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The Hurrian songs are a collection of music inscribed in cuneiform on clay tablets excavated from the ancient Amorite Canaanite city of Ugarit, a headland in northern Syria, which date to approximately 1400 BCE, making it the oldest surviving substantially complete work of notated music in the world.


ha - nu - ta ni - ya - sa zi - we si - nu - te zu - tu - ri - ya u - bu - ga – ra
ku - dur -ni ta - sal kil - la zi - li sip - ri hu - ma -ru - hat u - wa – ri
wan-da - ni - ta u - ku - ri kur-kur -ta (i)-sal-la u - la - li kab-gi al - lib -gi si - rit mur-nu su we -sal ta - tib ti - si - ya u - nu - ga kab - si - li u - nu - gat ak – li sam -sam me - lil uk - lal tu - nu - ni - ta -ka ha - nu ka ka - li - ta -nil ni - ka – la nih(u)-ra - sal ha - na ha - nu - te - ti att -(a)yas-tal at - ta - ri tae - ti ha - nu – ka sa - ti we - we ha - nu - ku
The names of these fourteen pairs of strings form the basis of the theoretical system and are arranged by twos in the ancient sources (string-number pairs first, then the regularized Old Babylonian names and translations)
1–5 nīš tuḫrim (raising of the heel),[24] formerly read nīš gab(a)rîm (raising of the counterpart)
7–5 šērum (song?)
2–6 išartum (straight/in proper condition)
1–6 šalšatum (third)
3–7 embūbum (reed-pipe)
2–7 rebûttum (fourth)
4–1 nīd qablim (casting down of the middle)
1–3 isqum (lot/portion)
5–2 qablītum (middle)
2–4 titur qablītim (bridge of the middle)
The name of the first item of each pair is also used as the name of a tuning. These are all fifths (nīš gab(a)rîm, išartum', embūbum') or fourths (nīd qablim, qablītum, kitmum, and pītum), and have been called by one modern scholar the "primary" intervals—the other seven (which are not used as names of tunings) being the "secondary" intervals: thirds and sixths.[25]
A transcription of the first two lines of the notation on h.6 reads:
qáb-li-te 3 ir-bu-te 1 qáb-li-te 3 ša-aḫ-ri 1 i-šar-te 10 uš-ta-ma-a-ri
ti-ti-mi-šar-te 2 zi-ir-te 1 ša-[a]ḫ-ri 2 ša-aš-ša-te 2 ir-bu-te 2.
6–3 kitmum (covering/closing)
3–5 titur išartim (bridge of the išartum)
7–4 pītum (opening)
4–6 ṣ/zerdum (?)


released October 3, 2021
From the album : ؇ 13/17-X-Y = Avatàneo
All the music is played by Paolo Avataneo, using Protools, Lmms and Audacity. Intro:bass,kalimba,pedalsteel-verse:pipa, buau lmms-solos:drums,analog voice and tubulars bells with yamaha keyboards- end:shamisen and protools.


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Paolo Avatàneo Italy

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