Musical Composition
         The Waslah

   (Taqseem Flute )  The Waslah begins with a “Bashraf”, which is a Turkish Musical piece.  The name is of a Persian origin meaning “Going Forward”.  This piece was inspired to indicate a musical introduction. The “Bashraf” origin was attributed to Abu-Nasr Al-Farabi in the Tenth century, in a book written by Zakaria Younis.  It's believed that this piece came about at the beginning of the Ottoman Empire in the Fourteenth century and flourished when the government moved to Constantinople, through the military music that is played by the Mahtar.  Here is an example ( ). 

     The Bashraf was adopted by string instruments in the way of a certain musical piece, composed in a certain Maqam, with one or more rhythms, and without any restriction.  It was observed that all the Arab regions had no musical introductions other than the Turkish Bashraf.  We find special Bashraf in Tunisia and Algeria that was not found in the Turkish musical heritage, in spite of the extensive research done By Dr. Salih Al-Mehdi. The Tunisian and Algerian Bashraf took on a distinguished character, which in conjunction with the music brought in by the Andalusian Refugees, have given birth to modern music of these two countries.  Here is an Algerian Bashraf called “AL-Araisi”  , particular to the city of Qestanteenah (). 

     The Bashraf in Tunisia, have kept its Militaristic character, and was always played by the drummers of the Basha (governor).  Up until now, the last part of the Bashraf is called “Al-Harbi” (meaning: the Military).  The Bashraf started being utilized by String Instruments in the last century.  Violin Players had their way of utilizing the Bashraf in performance, improvisation, and jam sessions.  “Rabab” (a one string instrument that may be the forerunner of Violin) players have switched to the western violin when it comes to playing Bashraf and what comes after it, in the way of songs.  Here is a Tunisian Bashraf called “Al-Nawasi”.  It's distinguished by its military style first part, and is considered to be the only Bashraf in Arabic music that was composed to a free rhythmic style, that is many different rhythmic parts, which is used in modern Western music (Al-Nawasi  ).

     The Turkish Bashraf has reached its peak in Arabic music back in the Nineteenth century, where its rules were established.  It was divided into four parts, usually short pieces, interspersed among it a musical piece called “Al-Tasleem”, with the ability to vary in Maqam, in the Second, Third and Fourth Parts, or Movements.  Here is an example by the Armenian-Turkish Composer, Tatius, who lived 1855-1913 (Bashraf by Tatius ).

Bashraf Kardali-Tatius Afandi
Bashraf Rast- Tatius Afandi
Bashraf Saba
Bashraf Ushaq
Bashraf Hamayoon

Please visit the following Web Sites for an extensive collection of Classical Arabic Music:

http://www.classicalarabicmusic.com

http://www.traditionalarabicmusic.com

http://www.arabicmusicvideos1.com