7. Alli Garra
(3ali garra)
My Story (telling you what happened to me)
This transliteration translation was made using the duet recording by Saber and Asalah. Originally the song was recorded by Alia la Tunisiya in the 1950's or 60's
First there is an instrumental section baladi rhythm. Then it goes into wahda kebeer when the singing starts. I have put the syllables in bold where the beginning of each measure of the rhythm hits. In additon, if the first beat of a measure falls outside the lyrics, I have added the word beat in bold type.
Baladi:/ D * D * T A D * D * T A D * T * / D * D * T A D * D * T A D * T * /
For clarity I have written each measure with sixteen counts, the asterisk is a 1/16th rest. (The slash is used to connotate dividing line between measures, two measures being depicted.) Actually the rhythm has much more of a 4/4 feel.
Wahda Kebeer ("one is big" meaning the first beat of the measure is the only heavy beat)
/ D * T A T A T * T A T A T * T * / D * T A T A T * T A T A T * T * /
Again, for clarity I have written each measure with sixteen counts, each asterisk is a 1/16th rest. (the Slash is used to connotate dividing line between measures, two measures being depicted.) actually the rhythm has much more of a 4/4 feel.
The first line starts after the beat.
beat 3alii garrah min marrasiilak 3alii garrah(another measure,beat)
what happened to me, through a letter (or message) what happened to me
bass lamma tiigii wa ana aHkiilak 3ali garrah (another measure beat)
When you come to me I tell you what happened to me
repeat those two lines. The second time through, that last "beat" of the second line is the beginning of your switch into the baladi rhythm.
NOW YOU ARE IN 'BALADI' RHYTHM, WHICH STARTED ON THE LAST "BEAT" GIVEN ABOVE. SO, THE BEGINNING OF THE FIRST LINE OF THE FOLLOWING VERSE BEGINS WITHIN THAT FIRST MEASURE WHICH WAS STARTED WITH SAID "BEAT".
wimsa de mu-u-w3aii fi mandiilak 3alii gara beat - - - beat I wipe my tears in your handkerchief (I tell you) what happened to me
bass lamma tiigii w ana aH-kiilak 3alii gara beat - - - beat When you come to me I tell you what happened to me
Repeat these lines twice, on the last beat of the last line change to "wahda kebeer" rhythm.
3a-----------lii-----------ga - - - - - ------
Aa------------------------aaaa *stop* on last beat of line of song, which will also be the "one" count of a "wahda kebeer" rhythm.
Instrumental section again in baladi, similar to the instrumental section at the beginning of the song but a bit shorter.
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THERE IS A STRESSED TONE AT THE END OF THE INSTRUMENTAL, THAT TONE IS THE FIRST COUNT OF THE FOLLOWING SECTION WHICH IS IN "WAHDA KEBEER". THE SECTION CAN BE REPEATED FROM TWO TO FOUR TIMES.
beat mitgarra biiiiin eH-namitgarrabiiiiin a - - - -ah
we are far away from eachother
garrah saneeeen waH-nah, garrah saneeeee eeeeeen
hurt years (years of hurt) we are one (together)
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THIS NEXT SECTION IS ALSO IN "WAHDA KEBEER"
It is repeated twice, (the second time through, the last "beat" is the first count of baladii for the section which follows)
La hadi 'aa--aa--aal ana khabbar yafar-Haa-naa beat
no one tells to me news happy (good news)
wa ha hadii gaaaaaaab minnaa kalima yaraH-na, ya raH nah beat
no one gives to us one word to give us comfort
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bass lamma tiigii w-ana aH-kiilak alli garra
wamsaa demou3aii fii mandiilak alli garra
CHANGE BACK INTO "WAHDA KEBEER"
alli gaaaaara, aa-aaa aa-aa-aa-aa-aa-ah!beat STOP
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The following section is repeated either two or four times
beat ya leilii aaaaa- - - aaaaaaaaaah
O night, aaaaah!
beat ya gar-Hii aaaaa- - -aaaaaaaaaah
O my pain (wound) aaaah!
beat Ya hob-bii aaaaa- - -aaaaaaaaaah
O love, aaaah!
THAT SECTION IS REPEATED TWO TO FOUR TIMES
Il-hob-bii dawibnah beat
the love melted us together, absorbed us
tubnah tawih-nah
beat
We repented (as to God) and separated
THAT SECTION IS REPEATED TWICE, then on my recording Saber does a section of improvisation on "ya leiliii ah"
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(for the rest of the song, the rhythm accents will not be given (with some exceptions), as I have not learned to play it yet)
THIS SECTION GOES BACK INTO BALADI RHYTHM
wa tahit al marrasiil- - - -
and the letters/messages are lost
between day and night
ma fi-it-tersh ghiir damu3aii
even in a crowd there is nothing but tears
marrsuu ma fi mandiil
a sign in the handkerchief (maybe meaning that the tears in the handkerchief are a sign)
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(the rest of the song repeats some of the sections already given.)
