Music Videos

Babylonian Fingers 

Babylonian Fingers – Inspiration of Babylonian Music. An imaginable music , taken from the story of Babylon. The archaeologists believed that the Oud was played by fingers of the right hand (Thumb and index) without using the pick (rishah) in Babylon.
تأملات في طقوس بابل الموسيقية
قطعة موسيقية من وحي الموسيقى البابلية والعزف على العود بالطريقة القديمة بالإبهام والسبابة فقط ،وهذا الاستنتاج جاء بعد عمل اكثر من 10 سنين مع عالم الآثار المتخصص بموسيقى الحضارات القديمة البروفسور رتشرد دمبرل احد اهم علماء المتحف البريطاني. هذا الطريقة هي الاصلية في العزف و ليست طريقة اصابع الجيتار التي اول من استخدمها الفنان الكبير جميل بشير والفنان الكبير سالم عبد الكريم وقلدهم الاخرون

Iraqi Jazz :  

A. Mukhtar composition
It’s the 5th track of “Babylonian Fingers” Ahmed Mukhtar CD 2015, Oud and qanoon + Sexphone with quarter tune + percussion (Daf1+Daf 2+based Daf + khrkhasha (shaker or swinger) + Bongos. Based on 4 Iraqi Maqams the first 3 used in Iraq only (Sharq Rasr+ Aushar+ Mokhalf) and maqam Nahawand

Sama3i Hijaz

(my composition)
Oud+ Qanoon+ oriental violoncello with quartile tune ( raqq+ 3 Daf and based daf)
Sama’ai one of the ancient and old musical form in middle East and north Africa and Iraq of course, its 4 movements, 3 of them are composed on 3 different maqams (Hijaz+ Kurd + Rast) and on samaaí rhythm 10/8, the 4th movement composed in maqam Hozam Hijaz and 7/8 rhythm.
This composition expressing the time Caliphate courtyard palace.





Samai Baghdad

Samai Baghdad (1116 Kb – Format mp3)
Ahmed Mukhtar – Source: The Road to Baghdad
This piece tells about ancient Baghdad duting the Ottman period(1299-1923 AD), the time of the classical form and music. The composition is based on Maqam Kurd (D,Eb,F,G,A ,Bb ,C ,D) and there are many modulation to other maqams. The rhythm Sama’ai thaqil (10/8) is very old and comes from the Abbasid period ( 750-1258 AD). It actually represents one of the very important periods in the history of Baghdad. Usually the introduction- four bars in 10/8 rhythm – should be composed, but in this instance Mukhtarleft the player to improvise these four bars, to allow him to be part of the composition. it iscustomary that every movement should contain one maqam, but in this piece two maqam are played in every movement. The composer created a special rhythm for the fourth movement and called it ”Mukhtar rhythm”