chaldo - 10-18-2006 at 10:50 AM
Hi,
can anyone give me the scale (western) of maqam muhaiyyer, it's not on maqamworld... anyone knows why they did not include it?
I guess it's played by the turks more...
thanks
mavrothis - 10-18-2006 at 11:53 AM
Hi,
Muhayyer is a makam with a descending seyir (movement), with a scale generally like Huseyni.
It doesn't just descend though (that would be boring), it starts at the upper octave (the note is aptly called "Muhayyer) and moves between there and
the fifth/fourth. It then generally flows up and down between the lower tonic ("Dugah") and the upper, usually climaxing around "Tiz Neva" -
eventually making its way back down to the "Dugah" note. It generally doesn't travel below the notes "Rast" or "Irak".
It can modulate to all the makams that are common for this scale, like Rast, Karcigar, Huzzam, Segah, Neva, Saba, etc, etc. 
Check out the famous Muhayyer Peshrev and Muhayyer Saz Semai by Tanburi Cemil Bey for a great start. Check out vocal pieces too, they often have some
extra modulatory tricks in there for you.
Hope this helps as a start.
Take care,
mavrothis
chaldo - 10-20-2006 at 09:15 AM
oooo.kkkkk.
Thanks so much for your time!
well that indeed was a great start, it's greatness I guess is more complex than expected.
I know husseini on D: 3/4 - 3/4 - 1 - 1 - 3/4 - 3/4 - 1 up and down.
Easier way would be to put husseini as a base, and compare it to muhayyer. what's the difference if the scale is the same.
I know it's explained but is there an easier way? thanks so much
mavrothis - 10-20-2006 at 09:19 AM
Hi,
Huseyni is a makam that is ascending/descending, and likes to focus on the fifth (the note called "Huseyni"). Muhayyer uses the same scale, but
starts at the upper octave ("Muhayyer" note) and eventually descends.
The difference in the two makams is not the scale, but the focal notes, the way they are treated, and the directional movement they each have.
Listen to pieces and taksims in these makams to get a better sense of what I'm saying.
Take care,
mavrothis
chaldo - 10-23-2006 at 11:10 AM
Thanks so much, I kindof understand better now, reading your 2 posts and listening in a detailed way to Muhayyer Saz Semai (Tatyos)
thanks again for your time and preciseness.
best,
chaldo
adamgood - 10-24-2006 at 03:46 AM
If you learn a few opening licks for Ussak makam, notice that you can transpose those to the different starting points for Huseyni makam and for
Muhayyer. and you'll be giving good opening statements for those makams.
this is working especially well for Muhayyer. like for example (and this is a very Turkish way of doing the solfeg, hopefully you understand it) for
Ussak maybe and opening phrase would be:
(do=çargah, la=dugah or the tonic of ussak)
(4=quarter note, 8=eighth note, 16=16th note)
do4 si4 la8 sol8 fa8 sol8, la16 do16 si16 do16 do16
that would be a nice opening for ussak. by the way, the "fa" should be f#
now transpose that up one octave and you have a nice opening statement for Muhayyer.
for Huseyni, transpose the phrase up a fifth and you get:
sol4 fa4 mi8 rel8 do8 rel8, mi16 sol16 fa16 mi16 mi16
"fa" should be sharp. "do" would likely be natural.
hope this all makes sense...
adam
adamgood - 10-24-2006 at 03:56 AM
what i wrote above is to show that they are not only related by pitches in the makam but also by phrases and licks. they all have parts of one another
built into themselves. ie, and this is rather simplified, your final ending phrase of each of those three makams could be very much the same ending.
you could say that each of the three makams "ends like ussak".