Introducing maqamat: Difference between revisions

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** Modulation is possible, usually by varying the ajnas slightly (changing the lower jins without altering tonic/dominant, or changing the upper jins entirely)
** 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!
* Saltana: getting the maqam stuck in your head!
* [https://www.maqamworld.com/en/maqam/bayati.php Maqam Bayyati] and its ajnas.
* [https://www.maqamworld.com/en/maqam/bayati.php Maqam Bayyati] and its ajnas. Compare:
** [Bayati]
** [Nahawand]
** [Kurd]
* [https://www.maqamworld.com/en/maqam/bayati_shuri.php Maqam Shuri] and its ajnas.
* [https://www.maqamworld.com/en/maqam/bayati_shuri.php Maqam Shuri] and its ajnas.
* Sing and [https://www.alexdemartos.es/wtuner/ use this tuner to check your intonation]
* How about some ear training on Bayati?
** Listen and identify the jins in these "violin" recordings (a taqsim opening I recorded on my [https://docs.google.com/spreadsheets/d/1D9vzrDVtfEjbflNQE3DXRYseCJ2BzJWE74GNYBASQQY/edit?usp=sharing Roli]!)
** Sing and [https://www.alexdemartos.es/wtuner/ use this tuner to check your intonation]
* [https://www.dropbox.com/sh/cierodsusvfb1wx/AABOcwSKWB8fQ2yJavwNjDKKa?dl=0 Ah Ya Hilu]
* [https://www.dropbox.com/sh/cierodsusvfb1wx/AABOcwSKWB8fQ2yJavwNjDKKa?dl=0 Ah Ya Hilu]
* [https://drive.google.com/drive/folders/1m7gSUCTQZHlvZKTNxnx6ucXRGnqaKqtJ?usp=sharing General theory]
* [https://drive.google.com/drive/folders/1m7gSUCTQZHlvZKTNxnx6ucXRGnqaKqtJ?usp=sharing General theory]

Revision as of 10:22, 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 ethnocentric!)
    • 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 tempered piano or Western just intonation instrument! (but they're on the violin and trombone!)
    • 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. Compare:
    • [Bayati]
    • [Nahawand]
    • [Kurd]
  • Maqam Shuri and its ajnas.
  • How about some ear training on Bayati?
  • Ah Ya Hilu
  • General theory