Jono Oud N.Z
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Maqam Hijazkar
I have been working on maqam Hijazkar again recently.
Here are some links and previous discussions that relate to the topic.
I am very interested in others approach to this maqam.
http://www.mikeouds.com/messageboard/viewthread.php?tid=12195
http://www.mikeouds.com/messageboard/viewthread.php?tid=11770#pid80...
http://www.mikeouds.com/messageboard/viewthread.php?tid=11074#pid75...
http://www.mikeouds.com/messageboard/viewthread.php?tid=9786#pid649...
http://www.mikeouds.com/messageboard/viewthread.php?tid=2666#pid169...
http://www.mikeouds.com/messageboard/viewthread.php?tid=12195
Here are the D'Erlanger pages on Hijazkar and the Turkish seyir.
Attachment: php4m8cWw (303kB)
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Attachment: phpGp0htV (328kB)
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http://www.eksd.org.tr/makamlar/hicazkar_makami.php
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fadel
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hi
u work gooooood
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fadel
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hi
see this
http://www.youtube.com/watch?v=emxHxe5KQmc
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Jono Oud N.Z
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Hi.
This is a beautiful taqsim too .
Simon Shaheen was one of my first oud influences.
He is an amazing musician, both on oud and violin.
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spartan
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[/url]
beautiful taqsim really
BUT this isnt Hijazkar maqam
It might be something else, like Zirguleli Hijaz from Rast pitch, but Hijazkar has a descending seyir.
a very nice approach of Hijazkar by Joseph Tawadros
http://www.youtube.com/watch?v=SQREh3FgqUQ
A good ressource of hijazkar maqam is to play old pieces (samais, bashrafs)
This could give a great idea of the feeling and the possible modulations.
a 1936 beautiful song from Greece in Hijazkar
there is a small taste of Sabah just right before the melody movement ends to the tonic
http://www.youtube.com/watch?v=j2jCEFptfaU
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Jono Oud N.Z
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Cool!
I love the old recordings!
The Saba like cadence is very effective too.
This beautiful Oum Kalsoum song features this cadence also:
http://www.youtube.com/watch?v=83LhczniSTg
There is a very interesting modulation to Sikah Baladi in this song too.
http://www.maqamworld.com/maqamat/sikah.html#sikah-baladi
I agree, this maqam resembles Zirgulah on Rast.
Still beautifully played though, no doubt.
This is similar to the common Bayati/Ushshaq scenario...
In my opinion this would be a result of the simplification that took place in Egypt in the early 1900's.
Dr Scott Marcus explains in his thesis 'Arab Music in the Modern Period' that, due to Western classical music being more highly regarded, and Arabic
music undervalued at the time, the maqam system was very simplified.
The reason for this Dr Marcus explains, was that the music students did not have the patience to learn the old maqam system as there were too many
maqamat, Western classical music seemed easier to learn.
Therefore similar maqamat like Ushshaq/Bayati and Hijazkar/Ziruglah seemed to be lumped together as they share the same basic scale.
The concept of 'scale versus jins' has taken much of the subtle beauty and variety of the old system in my opinion.
Groups like Al Kindi, Bezmara, Issa Boulos, Aicha Redouane, Muhammad Qadri Dalal, En Chordais Ensemble, Ross Daly, Lazelar etc are working to restore
the old system, and bring the maam back to life.
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Jono Oud N.Z
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Does anyone know who invented maqam Hijazkar.
I think it was created in Istanbul?
It is a more recent maqam, so it may date from the 19th cent?
I am curious whether Turkish modern intonation (or close to it), was used in Egypt and Syria before the 1930's.
The old intonation of Hijaz family maqamat before the late 1700's resembles current Persian intonation, like Homayun.
The second is a neutral ('quarter') tone and the third a major third; D, Ed, F#, G..
When more notes were added to Ottoman music in the late 1700's, this intonation changed to a raised semitone instead of a neutral tone, and a lowered
third like the modern Turkish Rast one.
It is interesting that the Segah (and Awj) note was raised in Rast at around the same time as the third of Hijaz was lowered.
In my opinion this explains the use of the Segah pitch being used in both Rast and Hijazkar in modern Turkish classical music.
There are certain modulations like the ones found here...
Attachment: samai_hijazkar_Nadim_al-darwish.pdf (109kB)
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...that look like clear modulations to Segah (and related maqamat) within Hijazkar.
Others have hinted at the possibility of 'Saba Zamzam'.
Since the true Saba Zamzam (Zemzeme) is a compound of Sabah and Kurdi, I would personally doubt this.
The third in this taqsim sounds to me like Segah:
http://www.youtube.com/watch?v=-_LYNlt7kj0
Or am I wrong?..
This famous Sharif Muhiddin Haydar Targan Samai in Huzzam uses a similar passing modulation in the first bar of the taslim.
As he was Munir Bashir's teacher and others at the Baghdad music school, I wonder what Arab musicians think of this modulation?
Al Kindi have recorded this one:
http://www.cduniverse.com/productinfo.asp?pid=6674253
Puzzling, but very interesting stuff...
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spartan
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I dont know who and when Hijazkar maqam was invented.
It is said that Kurdili Hijazkar maqam was invented by the qanun player Haci Arif Bey, in the middle of the 19th century. So Hijazkar may be existed
before. Since we dont have very old pieces of the maqam we can assume that it's a 19th (or 18th) century maqam.
About seyir...
Since the notes of Gerdaniye, Neva, Cargah, Rast are strong. dominant notes we can do any modulation possible from these notes.
From many pieces I noticed some:
Busalik from Gerdaniye
Kurdili Hijazkar
Arazbar from Cargah pitch
Nawa Athar
Nakriz
etc.
I guess the "unusual" modulation on Nadim Al Darwish samai is the Vech-i Arazbar maqam , that means a mixture of ussak on neva, rast on cargah and
finally segah ....
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Danielo
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Hi,
interesting discussion !
I think there is a whole issue about renditions of Turkish pieces in Arabic music as we discussed already (about Isfahan). Because of, for instance,
this similarity between the third degree of Hijaz and Rast in Turkey, some modulations that are found in classical Ottoman music do not make sense
when transposed in the context of the Arabic maqamat system. Another important point of divergence is the lowered fourth degree of the Segah
tetrachord in the turkish system...
The case of Ali Darwish (Nadim al Darwish father and most likely teacher) is interesting. He was from Aleppo but receive his musical training in
Turkey at the turn of the 20th century. Yet, his analysis of the maqamat (he provided most of the material found in Erlanger's book) does not fit
with the Turkish views, at least of today.
I guess also that, at the times of the Ottoman empire, skilled musicians from provincial towns like Aleppo or Damascus could have taken part in the
musical life of the Ottoman court? Is this possible without a common acceptation of the maqam system ?
Is there some evidence that the important theoretical works of Arel and Ezgi, at the beginning of the 20th century, did not accurately record musical
practice of that period, but rather enlarged the gap between Arabic and Turkish practices by influencing the latter ?
Dan
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bibo10
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since we are talking about Hijaz Kar, enjoy this amazing hijaz kar taqsim by Riyad el Sunbati
http://www.youtube.com/watch?v=3nmnOXrTJDY
+++++++++++
Michael-GOD BLESS EGYPT
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Jono Oud N.Z
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| Quote: |
I guess the "unusual" modulation on Nadim Al Darwish samai is the Vech-i Arazbar maqam , that means a mixture of ussak on neva, rast on cargah and
finally segah ....
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Very interesting.
There seem to be many possibilities for interesting modulations.
I thought it may have been Awj Ara/Evcara on Segah, but your analysis is probably more accurate.
The Vech-i Arazbar is certainly a rare and interesting maqam.
I just have one recording:
http://www.artistdirect.com/nad/window/media/page/0,,280739-3723114...
Thanks for the info on Kurdili Hijazkar too.
Hijazkar is not in the Cantemir records of maqamat, so it would seem to date from the late 18th or 19th cent.
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this similarity between the third degree of Hijaz and Rast in Turkey, some modulations that are found in classical Ottoman music do not make sense
when transposed in the context of the Arabic maqamat system. Another important point of divergence is the lowered fourth degree of the Segah
tetrachord in the turkish system...
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I agree.
The Segah difference has puzzled me for ages too.
The Persian Segah of today has the lowered fourth, as does the Turkish one.
But...
The Segah pieces (often Persian) from the Cantemir collection have the regular fourth like in Arabic music today.
Also almost every Arabic piece in Segah I have heard seems to be actually Huzzam of Rahat el Arwah.
Segah proper is much rarer in Arabic music apart from Tunisian music.
There is a strong Turkish connection in Tunisian music too though...
I wonder if the problem with the tuning of the fourth is somehow related?
Also, musicians like Ali Darwish, Misrili Ibrahim Efendi
and Sharif Muhiddin Haydar Targan moved between Istanbul and Syria, Egypt and Iraq.
This makes one wonder about similarities/differences in intonation.
It seems that Turkish and Arabic classical musics were much more one style before the late 1700's.
The more recent Turkish theorists have seemed to purposely try to make Turkish and Arabic music more different than they actually were.
Obviously, during the Ottoman Empire things were much more united and less nationalistic.
Beautiful taqsim too
One more:
http://www.mikeouds.com/qassab.html
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