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 either 12TET (12 tone equal temperament) or
** 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