Introducing maqamat: Difference between revisions
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*** maqama : literary genre: a narrator recounts stories about people at a place he's visited | *** maqama : literary genre: a narrator recounts stories about people at a place he's visited | ||
** maqam 3: In music of the Middle East, North Africa, and Central Asia: melodic mode (also sometimes a suite featuring a particular mode) | ** maqam 3: 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: makam in Turkish, dastgah in Persian, Tab` in North Africa | ** Sometimes other names are used: makam in Turkish, dastgah in Persian, Tab` in North Africa. (The modal concept of raga in Hindustani music is genealogically related.) | ||
* Maqam | * Maqam vs Western scales: similarities: | ||
**( | ** a transposable pitch collection, usually 7 tones replicating at the octave | ||
** | **(tonal functions, including tonic, dominant, like major/minor | ||
** | * Maqam vs Western scales: differences: | ||
** Each maqam features distinctive melodic patterns (opening, development [sayr], places to start, ascending vs. descending forms, points of repose or tension, ornaments, closing formulas). (Cf: Raga in Hindustani music) | |||
** Maqams may incorporate "microtones" (though popular music tends to avoid them, in order to incorporate Western instruments and harmony) | |||
* "Microtones" (the term is ethnocentric!) | * "Microtones" (the term is ethnocentric!) | ||
** intervals outside the frame of 12TET (12 tone equal temperament) | ** intervals outside the frame of 12TET (12 tone equal temperament) | ||
Line 18: | Line 20: | ||
** [https://docs.google.com/spreadsheets/d/1D9vzrDVtfEjbflNQE3DXRYseCJ2BzJWE74GNYBASQQY/edit?usp=sharing al-Farabi's theorization of oud tunings in his day] | ** [https://docs.google.com/spreadsheets/d/1D9vzrDVtfEjbflNQE3DXRYseCJ2BzJWE74GNYBASQQY/edit?usp=sharing 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 ([https://drive.google.com/drive/u/1/folders/1cJa88-6I1cfQT6P7DP7plCqyWn0CoSCd Here are the basic maqamat taught in Egypt], though only a few are used these days) | ||
** many dozens in Turkey | ** many dozens in Turkey | ||
** depends on | ** their number depends on whether differences are distinguished with a new name | ||
* Maqam and jins | * Maqam and jins (type) | ||
** Theorists conceive each maqam as constructed out of a number of smaller units, each one called "jins" (type) (plural: ajnas) | ** Theorists conceive each maqam as constructed out of a number of smaller units, each one called "jins" (type) (plural: ajnas) | ||
** Confusingly, the jins carry the same names as the maqamat. | ** Confusingly, the jins carry the same names as the maqamat. |
Revision as of 10:45, 22 March 2021
- Maqam: مقام
- from Arabic "qama" قام (to stand)
- literally "place" where one can stand, "station"
- maqam 1: saint's shrine
- maqam 2: spiritual station
- maqama : literary genre: a narrator recounts stories about people at a place he's visited
- maqam 3: 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: makam in Turkish, dastgah in Persian, Tab` in North Africa. (The modal concept of raga in Hindustani music is genealogically related.)
- Maqam vs Western scales: similarities:
- a transposable pitch collection, usually 7 tones replicating at the octave
- (tonal functions, including tonic, dominant, like major/minor
- Maqam vs Western scales: differences:
- Each maqam features distinctive melodic patterns (opening, development [sayr], places to start, ascending vs. descending forms, points of repose or tension, ornaments, closing formulas). (Cf: Raga in Hindustani music)
- Maqams may incorporate "microtones" (though popular music tends to avoid them, in order to incorporate Western instruments and harmony)
- "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 (Here are the basic maqamat taught in Egypt, though only a few are used these days)
- many dozens in Turkey
- their number depends on whether differences are distinguished with a new name
- Maqam and jins (type)
- Theorists conceive each maqam as constructed out of a number of smaller units, each one called "jins" (type) (plural: ajnas)
- 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! Today we'll try to generate some saltanah in bayati.
- Maqam Bayyati and its ajnas.
- Maqam is used in both composition and improvisation
- Purest expression is thought to appear in improvisations, which are mostly ametric, thereby focusing attention on the maqam
- taqasim: instrumental improvisation
- mawwal: vocal improvisation
- Compare the structure and sound of different ajnas
- Maqam Shuri and its ajnas.
- How about some ear training - Bayati, Nahawand, and Kurd
- Listen and identify the jins in these "violin" recordings (a taqsim opening I recorded on my Roli!)
- Sing and use this tuner to check your intonation
- Putting it together in a song: Ah Ya Hilu
- To learn more, see these resources:
- PLUG: please join the Middle Eastern and North African Music Ensemble = MENAME (Winter 2022) to learn more about this music, through study and performance! http://bit.ly/mename You don't need to play any Middle Eastern instruments to join.