Introducing maqamat: Difference between revisions
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** Islamicate theorists like al-Farabi (872-950) struggled to reconcile these intervals with Greek theory, which insisted on integer ratios (Pythagoreans) | ** Islamicate theorists like al-Farabi (872-950) struggled to reconcile these intervals with Greek theory, which insisted on integer ratios (Pythagoreans) | ||
** [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] | ||
** Today the octave is commonly theorized as comprising 24 equal quarter tones (24 TET), i.e. the 12 semitones of the piano, plus another 12 shifted by 50 cents - though in practice musicians don't play the "microtones" at exactly the 50 cent mark, and they may vary a microtone depending on the maqam and the melodic context. | |||
** Arabic music is primarily melodic. Stepwise melodic intervals include semitone (minor 2nd), tone (2nd), 1.5 tone (augmented 2nd), and 3/4 tone. ''The quarter tone is not used as a melodic interval.'' | |||
* Due to these variables, the maqamat are numerous! (unlike the two primary scales of Western Art Music: major/minor) | * Due to these variables, the maqamat are numerous! (unlike the two primary scales of Western Art Music: major/minor) | ||
** 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) | ** 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) | ||
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*** The lower jins is rooted at the tonic, and gives its name to the maqam as a whole. | *** 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. | *** The upper jins is rooted at the dominant. | ||
* Other features of maqam: | * Other features of maqam: | ||
** Use of Western notation entered the Arab world in the 19th century. New symbols had to be invented for "microtones": [https://upload.wikimedia.org/wikipedia/commons/1/1b/Arabic_music_notation_half_flat.svg a slash through the flat sign for half-flat] (or a reversed flat sign), and [https://upload.wikimedia.org/wikipedia/commons/e/e3/Arabic_music_notation_half_sharp.svg a sharp sign missing one vertical line for half-sharp]. (On the computer, I write Eb for E flat, and Ed for E half flat.) | |||
** Modulation from one maqam to another, usually by varying the structure incrementally. Three common forms of modulation are: | ** Modulation from one maqam to another, usually by varying the structure incrementally. Three common forms of modulation are: | ||
*** changing the lower jins without altering its tonic/dominant | *** changing the lower jins without altering its tonic/dominant | ||
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*** taqasim: instrumental improvisation | *** taqasim: instrumental improvisation | ||
*** mawwal: vocal improvisation | *** mawwal: vocal improvisation | ||
* [https://www.maqamworld.com/en/maqam/bayati.php Maqam Bayati] and its ajnas. | * [https://www.maqamworld.com/en/maqam/bayati.php Maqam Bayati] and its ajnas. Compare the structure and sound of different ajnas differing in the 2nd degree: | ||
** [https://www.maqamworld.com/en/jins/bayati.php Bayati]: D Ed F G | |||
** [https://www.maqamworld.com/en/jins/nahawand.php Nahawand]: D E F G | |||
** [https://www.maqamworld.com/en/jins/kurd.php Kurd]: D Eb F G | |||
* [https://www.maqamworld.com/en/maqam/bayati_shuri.php Maqam Shuri] and its ajnas. (The only difference is that the upper jins is converted from nahawand or rast into hijaz.) | * [https://www.maqamworld.com/en/maqam/bayati_shuri.php Maqam Shuri] and its ajnas. (The only difference is that the upper jins is converted from nahawand or rast into hijaz.) | ||
* How about some ear training - Bayati, Nahawand, and Kurd | * How about some ear training - Bayati, Nahawand, and Kurd | ||
** Listen and identify the jins in [https://drive.google.com/drive/folders/1ka0EIwf8ps3wwHS9TQtnbYaMTZcBl03Z?usp=sharing these "violin" recordings] (a taqasim opening I recorded on my [https://photos.app.goo.gl/PNV74KYTnzbE2ytV6 Roli]!) | ** Listen and identify the jins in [https://drive.google.com/drive/folders/1ka0EIwf8ps3wwHS9TQtnbYaMTZcBl03Z?usp=sharing these "violin" recordings] (a taqasim opening I recorded on my [https://photos.app.goo.gl/PNV74KYTnzbE2ytV6 Roli]!). Three jins are presented: | ||
*** Bayati: D Ed F G | |||
*** Nahawand: D E F G | |||
*** Kurd: D Eb F G | |||
** Sing and [https://www.alexdemartos.es/wtuner/ use this tuner to check your intonation] | ** Sing and [https://www.alexdemartos.es/wtuner/ use this tuner to check your intonation] | ||
* Putting it together in a song: [https://www.dropbox.com/sh/cierodsusvfb1wx/AABOcwSKWB8fQ2yJavwNjDKKa?dl=0 Ah Ya Hilu] (performed by Sabah Fakhri, one of the Arab world's most celebrated classical singers) | * Putting it together in a song: [https://www.dropbox.com/sh/cierodsusvfb1wx/AABOcwSKWB8fQ2yJavwNjDKKa?dl=0 Ah Ya Hilu] (performed by Sabah Fakhri, one of the Arab world's most celebrated classical singers) |
Revision as of 12:18, 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 of pieces, featuring a particular mode)
- Sometimes other names are used, depending on place: makam in Turkish, dastgah in Iran, Shashmaqam in Central Asia, Tab` in North Africa. (The modal concept of raga in Hindustani music is quite different, but genealogically related via Afghanistan, which features both kinds of tradition.)
- Maqam vs Western modes/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. Note that in Western music we also have ascending/descending form for minor scales.)
- 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
- Today the octave is commonly theorized as comprising 24 equal quarter tones (24 TET), i.e. the 12 semitones of the piano, plus another 12 shifted by 50 cents - though in practice musicians don't play the "microtones" at exactly the 50 cent mark, and they may vary a microtone depending on the maqam and the melodic context.
- Arabic music is primarily melodic. Stepwise melodic intervals include semitone (minor 2nd), tone (2nd), 1.5 tone (augmented 2nd), and 3/4 tone. The quarter tone is not used as a melodic interval.
- Due to these variables, the maqamat are numerous! (unlike the two primary scales of Western Art Music: 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.
- Other features of maqam:
- Use of Western notation entered the Arab world in the 19th century. New symbols had to be invented for "microtones": a slash through the flat sign for half-flat (or a reversed flat sign), and a sharp sign missing one vertical line for half-sharp. (On the computer, I write Eb for E flat, and Ed for E half flat.)
- Modulation from one maqam to another, usually by varying the structure incrementally. Three common forms of modulation are:
- changing the lower jins without altering its tonic/dominant
- changing the upper jins entirely, or
- shifting the tonic to the root of the upper jins
- Use of accidentals: quick excursions to a related maqam, but without fully modulating
- Saltana: getting the maqam stuck in your head! Today we'll try to generate some saltanah in bayati.
- 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
- Maqam Bayati and its ajnas. Compare the structure and sound of different ajnas differing in the 2nd degree:
- Maqam Shuri and its ajnas. (The only difference is that the upper jins is converted from nahawand or rast into hijaz.)
- How about some ear training - Bayati, Nahawand, and Kurd
- Listen and identify the jins in these "violin" recordings (a taqasim opening I recorded on my Roli!). Three jins are presented:
- Bayati: D Ed F G
- Nahawand: D E F G
- Kurd: D Eb F G
- Sing and use this tuner to check your intonation
- Listen and identify the jins in these "violin" recordings (a taqasim opening I recorded on my Roli!). Three jins are presented:
- Putting it together in a song: Ah Ya Hilu (performed by Sabah Fakhri, one of the Arab world's most celebrated classical singers)
- 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.