Masel
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Hijaz variants
I was reading this old thread (http://arabicouds.com/messageboard/viewthread.php?tid=2666#pid16968) where at the last post al-Halabi commented that there are four variants of
hijaz (usually lapped into just "hijaz" in arabic theory), with different upper penta/tetrachords, being (when hijaz starts on D):
1. Nahawand on G - or is it busalik? What's the difference?
2. Rast on G.
3. Hijaz (on A I assume..?)
4. Bayat - on G or on A?
So what I'm asking is for someon to indentify the four maqams and tell me the names too please.
Thanks!
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Masel
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Aha it seem al-Halabi has also provided me with an answer, in another thread: http://arabicouds.com/messageboard/viewthread.php?tid=2685#pid17244
I'll repost what he wrote here but the whole thread is a good read. Anyway thank you!
"Hi,
Peter is right about the variations that the sixth and seventh degrees of Hijaz can take. I thought it would help to add one comment about these
variations within Hijaz. We are discussing them as features of a single makam, but actually there are four distinct makams that form part of the Hijaz
family. They all have the same first tetrachord/pentachord of Hijaz, but their second tetrachords/ pentachords are modally different from each other.
Traditional pieces were composed in each of the four makams. Turkish music has preserved the distinctions between them while modern Arab music theory
has tended to conflate the four into one single Hijaz mode. Using Turkish tuning, the four variants of Hijaz are:
1. Hijaz Humayun: first tetrachord of Hijaz on E, second pentachord of Buselik/Nahawand on A (A B C D E).
2. Hijaz: first tetrachord of Hijaz on E, second pentachord of Rast on A (A B C half-flat D E) . In the melodic descent the C half-flat often becomes
a C natural, changing the pentachord to Buselik.
3. Uzzal: first pentachord of Hijaz on E, second tetrachord of Ussak/Bayati on B (B C half-flat D E).
4. Hijaz Zirgule: first pentachord of Hijaz on E, second tetrachord of Hijaz on B (B, C shapened a bit, D# flattened a bit, E).
When we improvise in Hijaz we commonly introduce alterations in the sixth and/or seventh degrees. We tend to see these alterations as variations
within the same makam Hijaz or as accidentals, but in fact they are often modulations into the Hijaz sister makams.
Peter, your comment about Hijazkar is correct, up to a point. The scale of Hijaz Zirgule does have the same intervals as Hijazkar, but it is strictly
speaking a different makam. That's because it has an ascending melodic progression associated with it (playing/composition start with the first
tetrachord and move upward before returning to the tonic), while Hijazkar is a descending makam in which composition traditionally starts around the
octave and develops the higher tetrachords before proceeding toward the tonic. There are quite a few instances of makams with the exact same intervals
but with different melodic progressions, tonal centers, etc. that make them distinct modes rather than transposed versions of each other. The second
and third Hijaz makams above are one example of this - the scales are identical but the internal tonal centers are different (in the first A, in the
second B) and the resulting modal features are different. When we represent a makam in the form of a scale we sometimes forget that in the Middle
Eastern musical tradition a makam is not just a particular sequence of notes but a set of rules for making melody with these notes (where one starts,
the direction of melodic development, where the stops and transition points are, what accidentals and modulations are indicated, variations in the
intonation of microtonal pitches in ascent and descent, etc.). Each makam has its own rules, and part of the genius - and challenge for us - of this
modal system is the rich variety of rules and possibilities embedded in it. It sometimes seems like life is too short to figure it all out"
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adamgood
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Mood: 2.7 koma flat
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Here is some Turkish repertoire for each of the forms of Hicaz. for the latter 3 there is some notation missing but for the pieces that are there, the
makam is shown.
Hicaz:
http://www.adamgood.com/turkish_nota/rep.php?makam=40&sort=form...
Humayun:
http://www.adamgood.com/turkish_nota/rep.php?makam=43&sort=form...
Uzzal:
http://www.adamgood.com/turkish_nota/rep.php?makam=119&sort=for...
Zirgule:
http://www.adamgood.com/turkish_nota/rep.php?makam=46&sort=form...
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Masel
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Hey thanks I was looking for the website.
Could someone give an explanation of the evic and muhayyer families and variants too? All I know muhayyer is the same notes as bayat/husseini but
starts on the tonic and has focus points on (from what I think) Bb, A, and F. Is this more or less right?
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