keving
Oud Maniac
Posts: 52
Registered: 5-27-2011
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Hüseyni Makam & Yekta's Seyir
As before I invite commentary, suggestion, etc - which I will edit into the text as it seems fit to do so. Don't forget to qualify your suggestion if
it is in Arabic or Turkish tradition. Thanks for your input. - kevin
If you are unsure whats going on check the original post:
http://www.mikeouds.com/messageboard/viewthread.php?tid=12956
previous makam seyirs:
Rast: http://www.mikeouds.com/messageboard/viewthread.php?tid=12960
Hüseyni Makam
Rauf Yekta's seyir:
http://otherguitar.weebly.com/uploads/1/1/0/2/11023819/huseyni_yekta_sm.jpg
Note, Yekta's notation here leaves out the accidental "koma", which in current practice would be notated as the 'backwards' flat for segah
(B).
Durak (Final or Tonic) : Dugah (A)
Güçlü (Dominant): Hüseyni (E)
Yeden (Leading tone) : Rast (G)
Seyir: Ascending - Descending
http://otherguitar.weebly.com/uploads/1/1/0/2/11023819/huseyni_ext....
Hüseyni makam is composed of a hüseyni pentachord and ussak tetrachord. Acem is often substituted for eviç in descending motion,
resulting in a kurdi tetrachord in the upper register between muhayyer and hüseyni. Extending past muhayyer would utilize a buselik pentachord,
yet it is often considered out of style to extend much beyond tiz buselik for any great length of time - (if at all.) The ascending -
descending seyir means the geris or entry note is on the güçlü or dominant, in the case of this makam, the entry note is hüseyni. Time is spent
there and in the higher tetrachord including muhayyer. Within the course of time the descending aspect of the makam is demonstrated by moving downward
through the dominant pitch to end on the final, dugah. Often with this makam the contrast of acem and eviç is evidenced in the ascending and
descending nature of the produced melody.
Asma Karar (Suspended cadences):
çargah & hüseyni pitches
Çargah from çargah
Pençgah from çargah
Ferahnak from segah
Segah from segah
Eksik Ferahnak from segah
Eksik Segah from segah
Rast from neva
Buselik from neva
Some typical and accepted possible makam modulations within Hüseyni:
Rast from neva
Mahur from gerdaniye
Saba from dugah
Hicaz from dugah
Nikriz from gerdaniye
Hicazkar from gerdaniye
Çargah from çargah
Single note borrowing*:
hicaz, hisar, sehnaz
Commentary: In the Turkish repertoire Hüseyni makam occasionally has figurative leaps between hüseyni and muhayyer, which is not
represented by this seyir. Despite this, the phrase that begins at the end of measure 13, reaching as high as muhayyer and pausing on hüseyni, seems
to especially encapsulate one of the 'flavors' of Hüseyni makam.
Some accepted pieces illustrating Hüseyni within the repertoire:
Hüseyni Saz Samaisi - Tatyos Efendi
Hüseyni Saz Samaisi Selim III
Nedir bu halentin - Sevki Bey
Hüseyni Oyun Havasi (Çeçen Kizi) Tanburi Cemil Bey
Sources:
(Seyir) Rauf Yekta 1922. "La Musique turque", Encylopédie de la musique (Albert Lavignac),
Ismail Hakki Özkan, Türk Musikisi Nazariyati ve Usulleri (1984)
Mutlu Torun, "Ud Metodu" (2000)
Karl Signell, "Modal Practice in Turkish Art Music" (2008)
Online Resources:
http://www.oud.eclipse.co.uk/ (David Parfitt)
http://www.octave.at/
http://www.neyzenim.com
http://www.oudcafe.com/ (Mavrothis T Kontonis)
Note: With the exception of the Rauf Yekta's seyirs, as presented in the "Encylopédie de la musique", NO file or image was knowingly out and out
lifted, copied, used and or altered. Information herein is presented is assumed as common knowledge, belonging to the whole music community and within
public domain. If any of the good folks referred to in the above resources feel something has been unjustly taken from their material please notify me
and it will be immediately removed.
*The concept of a "single note borrowing" is sourced from Signell, "Modal Practice in Turkish Art Music" (2008)"
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Jono Oud N.Z
Oud Junkie
Posts: 1119
Registered: 12-14-2009
Member Is Offline
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Hi.
Very interesting work...
Thanks for the detailed information on Huseyni.
The Huseyni-Mahur connection is particularly interesting, as well as the 'single note borrowing'.
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