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Sama'i Point uses the classical middle-eastern “Sama’i” form, a majestic slow rhythm in 10/8 time (3+2+2+3) as a point of departure. The spindly melody repeats with continual variation over several verses, using mannerisms borrowed both from William Byrd and his contemporaries, and melodic contours from Arabic music. It’s called Sama’i Point because the original melody starts sparsely and then slowly fills in the gaps between melodic nodes. Later on, it switches to a faster, 7/8 meter leading to a bombastic, orchestral ending, in which the same chord progression from Introitus re-appears. The melody is composed in a mode called Maqam Zamzam (A, Bb, C, Db, E, F, G, Ab; a variation of Maqam Saba, which would have B-half-flat).

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from Between Carthage and Rome, released December 6, 2014
John Kameel Farah - piano, electronics
Alia O'Brien - nay (arabic flute)

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John Kameel Farah Berlin, Germany

John Kameel Farah is a Canadian composer, pianist and visual artist whose work embraces aspects of baroque and early music, experimental, contemporary classical, improvisation, middle-eastern music and forms of electronic music.
He is based between Berlin and Toronto.
www.johnfarah.com ... more

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