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Uşşak (Turkish Makam)
Uşşak is the implementation of the Bayati scale in Turkish makam music. It can be approximated by using the 53 Tone Equal Temperament. Uşşak in 53-TET Comparison with Western scales Since the makam is most closely approximated with the 53-TET, it is impossible to directly tie it to 12-TET Western scales. However, using the 48-TET model, while worse than many other models in approximation, allows for such comparisons.This is because 48 is divisible by 12. The approximation of Rast ascending within 48-TET would be: denotes a quarter flat, 25 cents in this case. (One Holdrian Comma in 53-TET) * Aeolian (2) Related makams * Hüseynî, same notes as Uşşak, has the güçlü on the 5th note instead of the 4th. * Rast, functions as a mode of Uşşak, when Uşşak's yeden (leading tone) is treated as a durak (tonic note). There can be a geçki (modulation Signal modulation is the process of varying one or more properties of a periodic waveform in electronics and ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Bayati (maqam)
Bayātī (Arabic language, Arabic wikt:بياتي, بياتي; Turkish language, Turkish Beyâtî), also known as Bayat and Uşşâk (Ushaq), is the name of a Arabic maqam, maqam (musical mode) in Arabic music, Arabic, Turkish music, Turkish, and related systems of music. Bayati is similar to a natural minor scale, with the primary exception of a Quarter tone, half-flat second degree. The maqam is immensely popular in the Arab world, particularly in the Levant. In secular settings, it is favored in dabke and Arabic pop music, pop music. Bayati is also used very often in religious liturgies of the Middle East. It is the favored maqam of use for the adhan in Medina, Saudi Arabia. Syrian Jews have an abundance of pizmonim in this maqam and usually apply it to all Bar Mitzvahs and to Saturday Night services. According to the Assyrian Church of the East, this mode is called Qadmoyo (first). Related maqamat are Husseini and Bayati Shuri. Nucleus The central tones of a maqam are cr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Modulation (music)
In music, modulation is the change from one tonality ( tonic, or tonal center) to another. This may or may not be accompanied by a change in key signature (a key change). Modulations articulate or create the structure or form of many pieces, as well as add interest. Treatment of a chord as the tonic for less than a phrase is considered tonicization. Requirements *Harmonic: quasi- tonic, modulating dominant, pivot chordForte (1979), p. 267. * Melodic: recognizable segment of the scale of the quasi-tonic or strategically placed leading-tone *Metric and rhythmic: quasi-tonic and modulating dominant on metrically accented beats, prominent pivot chord The quasi-tonic is the tonic of the new key established by the modulation. The modulating dominant is the dominant of the quasi-tonic. The pivot chord is a predominant to the modulating dominant and a chord common to both the keys of the tonic and the quasi-tonic. For example, in a modulation to the dominant, ii/V–V/V–V co ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Geçki
Geçki is the usage of a different makam during the performance of another makam, which may or may not lead to a modulation. It is a form of modal interchange, used specifically within Turkish makam music. Music theory As with modal interchange, it is easier to do a geçki between two similar makams. There are two forms of geçki, the ones that create a change in function and the ones that create a change in identity. These two forms of geçki can be used simultaneously. Change in function A geçki can happen without changing any notes by changing the roles of the notes within a makam. Neva and Hüseynî share many of their features, including their notes. However, Neva has its Güçlü in its fourth note, while Hüseynî has its Güçlü in its fifth note. So performing the fifth note as a Güçlü while performing the Neva makam is an example of a Hüseynî geçki within a Neva makam. A geçki can also happen through the change in the Durak (the tonic note). The Rast mak ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tonic (music)
In music, the tonic is the first scale degree () of the diatonic scale (the first note of a scale) and the tonal center or final resolution tone that is commonly used in the final cadence in tonal (musical key-based) classical music, popular music, and traditional music. In the movable do solfège system, the tonic note is sung as ''do''. More generally, the tonic is the note upon which all other notes of a piece are hierarchically referenced. Scales are named after their tonics: for instance, the tonic of the C major scale is the note C. The triad formed on the tonic note, the tonic chord, is thus the most significant chord in these styles of music. In Roman numeral analysis, the tonic chord is typically symbolized by the Roman numeral "" if it is major and by "" if it is minor. These chords may also appear as seventh chords: in major, as M7, or in minor as 7 or rarely M7: The tonic is distinguished from the root, which is the reference note of a chord, rathe ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Durak (Turkish Makam Theory)
Durak (also known as Karar), in Turkish makam theory, is the initial note of the first tetrachord or pentachord in the diatonic scale In music theory a diatonic scale is a heptatonic scale, heptatonic (seven-note) scale that includes five whole steps (whole tones) and two half steps (semitones) in each octave, in which the two half steps are separated from each other by eith ..., and the tonic note which always concludes a composition within a makam. See also * Final (music) * Tiz Durak * Güçlü * Yeden * Donanım * Seyir * Şifre References {{Turkish makam theory, state=collapsed Ottoman classical music Music of Turkey Maqam-based music tradition Turkish words and phrases ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Leading-tone
In music theory, a leading tone (also called subsemitone or leading note in the UK) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading tone, respectively. Typically, leading tone refers to the seventh scale degree of a major scale (), a major seventh above the tonic. In the movable do solfège system, the leading tone is sung as ''si''. A leading-tone triad is a triad built on the seventh scale degree in a major key (vii in Roman numeral analysis), while a leading-tone seventh chord is a seventh chord built on the seventh scale degree (vii7). Walter Piston considers and notates vii as V, an incomplete dominant seventh chord. (For the Roman numeral notation of these chords, see Roman numeral analysis.) Note Seventh scale degree (or lower leading tone) Typically, when people speak of ''the'' leading tone, they mean the seventh scale degree () of the major scale, which has a strong affinity for and leads ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Yeden
Yeden, in Turkish makam theory, is the note preceding the tonic note (Durak) as the leading tone within a makam. History The term Yeden has been first introduced into Turkish makam theory by Rauf Yekta Bey, he considered the Yeden a complementary feature of a makam. Melodic function The Yeden, as with the leading tone in Western classical music, leads to the resolution of a makam. While the Yeden note is generally octave equivalent with the 7th tone within the scale, sometimes it may be a different note. When it is a different note, sometimes its octave equivalent counterpart can be used in the scale, even if it is normally not in the scale. There are three different intervals that a Yeden can have in the 53 Tone Equal Temperament in Turkish makam theory, developed by and named after the Arel-Ezgi-Uzdilek notation. 1. Bakiye The Bakiye is equivalent to 4 Holdrian Commas (90.57 cents), which as a leading tone is slightly sharper than the 100 cent Western leading note. A ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rast (Turkish Makam)
Rast is the implementation of the Rast (maqam), Rast scale in Turkish makam music. It is in 53 equal temperament, 53 Tone Equal Temperament. Rauf Yekta, Rauf Yekta Bey's model places the Rast Makam as the gamme naturale of Turkish Classical Music and centers the theoretical approach around it. In the Arel-Ezgi-Uzdilek notation, Arel Ezgi Uzdilek system, the scale centered in the theory became Çârgâh. Rast in 53-TET The Rast makam also has a Rast tetrachord extension in its lower registers, that is Octave equivalence, octave equivalent to the second Çeşni (Turkish makam theory), çeşni in Rast ascending. The notes are: Yegâh, Hüseyni-Aşiran, Irak, ending with Rast. Comparison with Western scales Since the makam is based on 53-TET, it is impossible to directly tie it to 12 equal temperament, 12-TET Classical music, Western Scale (music), scales. However, using the 48-TET model, while worse than many other models in approximation, allows for such comparisons.This is be ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Aeolian Mode
The Aeolian mode is a musical mode or, in modern usage, a diatonic scale also called the natural minor scale. On the piano, using only the white keys, it is the scale that starts with A and continues to the next A only striking white keys. Its ascending interval form consists of a ''key note, whole step, half step, whole step, whole step, half step, whole step, whole step.'' That means that, in A aeolian (or A minor), a scale would be played beginning in A, move up a whole step (two piano keys) to B, move up a half step (one piano key) to C, then up a whole step to D, a whole step to E, a half step to F, a whole step to G, and a final whole step to a high A. : History The word ''Aeolian'', like the names for the other ancient Greek ''tonoi'' and ''harmoniai'', is an ethnic designation: in this case, for the inhabitants of Aeolis (), a coastal district of Anatolia. In the music theory of ancient Greece, it was an alternative name (used by some later writers, such as Cleoni ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turkish Makam Music
The Turkish makam ( Turkish: ''makam'' pl. ''makamlar''; from the Arabic word ''maqām'' ) is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure (''cinsler'' meaning genera) and melodic development (''seyir''). Whether a fixed composition ('' beste'', '' şarkı'', ''peşrev'', '' âyin'', etc.) or a spontaneous composition (''gazel'', '' taksim'', recitation of '' Kuran-ı Kerim'', '' Mevlid'', etc.), all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul. Geographic and cultural relations The Turkish makam system has some corresponding relationships to maqams in Arabic music and ''echos'' in Byzantine music. Some theories suggest the origin of the makam to be the city of Mosul in Iraq. "Mula Othman Al-Musili," in reference to his city of origin, is said to have served in the Ottoman Pala ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
48-TET
An equal temperament is a musical temperament or tuning system that approximates just intervals by dividing an octave (or other interval) into steps such that the ratio of the frequencies of any adjacent pair of notes is the same. This system yields pitch steps perceived as equal in size, due to the logarithmic changes in pitch frequency. In classical music and Western music in general, the most common tuning system since the 18th century has been 12 equal temperament (also known as ''12 tone equal temperament'', ' or ', informally abbreviated as ''12 equal''), which divides the octave into 12 parts, all of which are equal on a logarithmic scale, with a ratio equal to the 12th root of 2, (\sqrt 2/math> ≈ 1.05946). That resulting smallest interval, the width of an octave, is called a semitone or half step. In Western countries the term ''equal temperament'', without qualification, generally means '. In modern times, is usually tuned relative to a standa ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
