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Jono Oud N.Z
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The Arab and Turkish explanations point to one maqam, and both also clearly describe Shadaraban as a descending maqam.
Here is a quote concerning Hijazkar from the 'Makam Guide', by Murat Aydemir:
'The melodic progression begins around the high tonic Gerdaniye. The Buselik flavor is used on the high tonic in many of the compositions. It has
become a tradition to begin the makam with the Buselik flavor and to play the second half cadence on Neva. Meanwhile, suspended cadences can be played
on Cargah with the Nikriz flavor.'
'The final cadence is played with the Zirguleli Hicaz scale on Rast.'
and Shadaraban:
'The melodic progression begins around Neva with the Hicaz scales and the first half cadence is played on this note with the Hicaz flavor. A suspended
cadence can be played with the Buselik flavor on Gerdaniye which is the dominant note of the Hicaz flavor on Neva. The makam descends to Rast with the
Nevesser flavor and the second half cadence is played on this note with the Nevesser flavor. Cargah. is played in order to present the Buselik flavor
on Rast. The melodic progression continues with the Hicaz Homayun scale on Yegah. The final cadence is played on Yegah with the Hicaz flavor.'
and:
'When performing the makam Sedd-i Araban, the Nihavend flavor would weaken the effect of the makam. The Nihavend flavor appears on Rast when Cargah
replaces the Nim Hicaz of the Nevesser flavor on Rast. For this reason, Cargah should be only used on Purpose.
When moving to the conclusion of the makam, Cargah is used in order to use the Hicaz Homayun flavor on Yegah.
and lastly:
'Towards the conclusion, the Hicaz Homayun scale is used thus completing the makam Sedd-i Araban. The Nevesser flavor is the overlapping part of the
Hicaz Zirguleli and Hicaz Homayun scales. The Hicaz makams in the low and high registers of the scale clearly show that there is no place for the
makam Nihavend within the makam Sedd-i Araban.'
This book is an excellent resource!
Especially for non- Turkish musicians who want to learn the intricacies of the maqam system, and are not satisfied with a much simplified approach,
based on too much Western influence which is commonly adhered to today.
Zirgulah
There are two 'D' maqamat in this family; Zirgulah Hijaz and Shanaz.
I have certainly heard Shanaz in Arabic music.
Zirgulah maqam is mentioned in both D'Erlangers list of maqamat and Mikhail Mishaqa's also.
I have not heard of any Arabic pieces In this maqam.
Does anyone know of any?
Shanaz seems to be much more common.
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David.B
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Quote: Originally posted by Jono Oud N.Z  | The Shadaraban piece looks interesting, good to see one that doesn't need transposing.
Do you know the composer? Is there a 6/8 part? |
Yes, I've just found it :
"1. SAMAI SHADD-ARABAN
J.B. TUNBURY, end of 19th century
arranged by J.J.WEISS
It is an instrumental ouverture composed on a ten time rhythm. It consists of three couples alternating with a refrain and finish on a fourth couplet
in a manner which recalls a viennese valse.
Although profane, the Sami was originally destined to induce meditation during ecstatic ritual ceremonies of the Turkish Sufis."
Source :
http://rootsdiaries.blogspot.com/2008/08/al-kindi-musique-classique...
And to be clearer, here it is the score transcribe from nay to oud by Joseph Dubreuil (pdf) :
http://joseph.dubreuil.free.fr/guitare/index.php/component/rokdownl...
To hear the piece played by Mohamed SAADA (mp3) :
http://www.4shared.com/audio/fKdablYU/01-Samai_Shadd-Araban.html
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Jono Oud N.Z
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Hi.
I am very familiar with the Samai Shadaraban piece, we play it in our group often.
It is a very good piece.
I will check out the links too
I have been away for a few days but back now.
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Jono Oud N.Z
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One last comment..
The Hijazkar family are all obviously related.
There are definite differences between the sayr's of these maqamat.
While this is true and helpful, one of the greatest benefits of learning them individually regards the possible modulations that occur from each.
For example from listening solely to Hijazkar for a while (Arabic and Turkish), I have encountered some interesting modulations that I have overlooked
in the past.
Some of these modulations from Hijazkar include:
Mahur, Rast (C), Nawa Athar (C), Huzzam and Mustear on Ad, Awj Ara on Ed, Huzzam (Ed), Hijazkar Kurd, Rast on F and Ushshaq on G.
There is also very often a poignant flat fifth (F#), often played at the end of a taqsim, composition, or at cadences.
I have noticed the same feature in Hijaz too.
Oum Kalsoum's 'Ana Fe Entezarak' is a classic example that features this, as well as the Inedit recording of Yusuf Omar's 'Hijaz Diwan'.
Tanburi Jamil Bey's 'Samai Hijazkar' features this motive on the original recording too.
I will work on Shadaraban next.
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David.B
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I found something interesting on track 6 'Shat Arabân' by George Abyad :
05:29 e-b- has a part of a 'shrunken' augmented second, db e-b-
In 2009, lake of better, I thought it was a compound mode Shadd `Araban + Hijaz Kar. Something is sure, the e-b- comes from the Rast modulation at
05:20.
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