Mahmoud Abuwarda is a Palestinian composer, guitarist, and educator known for his evocative, genre-blending music. His work spans symphonic, cinematic, and contemporary styles, including video game soundtracks and orchestral jazz. A dedicated teacher at Rumeli International College and Zemas College in Istanbul, he studied composition at Berklee College of Music and guitar at Palestine’s National Conservatory. Mentored by renowned composers, he has earned prestigious scholarships, including the Al-Qattan and Gary Burton Awards.
Mahmoud recently came to my attention when he posted pictures of his new book of guitar arrangements of Arabic songs, The East Classics, on our Facebook group. The volume is beautiful, and a great demonstration of Dorico’s advanced page layout capabilities – and more importantly a demonstration of Mahmoud’s artistry. I wanted to find out more about what went into the creation of The East Classics, so I recently sat down with Mahmoud for a short interview.
DS: The East Classics is a book of 30 Arabic songs that you have arranged for guitar. Can you tell me a little bit about the inspiration behind this project?
MA: Music is a universal language that transcends boundaries and unites people, yet many beautiful and culturally significant Arabic songs remain unexplored in the realm of classical guitar performance. This realization inspired me to create The East Classics, a collection of 30 Arabic songs arranged for classical guitar, ranging in difficulty from beginner to advanced levels.
One of the unique challenges in this project was addressing the nature of traditional Arabic music, which is primarily vocal and lacks harmony and counterpoint, making it rare to find original works written specifically for classical guitar. During my tenure as a guitar teacher, head of the guitar department, and academic supervisor at the National Conservatory of Music in Palestine, I noticed a strong enthusiasm among students for playing Arabic music alongside Western repertoire and guitar studies.
This book is my way of bridging that gap, offering students and musicians a way to explore and enjoy Arabic music through the expressive lens of classical guitar. It’s not just an educational tool but also a celebration of the rich cultural heritage of Arabic music, reimagined for a modern audience.
DS: Was it difficult to narrow down the songs you wanted to include in this volume?
MA: Yes, narrowing down the songs to include in this book was indeed challenging. Many popular Arabic songs feature quarter tones and fall outside the equal temperament system, which posed a unique obstacle when arranging them for classical guitar. Additionally, I wanted to ensure that the collection catered to players of varying skill levels, so selecting songs that offered a balance of simplicity and complexity was essential. It was a delicate process, but the goal was to create a diverse and accessible repertoire that highlights the beauty of Arabic music while being enjoyable and rewarding for guitarists of all levels.
DS: How did you approach arranging these songs for classical guitar? Presumably many of the songs were originally conceived for very different instrumentation?
MA: Arranging these songs for classical guitar was a significant challenge, as many were originally composed for vocals accompanied by various instruments, and some lacked any sheet music. My process began by carefully selecting suitable songs, obtaining their original scores where available, and notating the melodies of those that did not have written documentation.
Once I had the material, I worked on simplifying the melodies to fit the playable range of the classical guitar while ensuring they could be adapted for players of different skill levels. The most critical part of the process, however, was arranging these songs in a way that respected the unique techniques and idiomatic qualities of classical guitar performance.
Given that Arabic music is inherently monophonic, arranging it for the polyphonic possibilities of the guitar posed a risk: the arrangement could deviate too far from the guitar’s natural techniques or, worse, strip the song of its authenticity and character. My goal was to strike a balance—preserving the essence and soul of the original music while making it playable and expressive on the guitar.
DS: If I’m right, you prepared the whole book in Dorico. Tell me about the features that helped you to put the book together.
MA: Yes, the entire book was created in Dorico, and its powerful features were instrumental in bringing the project to life. Initially, I started writing the music in Sibelius, exporting it as images, and then importing those images into InDesign to compile the book. However, when I first discovered Dorico and watched an introductory video, I was amazed—I realized this was exactly the tool I had been searching for.
Dorico’s features are nothing short of transformative. For me, Flows are the secret weapon when it comes to writing books, worksheets, music exams, and similar projects. They provide an unparalleled level of flexibility and organization. Additionally, the ability to work with text, photo, and music frames makes it incredibly easy to design and format content directly within the software.
The engraving mode and layout options allow for precise customization, enabling me to shape the music exactly as I envisioned it. With Dorico, I could seamlessly integrate every element of the book into a cohesive and professional final product, saving me time and effort while elevating the overall quality of my work.
DS: Can you tell me anything about any upcoming projects you’ll be working on in Dorico?
MA: Currently, I’m working on three exciting projects in Dorico. The first involves creating theory and composition exams for my students as part of my role as a music theory and composition teacher. The second is a personal composition project: my String Quartet No. 1″Veil of Forgetting”. The third is a music textbook tailored for high school students, designed to make learning more accessible and engaging.
Additionally, I’m collaborating with two of my colleagues on their projects. One involves converting Finale files to Dorico to optimize their workflow, and the other is focused on writing a comprehensive book of drum exercises. It’s an incredibly fulfilling experience to balance my own creative work with supporting others in their musical endeavors, all with the help of Dorico’s robust features.
DS: Thanks for taking the time to talk with me, Mahmoud!
To find out more about Mahmoud Abuwarda, visit his web site. If you’d like to buy a copy of The East Classics, you can also order it directly from Mahmoud’s web site.
To find out more about the unique page layout features that Mahmoud used to create The East Classics in Dorico, why not watch this extensive YouTube playlist, which shows off these features in detail?