Introducing maqamat: Difference between revisions
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**(3) "microtones" | **(3) "microtones" | ||
* "Microtones" (the term is relative!) | * "Microtones" (the term is relative!) | ||
** intervals outside the frame of | ** intervals outside the frame of 12TET (12 tone equal temperament) | ||
** low-integer "just" intonations (e.g. Pythagorean={2,3} or 5 limit={2,3,5} | ** intervals outside the frame of low-integer "just" intonations (e.g. Pythagorean={2,3} or 5 limit={2,3,5} | ||
** i.e. you can't find them on the piano! (but they're on the violin) | ** i.e. you can't find them on the piano! (but they're on the violin) | ||
** Islamicate theorists like al-Farabi (872-950) struggled to reconcile these intervals with Greek theory, which insisted on integer ratios (Pythagoreans) | |||
** [[al-Farabi's theorization of oud tunings in his day]] | |||
* Due to these variables, the maqamat are numerous! (unlike our two primary scales: major/minor) | * Due to these variables, the maqamat are numerous! (unlike our two primary scales: major/minor) | ||
** a dozen or more in Egypt | ** a dozen or more in Egypt |
Revision as of 10:01, 22 March 2021
- Maqam:
- literally "place", "station".
- In music of the Middle East, North Africa, and Central Asia: melodic mode (also sometimes a suite featuring a particular mode)
- Sometimes other names are used: dastgah in Iran, Tab` in North Africa
- Maqam in music: a transposable pitch collection, with:
- (1) tonal functions, including tonic, dominant, like major/minor, but adding also:
- (2) melodic patterns (opening, development [sayr], points of repose or tension, ornament, closing formulas)
- (3) "microtones"
- "Microtones" (the term is relative!)
- intervals outside the frame of 12TET (12 tone equal temperament)
- intervals outside the frame of low-integer "just" intonations (e.g. Pythagorean={2,3} or 5 limit={2,3,5}
- i.e. you can't find them on the piano! (but they're on the violin)
- Islamicate theorists like al-Farabi (872-950) struggled to reconcile these intervals with Greek theory, which insisted on integer ratios (Pythagoreans)
- al-Farabi's theorization of oud tunings in his day
- Due to these variables, the maqamat are numerous! (unlike our two primary scales: major/minor)
- a dozen or more in Egypt
- many dozens in Turkey
- depends on how they're grouped
- Maqam and jins
- Theorists conceive each maqam as constructed out of a number of smaller units, each one called "jins" (type).
- Confusingly, the jins carry the same names as the maqamat.
- Usually each maqam centers on two primary jins: lower and upper
- The lower jins is rooted at the tonic, and gives its name to the maqam as a whole.
- The upper jins is rooted at the dominant.
- Modulation is possible, usually by varying the ajnas slightly (changing the lower jins without altering tonic/dominant, or changing the upper jins entirely)
- Saltana: getting the maqam stuck in your head!
- Maqam Bayyati and its ajnas.
- Maqam Shuri and its ajnas.
- Sing and use this tuner to check your intonation
- Ah Ya Hilu
- General theory