat.

• Learning the key principles shaping the unfolding of a maqam melody.

• An introduction to the iqa’at (rhythmic cycles), and how they are used.

A full understanding of the maqamat and iqa’at takes years, it’s like a personal relationship that becomes ever richer the more time you spend together. To ‘know’ these materials, you have to go beyond explanations and develop your own ‘feel’ for them, which is why practical experience is best. That’s why these Arabic music theory sessions are described as ‘introductory’.

About the teacher

Julian has over twenty years experience with Arabic maqam music, as a composer, concert soloist and teacher. He has been teaching since 2012, spending seven years as an oud teacher at the Arab British Centre in London, and also working as a seminar leader/supervisor and examiner for undergraduates in the music department at King’s College London, on subjects including: the maqamat, music of the Middle East and South Asia, Ethnomusicology and Sound Studies.

He has two areas of specialty in oud performance and composition: firstly, the modern solo style of oud, resulting from eight years of intensive study with Iraqi oud master Ahmed Mukhtar in London. During his PhD research period this was further enriched by time learning with Palestinian player Adel Salameh, and fieldwork in Dubai, observing live sessions in top industry studios, interviewing renowned composer Khaled Muhammed Ali and prominent producer Shakir Hassan about their creative processes, (and also bumping into Khaled al Sheikh recording his new oratorio!).

Since then, Julian has fallen in love with the older tatribi style of oud playing from 1920s and 1930s Egypt, a style as iconic and influential in its day across the region (think Umm Kulthum) as the modern Iraqi-inspired style is today.

Julian studied composition at the Junior Guildhall School of Music and Drama, then music at Cambridge (BA) and Oxford (MPhil) universities, concluding with a PhD at King’s College London.

Prior to the pandemic he worked as a professional concert oud player, both as a soloist and in group projects, for example in 2019 with Lux Musicae London for their Secrets of Andalusia UK tour. For health reasons he’s had to stop in-person work these days, but enjoys the quality time that one-to-one online teaching allows.