idoromano
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turkish 9 comma system and half tones in the chromatic scale
*does the 4.5 comma sounds mathematicly (frequency, hertz and stuff) preciser then the chromatic scale?
*maybe it's more like the pythagorean "well tempered" scale (that i'm not familier with...)?
*does the half tones of the baglama-saz are like the chromatic scale or like the 9 comma system?
*does a professional turkish oud player plays presicely the 4.5 comma every time?
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Brian Prunka
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The answers to these and many more questions are available now for free through the amazing "search the forum" function . . . 
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adamgood
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| Quote: | Originally posted by idoromano
*does a professional turkish oud player plays presicely the 4.5 comma every time? |
I think you're confused by 4.5 komas...are you thinking that in order to get your next degree of a chromatic scale you must add 4.5 komas? it doesn't
work like that theoretically or in practise. is your question:
does a professional turkish oud player play 4.5 komas every time he/she plays a chromatic scale?
my answer would be: no, in fact never ever.
another answer: turkish ud players will never be scientifically correct in fact, the theory will tell you how many komas an interval will have between
say, the 1st and 2nd pitch of makam Ussak but in practise that interval changes so much and you must do this to make "correct" Ussak.
Ask some more questions and you'll be more on track and like Brian says, there is a bit of information archived in the message board although not too
much about Turkish makam.
Adam
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idoromano
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again, i was confused...
when i ment 4.5 it was ment to be 4 because 4.5 is the same as the western half note...
sorry i confused you.
i will ask these questions again:
does a professional turkish oud player plays presicely the 4 comma every time?
does the 4 comma sounds mathematicly (frequency, hertz and stuff) preciser then the chromatic scale?
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jazzchiss
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Look at here: http://shumays.libsyn.com/
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AGAPANTHOS
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My dear friends,
One answer to the questions made is that the formal Turkish (and the Ottoman once upon the time)musical system has, even today, very strong bonds
with the Pythagorean theory of music.
If the above mentioned statement is true the next step is to describe the fondamental elements of this bond.
In my opinion ,these basic elements belong to the following 5 categories:
1. the three musical genres, namely diatonic, chromatic and enharmonious
2. the basic musical scales - the system of eight (8) musical scales (the octohxos)
3. the division of the major tone in nine (9)commas
4. the name and the size of the different musical intervals smaller than the major tone and most of all the name and the size of the two major
intervals, namely the lima (a four comma's interval ) and the apotome (a five comma's interval) and
5. the foundation of the musical scale (makam) on the basis of two major musical entities, the tetrachord and the pentachord.
It is evident that the interval 4,5 comma's represents the Western half tone of the perfect temperament( the twelveth root of 2).
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