One could never know, W.

About the spelling, it is always difficult to transliterate Arabic (a
language I speak, I lived in the Middle East for two years), especially
because of all the dialects and all... At least in Cairo I heard people
saying "eskandariyya" - and, yes, it's "Oh girl from Alexandria!"

The lyrics in Turkish for this tune is hilarious, it's about a rich woman
who falls in love for her male secretary.

On Mon, Dec 14, 2009 at 1:52 PM, Wolodymyr Smishkewych <
[email protected]> wrote:

>   Say, just for kicks: isn't "Iskadariyya" a very mildly corrupted form of
> Eskendariyya, the name in Arabic for the city of Alexandria? So "O
> daughter/girl of Alexandria"--makes sense since it was for so long one of
> the most metropolitan cities on the mediterranean basin...easy to see it
> navigate its way via greece & turkey, Roma, into the land of the Magyars...
> just my mind wandering, purely conjectural of course. :^)
>
> cheers,
> Vlad
>
>  Wolodymyr Smishkewych
> wolodymyrsmishkewych.com
> [email protected]
>
>
>
>  On 14 Dec 2009, at 02:22, [email protected] wrote:
>
>    Today's Topic Summary
>
> Group: http://groups.google.com/group/hurdygurdy/topics
>
>    - Digest for [email protected] - 7 Messages in 3 Topics [2
>    Updates]
>
>  Topic: Digest for [email protected] - 7 Messages in 3 
> Topics<http://groups.google.com/group/hurdygurdy/t/753dd1ec73794068>
>
>    Arle Lommel <[email protected]> Dec 13 09:45AM -0500
>
>    Hi Augusto.
>
>    I'm wondering the basis for the claim that the Hungarian HG follows
>    Arabic/Turkish modes? The tuning, aside from absolute pitch, is identical 
> to
>    the French instrument. The keyboard looks different (because of the spaces
>    in it), and yes, one key looks inverted compared to a piano, but the lower
>    row (the only row on some of the earliest examples known) plays the Ionian
>    (major scale), and the upper row simply adds in the missing pitches on the
>    Western diatonic scale (and no, it doesn't use any quarter tones). So I'm a
>    bit confused about what you're trying to say. I know you play the Hungarian
>    instrument, so you do know what you're talking about, and I suspect that
>    I've misunderstood what you wanted to say, but without further explanation,
>    your statement conveys something about the Hungarian instrument that isn't
>    the case (that it uses a "different" scale from most European instruments).
>
>    Now it is true that Hungarian HG music uses a lot of modes besides
>    Ionian, including Mixolydian (very common), Lydian (less common), Dorian
>    (extremely common), and Aeolian (very common), all of which appear in the 
> HG
>    repertoire, but the modes one plays and the instrument's basic scale are 
> two
>    different things. Other modes, notably the Hungarian Gypsy scale (which 
> does
>    correspond to a maqam in the Kurd family), appear frequently in Hungarian
>    music, but are not often found in the Hungarian HG repertoire. Maqāmāt
>    consist of multiple ajnas, but the combinations are not fixed, so no single
>    keyboard would be an "Arabic" keyboard.
>
>    However, if you assume an Ajam-family maqam, your statement would be
>    generally true of both French and Hungarian HGs (as well as all diatonic
>    major scale Western instruments), so that wouldn't seem to be what you mean
>    as it wouldn't differentiate or tell us anything other than that there are
>    Ajam maqāmāt that generally correspond to the western Ionian scale.
>
>    Regarding the bellydance repertoire, that I have less trouble seeing,
>    since maqāmāt corresponding to the Hungarian modes (none of which are
>    uncommon in Western folk music) exist and there was a considerable period 
> of
>    musical exchange in the region and ongoing contact with Balkan music where
>    your statement about using Arabic modes is indubitably true.
>
>    Best,
>
>    -Arle
>
>
>    On Dec 13, 2009, at 1:38 AM, Augusto de Ornellas Abreu wrote:
>
>
>
>
>    Augusto de Ornellas Abreu <[email protected]> Dec 13 05:04PM
>    -0200
>
>    I was making reference to that odd key on the top (which I love,
>    btw)...
>    With it (no need for quarter tones), it is very easy to play many
>    Arabic-Turkish tunes.
>
>    What I meant too was what you mentioned on your last paragraph. There
>    was
>    (as still is to a point) a lot of exchange between Eastern Europe and
>    the
>    muslim world, especially via Turkey and the Ottomans. Many tunes that
>    the
>    Arabs or the Turks claim that are theirs, the Greek, the Bulgarian or
>    even
>    the Hungarian claim the same.
>
>    An example (which is great for bellydancing, BTW) is "Üsküdara" (there
>    are
>    great videos of it on youtube, especially one by a Spanish group called
>    Mediterranea or something like it), which the Arabs call "Yaa banaat
>    Iskadariyya" and the Greeks, "Apo Xeno Topo"
>
>
>
>
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