الشاعرة سعاد الصبّاح - "ليلة القبض على فاطمة"

تقول الشاعرة الصبّاح:

هذي بلادٌ تَختـنُ القصيدةَ الأنثى..
وتشنُقُ الشمسَ لدى طلوعها..
حفظاً لأمن العائلة..

وتذبحُ المرأة إن تكلمتْ..
أو فكرت..
أو كتبت..
أو عشقت..
غسلاً لعار العائلة.

هذي بلادٌ لا تريد امرأةً رافضة..
ولا تريد امرأة غاضبة..
ولا تريد امرأة خارجة..
على طقوس العائلة...

هذي بلاد لا تريد امرأةً..
تمشي أمام القافله...

-2-

هذي بلادٌ أكلت نساءها
واضطجعت سعيدةً
تحت سياط الشمس والهجير
هذي بلادُ الواقِ والواقِ..
التي تصادر التفكير.
وتذبحُ المرأةَ في فراش العرس كالبعير.
وتمنعُ الأسماك أن تسبحَ
والطيور أن تطير.

هذي بلادٌ تكرهُ الوردة إن تفتّحتْ..
وتكره العبير..
ولا ترى في الحلمِ إلاّ الجنسَ والسرير..


-3-
هذي بلادٌ أغلقت سماءها..
وحنّطت نساءها..
فالوجه فيها عورةٌ..
والصوتُ فيها عورةٌ..
والفكر فيها عورةٌ..
والشعر فيها عورةٌ..
والحب فيها عورةٌ..
والقمر الأخضر والرسائلُ الزرقاءُ..

هذي بلادي ألغت الربيع من حسابها..
وألغت الشتاء.
وألغت العيونَ والبكاء.
هذي بلادٌ هربت من عقلها
واختارت الإغماء.

-4-
ماذا تريد المدنُ النائمة الكسولة الغافله.
منّي،
أنا الجارحةُ الكاسرةُ المقاتله.
إن كان عقلي ما يريدون،
فلا يسعدني بأن أكون عاقله.

ما تفعل المرأة في أمطارها؟
ما تفعل المرأة في أنهارها؟
كيف تُرى يمكنها أن تزرعَ الوردَ
على هذه الجرود القاحله؟

-5-
ماذا من المرأة يبتغون في بلادنا؟
يبغونها مسلوقة
يبغونها مشوية
يبغونها معجونة بشحمها ولحمها
يبغونها عروسة من سكر
جاهزةً للوصل كلَّ لحظة
يبغونها صغيرة وجاهلة.
هذي هي الوصايا العشر
في حفظ تراث العائلة.

-6-

معذرة.. معذرة..
لن أتخلى قط عن أظافري..
فسوف أبقى دائماً..
أمشي أمام القافله...
وسوف أبقى دائماً..
مقتولةً.. أو قاتله.

Ensemble Ibn Arabi - Sufi Music : Je T´Aaime De Deux Amours (My Love for You Is Twofold)

عرفت الهوى
I knew love
مذ عرفت هواك
Since I knew your love
واغلقت قلبي
And  I locked my heart
عمن عداك
To anyone but you
وقمت اناجيك
and I confided in you
يامن تري
You who can see
خفايا القلوب
What's hidden in the hearts
ولست اراك
and I cannot see you

احبك حبين
I love you two loves ;
حب الهوى
a love for the sake of love
وحبا لانك اهل لذاك
and a love because you are worthy of it
فاما الذي هو حب الهوى
as for the love for the sake of love;
فشغلي بذكرك عمن سواك
It is about having my mind busy with you
and no one else
واما الذي انت اهل له
and as for the love that you deserve
فلست ارى الكون حتى اراك
I cannot even see the Universe without seeing you
فلا الحمد في ذا وذاك لي
so the gratitude for this and that is not to me
ولكن لك الحمد في ذا وذاك
but to you is the praise for all this and that



ادم ذكري من اهوى
Keep the memory of whom I love 
ولو بمنامي
even if in my dream
فان احاديث الحبيب
for the conversation of the beloved
مدامي
is my wine
وانها بطيف منامي
and she is in the shadow of my sleep
ليشهد سمعي من احب
so that my hearing would witness whom I love
بروحي من اتلفت روحي
بحبها
I give my life to her
whose love with which
I ruined my soul
فحان حمامي
so my death arrived
قبل يوم حمامي
long before the day my death
ولم يبق الحب مني
and love didnt leave of me
الا حزني
except my sadness
و كابتي
and my depression

وفرط سقامي
and too much illness
لينجو خلي
so that my lover
من هوائي بنفسه
would save himself from my love
سليما
and be safe
ويا نفس اذهبي
and Oh Soul..Leave...
بالسلام
in Peace ....

اهو ده اللي صار

 p.s I like the video but what ruins it is having sadat and the soccer shit at the end..

كلمات سيد درويش

غناء علي الحجار

الحان سيد درويش

اهو ده اللي صار

وادي اللي كان

ملكش حق

.ملكش حق

تلوم عليا

تلوم عليا ازاي يا سيدنا

وخير بلدنا مهوش في ايدنا

قولي عن اشياء تفيدنا

و بعدها ابقي لوم عليا

مصر يا ام العجايب

شعبك اصيل والخصم عايب

خلي بالك من الحبايب.

.دولا انصار القضيه

و بدال ما يشمت فينا حاسد

ايدك في ايدي وقوم نجاهد

واحنا نبقي الكل واحد

والايادي تصير قويه

اهو ده اللي صار

وادي اللي كان

 ملكش حق

.....ملكش حق تلوم عليا

Maqam in Arabic Music

from Maqamworld.com What is a Maqam ? In Arabic music, a maqam (plural maqamat) is a set of notes with traditions that define relationships between them, habitual patterns, and their melodic development. Maqamat are best defined and understood in the context of the rich Arabic music repertoire. The nearest equivalent in Western classical music would be a mode (e.g. Major, Minor, etc.) The Arabic scales which maqamat are built from are not even-tempered, unlike the chromatic scale used in Western classical music. Instead, 5th notes are tuned based on the 3rd harmonic. The tuning of the remaining notes entirely depends on the maqam. The reasons for this tuning are probably historically based on string instruments like the oud. A side effect of not having even-tempered tuning is that the same note (by name) may have a slightly different pitch depending on which maqam it is played in. What are Quarter Tones ? Many maqamat include notes that can be approximated with quarter tones (depicted using the half-flat sign or the half-sharp sign ), although they rarely are precise quarters falling exactly halfway between two semitones. Even notes depicted as semitones sometimes include microtonal subtleties depending on the maqam in which they are used. For this reason, when writing Arabic music using the Western notation system, there is an understanding that the exact tuning of each note might vary with each maqam and must be learned by ear. Another peculiarity of maqamat is that the same note is not always played with the same exact pitch. The pitch may vary slightly, depending on the melodic flow and what other notes are played before and after that note. The idea behind this effect is to round sharp corners in the melody by drawing the furthest notes nearer. This effect is sometimes called the law of attraction or gravity, and is common in other musical traditions (e.g. in Byzantine music). Are maqamat transposable ? When Arabic maqamat are taught and documented, each maqam is usually associated with the same starting note (tonic). For example, maqam Bayati is almost always shown as starting on D in reference textbooks. In general maqamat are transposable, but only to a handful of other tonics. For example, maqam Bayati usually starts on D, but it can also start on G and A. When transposing Arabic maqamat, musicians mention the tonic name after the maqam name for clarity (e.g. "Bayati on G" or "Bayati on A"). For this reason also, only a few quarter tones are exploited (with the understanding that the term quarter tone is approximate, and that many semitones include microtonal variations). The most frequently used quarter tones are: E, A and B. This is unlike scales in Western classical music, where for example each scale can have 11 possible tonics. Total freedom to transpose requires playing Western music on even-tempered instruments (e.g. the piano) where all semitone intervals are exactly equal. The reasons behind this limitation are probably technical and pragmatic, and have to do with the difficulty of transposing freely on classical Arabic instruments (oud, nay, qanun). On the oud for example, it is important to be able to exploit open strings to play tonics, 4th and 5th notes, since the sound on open strings is always in tune and louder. In addition, since the oud tuning is not even-tempered but based on harmonic 4th and 5th intervals between open strings, maqamat dont sound equally in tune and pleasant on every tonic. Some maqamat change names when transposed because they vary in their feel or mood. A maqam could also have a different melodic development (sayr) when transposed, including a different dominant note, etc. For example maqam Rahat El Arwah is a transposed version of maqam Huzam, but they have different moods. To describe the difference using very subjective terminology, the first is lower, more mellow and spiritual, the second is higher, lighter and funkier. Another reason for different transposed versions of a maqam having different names might be historic, since each name (and tonic) may have been used in a different region (Arab, Persian, Turkish. etc.). An example of this is the Hijaz Kar, Shadd Araban, Shahnaz, and Suzidil maqamat, which all have the same tonal intervals. While on the subject of transposition, musicians often retune their instruments a few semitones higher or lower than the absolute reference (e.g. A = 440 Hz) rather than transpose a maqam, especially in old 1920's and 1930's recordings. The reason for doing this is that melodies sound much better when their tonics and 4th/5th notes fall on open strings, because of the way string instruments like the oud or violin resonate. This is not the case with voice, for example. How can maqamat be broken down ? The building blocks for maqamat are sets of 3, 4 or 5 notes, called trichords, tetrachords and pentachords, respectively. The Arabic word for these sets is jins (plural ajnas). The word jins means the gender, type or nature of something. In general each maqam is made up two main ajnas (sets) called lower and upper jins. These can be joined at the same note, at two adjacent notes, or can overlap each other. A maqam may also include other secondary ajnas which are very useful for modulation. Instead of thinking of a maqam as a collection of 8 or more individual notes, it's often useful to think of it as a group of two or more ajnas (sets). See the Ajnas (Sets) section. Is there harmony in Arabic music ? Arabic music is mostly melodic, which means it rarely includes harmony and chords. There are a few exceptions, read more in this excellent article about Harmony and Arabic Music. The main reason why harmony is rarely used is that chords dont sound very pleasant when they include quarter tones or microtonal variations. Harmony sounds best when notes have a natural harmonic relationship (3rd, 4th, 5th and 6th harmonic, etc). In Arabic music, this is true for a tonic and its fifth (3rd harmonic), but most of the time not true for any other note combination. What is the difference between a maqam and a scale ? The Arabic maqam is built on top of the Arabic scale. The maqam is generally made up of one octave (8 notes), although sometimes the maqam scale extends up to 2 octaves. But the maqam is much more than a scale: A maqam may include microtonal variations such that tones, half tones and quarter tones in its underlying scale are not precisely that. E.g. the E in maqam Bayati is tuned slightly lower than the E in maqam Rast. These variations must be learned by listening not by reading, which is why the oral tradition is the correct way to learn Arabic music. Each maqam has a different character which conveys a mood, in a similar fashion to the mood in a Major or Minor scale, although that mood is subjective. Since classical Arabic music is mostly melodic (excludes harmony), the choice of maqam greatly affects the mood of the piece. Each maqam includes rules that define its melodic development (or sayr in Arabic). These rules describe which notes should be emphasized, how often, and in what order. This means that two maqamat that have the same tonal intervals but where one is a transposed version of the other may be played differently (e.g. maqamat Kurd and Hijaz Kar Kurd, or maqamat Nahawand and Farahfaza). Each maqam includes rules that define the starting note (tonic, or qarar in Arabic), the ending note (or mustaqarr in Arabic), which in some cases is different to the tonic, and the dominant note (or ghammaz in Arabic). The dominant is the starting note of the second jins (in general the 5th, but sometimes the 4th or 3rd note), and serves as the pivot note during modulation. See the Modulation section. How many maqamat are there ? There are dozens of Arabic maqamat, too many to list, including many Persian and Turkish hybrids. It's difficult to find a definitive list of Arabic maqamat that all textbooks agree on, or a definitive reference on which maqamat are strictly Arabic and which are Turkish or Persian. There are also many local maqamat used only in some regions of the Arab world (e.g. Iraq and North Africa), and unknown in others. But the most widely used and known maqamat are about 30 to 40, and these are the ones covered in this web site See the Maqam Index section. How is the intonation of the Arabic maqam changing with time ? There is no absolute reference for the Arabic scale. In 1932, the Arabic Music Conference in Cairo established that regional variations existed in the intonation of Arabic maqamat. Within each region, oral traditions continued and created de-facto standards, although these standards converged to some extent with the advent of recording and broadcasting. The phenomenon that greatly influenced intonation in Arabic music was the introduction of even-tempered instruments (some of which were altered to produce quarter tones), mostly in the second half of the 20th century. The accordion, electric guitar, electric (fretted) bass, piano, guitar, electric piano, electric organ and synthesizer were gradually introduced to the Arabic ensemble. The main incentive behind this change was innovation, modernization, and the desire to add harmony to Arabic music. When Arabic maqamat are performed on even-tempered instruments, they sound different in subtle ways for the following reasons: The intonation of the same quarter tone can vary with each maqam. For example, the E in maqam Rast has a higher tuning than the E in maqam Bayati. Even tempered instruments eliminate these subtle variations, producing dry and rigid quarter tones. Moreover, the Arabic maqam has regional variations that make up a lot of its color. For example, the E in maqam Rast has a higher tuning in Aleppo than in Cairo. Even tempered instruments eliminate these regional variations, reducing the Arabic maqam to its lowest denominator. Even semitones in the Arabic scale often include microtonal variations. A prime example are the 2nd and 3rd notes in the Hijaz tetrachord, which are played closer together so as to shrink the 1½ tone interval. These variations cannot be performed on even-tempered instruments. In case of harmonic music, microtonal variations are even undesirable since they reduce harmony. With time, the original tuning of maqam Hijaz had been lost except in a handful of new recordings, and was replaced with what is called “piano Hijaz” (a derogatory term.) Equally bad is the “piano Ajam”, where the 3rd note should be slightly lower and more mellow. Maqamat like Jiharkah are rarely played on even-tempered instruments, even on ones that have been altered to produce quarter tones. In conclusion, the new generation of Arabic musicians, singers and listeners is losing touch with the traditional intonation of the 1920s and 30s largely because of the introduction of even-tempered instruments and harmony in Arabic music.

Arabic Rhythm Patterns

Rhythm in Arabic music is organized into cycles of beats and pauses. These rhythmic modes are known as iqa'at  in many Arabic countries, but there are other names for this concept. In Egyptian music they are called durub . In North-Western Africa they are called mazim. In Turkish music rhythmic modes are known as usul  and in Iran they are called darb. Each cycle consists of a fixed number of metric pulses (which vary between 3 to 48 or more), including a hierarchy of strong beats, weak beats, and silent beats that define a groove. In performance some of the rests or silent beats may be filled in, but the underlying feel is maintained.
The sounding beats vary in timbre and are described with onomatopoeic syllables. The strong beat (an-naqra al-qawiya) is described using the syllable "dum" for the heavy low-pitched center sound of the drum. The weak beat (an-naqra al-laiyina) is represented by the word "tek" for the bright, high-pitched edge or side sound of the drum. While sometimes it is also translated as the soft beat rather than the weak beat, it is not necessarily less loud than the strong beat. In some ways, it shares a similar feeling to the off-beat in Western music.
One could use these two elements to demonstrate Western rhythms. For instance, a simple rock drum beat could be written as:

1     2     3     4
dum   tek   dum   tek
A waltz could be written as:
1     2     3
dum   tek   tek
The all-pervasive electronic-techno-every-beat-strong groove that seems to have become the only rhythm many people are now able to dance to would be:

1     2     3     4
dum   dum   dum   dum
Fortunately, Arabic rhythm contains more subtlety and variation than the current state of techno music! The medium beat (an-naqra al-mutawassita) is used to embellish the rhythm. While the strong and weak beats define the rhythm, the rhythmic pattern is enhanced through the addition of medium beats: variations that show the true skill of the player. In the terminology used here for strong, medium, and weak beats, the term "beat" does not necessarily imply that each beat has an equal metric pulse the way the term is used in Western music, especially with respect to the embellishing medium beats.

Arabic Grooves

In Egypt, elzaffa, or wedding march, is a musical procession of drums. The main pattern is 8 beats long.
1   +   2   +   3   +   4   +   | 1   +   2   +   3   +   4   + |
dum     tek ka  tek     tek       dum     tek     tek    (tek ka)
dum (right hand clear low tone)
tek (right hand high crisp tone)
ka (left hand, sounds like tek)



This section lists all Arabic rhythms discussed in this website. This is by no means a comprehensive list since many North African, Iraqi and Khaliji (from the Arab Gulf region) rhythms are not included. Instead this website covers the most commonly used rhythms in the Middle East. In practice, it's difficult to find a definitive list of Arabic rhythms that all textbooks agree on, or a definitive reference on which rhythms are strictly Arabic since there's often an overlap with Turkish, Greek and Persian rhythms.
Listen to the Personal Performances series of Arabic music podcasts.
Episode of 22 March 2006 discusses Arabic rhythms, the riq and its role in Arabic Music.
Episode of 14 July 2006 discusses the riqq and demonstrates similar rhythms in 4/4, 2/4 and 8/4.
Muwashahat Rhythms
The Andalusian Muwashahat (plural of Muwashah) are a musical form that originated in Al-Andalus (medieval Spain and Portugal). The muwashah is often composed using a complex rhythm, ranging from 2/4 to 48/4 and greater. A muwashah may use more than one rhythm, although the norm is a single rhythm throughout. Lyrics in a muwashah are poetry in classical Arabic, and must neatly fit the rhythm (every syllable must fall on a beat).
Muwashahat Rhythms are shown in 5 different pages for convenience: [ 1 | 2 | 3 | 4 | 5 ]

The following is a listing of Muwashahat rhythms in alphabetical order:

Aaraj 5/8 Aghar Aqsaq 5/8 Aqsaq 9/8 Awfar 19/4 Awis 11/8 Ayyub 2/4 Dawr Hindi 7/8 Dawr Al Kabir 28/4 Dharafat 13/8 Fakhit 20/4

Fikra 15/4 Frankajin 24/4 Hazaj 22/4 Jurjina 10/8 Katakufti 8/8 Khush Rank 17/8 Malfuf 2/4 Maqsum 4/4 Masmudi Kabir 8/4 Masmudi Saghir 4/4

Mudawwar 12/4 Muhajjar 14/4 Mukhammas 16/8 Mukhammas Turki 32/4 Murabbaa 13/4 Nawakht 7/4 Nawakht Hindi 16/8 Nim Dawr 18/8 Nim Oyun Havasi 11/8 Nim Rawan 9/4

Sadah Duyek 16/8 Samai Ta'er 3/8 Samai Thaqil 10/8 Shanbar Halabi 24/4 Shanbar Kabir 48/4 Shanbar Masri 48/4 Sinkin Samai 6/4 Sittatu Ashar 32/4 Turrah 21/4 Wahda 4/4

Wahda Mukallafa 2/4 Warshan Arabi 32/4 Yuruk Samai 6/8

The same Muwashahat rhythms are listed in the order of their time signature:

Ayyub 2/4 Malfuf 2/4 Wahda Mukallafa 2/4 Unknown 2/4 2/4 Samai Ta'er 3/8 Unknown 3/8 3/8 Maqsum 4/4 Masmudi Saghir 4/4 Wahda 4/4 Aaraj 5/8

Aghar Aqsaq 5/8 Sinkin Samai 6/4 Yuruk Samai 6/8 Dawr Hindi 7/8 Nawakht 7/4 Masmudi Kabir 8/4 Katakufti 8/8 Aqsaq 9/8 Nim Rawan 9/4 Samai Thaqil 10/8

Jurjina 10/8 Awis 11/8 Nim Oyun Havasi 11/8 Mudawwar 12/4 Dharafat 13/8 Murabbaa 13/4 Muhajjar 14/4 Fikra 15/4 Mukhammas 16/8 Nawakht Hindi 16/8

Sadah Duyek 16/8 Khush Rank 17/8 Nim Dawr 18/8 Awfar 19/4 Fakhit 20/4 Turrah 21/4 Unknown 21/8 21/8 Hazaj 22/4 Shanbar Halabi 24/4 Frankajin 24/4

Dawr Al Kabir 28/4 Mukhammas Turki 32/4 Sittatu Ashar 32/4 Warshan Arabi 32/4 Shanbar Kabir 48/4 Shanbar Masri 48/4

old song

old song

عبد المجيد عبد الله - ليه كذا اش سويت لك !

عبد المجيد عبد الله
اهداء الى كل ناكر , وخاين , وخداع ~
كلمات الاغنيه :
ليه كذا ليه
وش سويت لك
اللي حبيته لعمري
يا عمري حبيته لك
كانت الدنيا
كلها انتي
وكل حياتي
ومناي انتي
غريب
مثلك علي يقسى
وغريب
ومثلي انا ينسى
ليه كذا ليه
وش سويت لك

يابعيده بالمسافة
ياقريبة من الشعور
انا كل اللي اخافه
بعدنا يطول شهور
العمر لحظه حبيبي
خلني احياها بوجودك
وش يفيد الوقت صمتك
لا شكى صبري صدودك
غريب
مثلك علي يقسى
وغريب
ومثلي انا ينسى
ليه كذا ليه
وش سويت لك

من يعيد الأبتسامه
على ماضينا الحنون
من يغير في كلامه
من ينسيه الظنون
نسي لساني كلامي
وزاد حزني بالسكوت
الأمل شوقي وغرامي
ينتظر والا يموت
ليه كذا ليه
وش سويت لك

عبدالمجيدعبدالله - حبايبنا

حبايبنا
وش الدنيا بلاكم
ملاه الشوق
قلب ما سلاكم
يضيق بها الفضى
بعض الليالي
إلى دور نديم
ولا لقاكم

حبايبنا
ترى الفرقه صعيبه
على مثلي
مولع في هواكم
حبايبنا
إلى يوم اجتمعتوا
و مر الذكر
في سيرة لقاكم

فلا تقولون
يمكن انه نسانا
حرام الظن
في اللي ما نساكم
ترى يمكن
أذكركم واغني
ملاه الشوق
قلب ما سلاكم

عبد المجيد عبدالله لا تجرح المجروح bdul Majeed Abdullah La Tejra

عبد المجيد عبد الله - متغير علي

متغير علي

ماهي هالليلة وبس
وانت متغير علي
صارلك كم ليلة وانت
انت بالك ماهو لي
انت بالك ماهو لي

ماهي هالليلة وبس
وانت متغير علي
صارلك كم ليلة وانت
انت بالك ماهو لي

حاضر بقلبك وغايب
وأنا قلبي فيك دايب
ليه يا أغلى الحبايب
انت سامع عني شيء

انت من مدة وحالك
للأسف صاير غريب
وصار عادي عندك أبقى
وعادي عن عينك أغيب

انت من مدة وحالك
للأسف صاير غريب
وصار عادي عندك أبقى
وعادي عن عينك أغيب

وردتك نسيت عبيري
وصرت ما أعرف وش مصيري
وبسمتك دايم لغيري
وقسوتك دايم علي

ماهي هالليلة وبس
وانت متغير علي
صارلك كم ليلة وانت
انت بالك ماهو لي

انت لو تعرف مكانك
وين كان وكيف صار
كان ماعيشت عمري
في عذاب وإنتظار

وإذا تبغي تعرف أكثر
وكيف همي صار أكبر
يلا حط عينك في عيني
وانت تعرف كل شيء

ماهي هالليلة وبس
وانت متغير علي
صارلك كم ليلة وانت
انت بالك ماهو لي
انت بالك ماهو لي

عبدالمجيد عبدالله خلص حنانك

خلص حنانك

خلص حنانك ما بقى الا قسوتك
اقسى علي اقسى حلالك فدوتك
قبلك قست دنياي .. " وانت تمون "
قبلك قست دنياي وانت تمون

شفت السعادة يوم عيني شافتك
" اسعدتني الله دايم يسعدك "
لو سقت لي هم وحزن هالكون
ذقت الحزن فيني فرح مخزون

واللي جمعنا والتقينا وكنت لك
واللي فطر قلبي وفطرني بحبي لك
لو في بعادك الهناء مضمون
ما اعيش لحظة دونك ولا اكون

الكل نفسي نفسي .. في ساعة خطر
الا انا .. " انت " ثم " انا وباقي البشر "
يا ابدى علي مني مهما يكون
تجرح او تداوي انا ممنون


كلمات :تركي ألحان : طارق بن محمد

عبدالمجيد عبدالله...خلاص إبعد

عرفت ان الظنون اكبر خطيه
اذا كان العشم زايد شويه
خلاص ابعد وبتحمل عذابي
ضحيه بك ومن غيرك ضحيه
وفيت ما توقعت الخيانه
وقلت اللي يكفيني حنانه
ومامداني ابي ابعد عنك حضني
لقيت الكذب متوسد مكانه
انا حبيت لي واحد اناني
اراضي فيه ويتركني اعاني
انا شفيني مابعد عن حياته
واعيش بذكرياتي عمر ثاني

عبد المجيد عبد الله - ما كان الفراق اختياري

و الله ما كان الفراق اختياري

 I swear to God

separation was not my choice

و لا عمري اخترت الوصال و لقيته

I never chose connection and found it 

و انا اعشقك عشق المطر للصحاري

and I am in love with you 

like the deserts are in love with the rain

مهما قسى وقتك علي ما جفيته

 No matter how cruel my time with you gets

I never want to stay away

ما كان بعدي عنك بالبال طاري

 Being away from you has never occurred to my mind

اخترت بعدي عنك منك و رضيته

 you chose to be far from me

and accepted it

لو كنت داري بس لو كنت داري

If I you only knew, If I  you only knew

ما اعطيلك لك قلبي و حبك مشيته

I would've never given you my heart

and walked in the path of your love

لو مل من صبري حنين انتظاري

If my patience gets bored of the longing of my waiting

ما قلت ابيك و لا رجوعك رجيته

I would've never said I want you

or wish for your return

اذبلت من طبعك ورود اعتذاري

 your ways

caused the flowers of my appologies

to wither

عطشان ذوق و لطفكم ما ارتويته

thirsty to taste

but for your kindness

I was still thirsty

 

ليت الزمن يقدر يرد اعتباري

I wish time can restore my dignity

و يبري لهايب قلبي اللي كويته

and heal the flames of my heart that you ironed

روّح ما راح الليل و الليل ساري

 go ..

go as the night goes...

لو كان مهما كان حبك نسيته

whatever your love was..

I forgot it...

و الله ما كان الفراق اختياري

 I swear to God

Separation was never my choice

بس انت مختار الفراق و لقيته

But you chose it

and you got it

و انا اعشقك عشق المطر للصحاري

and I am in love with you 

like the deserts are in love with the rain

مهما قسى وقتك علي ما جفيته

no matter how cruel my time with you

I long for it

حكمت الأقدار -- أغنية مجموعة لرصاد المراكشية the original








حكمة الأقدار الأقدار إلمـا رحمت قلبى ولا بـغيتنيى
نبقى جواركم تبرد نارى نارى نبقى جواركم تبرد نارى نارى نارى
ما لقيتك كيف ما ظنيتك غويتى بيـا حيث بـغـيـتـك

على شمالى هويــة علـى يمينى لقمــار
تجينى ريـاح قويــة عـاصفة ليـل ونهـار

خاينه شاب اشرف

راشد الماجد و أسماء المنور - خاينه - جلسات وناسه

شام يا ذا السيف

شام يا ذا السيف

شام يا ذا السيف لم يغب
يا كلام المجد في الكتب
قبلك التاريخ في ظلمة
بعدك أستولى على الشهب
لي ربيع فيك خبأته
ملئ دنيا قلبي التعب
يوم عيناها بساط السما
و الرماح السود في الهدب
تلتوي خصراً فأومى
إلى نغمة الناي ألا إتنحبي
أنا في ظلك يا هدبها
أحسب الأنجم في لعبي
طابت الذكرى فمن راجع
بي كما العود إلى الطرب
شام أهلوك إذا هم على نوب
قلبي على نوب
أنا أحبابي شعري لهم
مثلما سيفي و سيف أبي
أنا صوتي منك يا بردى
مثلما نبعك من سحبي
ثلج حرمون غذانا معاً
شمخاً كالعز في القبب
و حد الدنيا غداّ
جبل لاعب بالريح و الحقب

إرحل - Leave

إرحل.. قالوا لي

Leave, They said to me
جند أتوا من بعيد

Soldiers who cam from far away

قالوا إرحل

They said : Leave!

دخلوا بيتي
They came into my home..
 قتلوا ولدي
They killed my son..
They raped my wife...
إغتصبوا امرأتي
قالوا إرحل..

They aid : Leave!

حفروا في الوجه مغارة

They engraved a cave in my face
مرّوا على جسدي
They ran over my body
They planted a bullet in my heart
زرعوا في القلب رصاصة
نصبوا لي الخيمة
They installed a tent for me

قلت سأبقى مارداً جرحاً يعانق تربتي
I said I will stay , a giant wound embracing my soil

و طرقت باب أمتي

and I knocked on the doors of my nation
وكانت نائمة
and it was sleeping
and i was left alone
while my nation was dreaming

و بقيت وحدي
وأمتي تحلم
دخلوا وأمتي تحلم
They came in .. while my nation was dreaming

قالوا إرحل..

They said : Leave!!

هذه بلادي واعلموا أن الصغار

This is my country and you better know that the small ones
from the cycle of dreams will own the decision
من دورة الأحلام تمتلك القرار

من سجون الليل تنتزع النهار وتمضي عواصفا
from the prisons of the night it grabs the daylight
and move like storms