keving
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Evc 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. This makam was more difficult to pin down
than the previous ones, any input is super welcome! 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
Huseyni: http://www.mikeouds.com/messageboard/viewthread.php?tid=12993#pid88...
Evç Makam (also goes by Eviç )
Rauf Yekta's seyir:
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) : Irak (F#)
Güçlü (Dominant): Dügah (A)
Yeden (Leading tone) : Acemaşiran (E#)
Seyir: Descending
Evç makam is considered a descending version of of Irak makam. Contemporary theorists consider this a compound makam, in the Segah
family of makams, made up of a Segah tetrachord off of irak and an Ussak tetrachord from dugah. Evç makam, being an descending makam, notably spends
more time in the upper register around evç and it surrounding pitches, from neva to as far up to tiz çargah. After some time is spent at these upper
registers, this makam will often find its way down to the asma karar and onto cadencing using phraseology between yegah and the leading tone acem
asiran to close it out. A seemingly common motif often entails a Rast tetrachord from dugah utilizing buselik and nim hicaz.
Asma Karar (Suspended cadences):
Ussak tetrachord between dugah and neva, often proceeding to accenting the interval between neva and the leading tone (yeden) E# or acemasiran.
Some typical and accepted possible makam modulations within Evç:
Segah from segah
Buselik from dugah
Hicaz on muhayyer
Saba from dugah
Bestingar from dugah
Beyati from dugah
Ussakf rom dugah
Single note borrowing*:
nim hicaz, kurdi, sehnaz
Commentary: Yekta's seyir leaves a lot to be desired, mostly because it lacks any of the idiomatic usage of acemasiran (E#) and / or
acem. Much of the repertoire displays a penchant for the sound between acemasiran, irak and rast, as well as acem, evç, and neva. The student of
makam would do well to study the associated repertoire rather than rely on Yekta's seyir for a deeper understanding of Evç makam. Much of the
repertoire often displays a nice play of either pseudo Buselik or Huseyni sounds in the meyen that contrasts the more evc heavy begining.
Some accepted pieces illustrating Evç within the repertoire:
Evc Saz Samaisi (Neyzen Ali Dede)
Evc Saz Samaisi (Kemençeci Nikolaki)
Evc Pesrev (Tanburi Isak)
Ela gözlerini sevdiğim dilber (Sadettin Kaynak)
Sevdim bir gonca-i rana (Dede Efendi)
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)
Eric Ederer, Turkish Music--The Theory And Praxis Of MAKAM in Classical Turkish Music 1910--2010 (2011)
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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David Parfitt
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Kevin,
Here is another online resource that may be of interest:
http://www.eksd.org.tr/makamlar/evic_makami.php
There is a similar page for most makams - just replace "evic" with the name of the makam in the website address.
All the best
David
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keving
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Thank you David, I think those pages are from Ismail Hakki Özkan book. Useful that it is online, thanks!
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Khalid_Salé
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So if one were to modulate to Mustear or Evcara on Yegah here, which seems quite natural, would those 2 makams still have those names (when starting
from yegah) or would they be called something else?
Edit: sorry, I mean on irak, not yegah.
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David Parfitt
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Quote: Originally posted by keving  | | Thank you David, I think those pages are from Ismail Hakki Özkan book. Useful that it is online, thanks! |
Thanks Kevin, I wasn't aware of that book before! The only one I have is by Zeki Yilmaz.
All the best
David
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keving
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| Quote: Originally posted by Khalid_Salé | So if one were to modulate to Mustear or Evcara on Yegah here, which seems quite natural, would those 2 makams still have those names (when starting
from yegah) or would they be called something else?
Edit: sorry, I mean on irak, not yegah. |
hmm, I think they would retain their respective names, if there was enough definition to say they were definitively not evç anymore.
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keving
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glad I could turn you onto it. If it was in English I wouldn't be trying to rewrite it....
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keving
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An image from http://www.eksd.org.tr/makamlar/evic_makami.php, belonging to Ismail Hakki Özkan's book "Türk Musikisi Nazariyati ve Usulleri ". It succinctly
lays out the various components to the compound makam.
I would like to include this info into my makam folio, but I need to restructure it so that I am not plagiarizing Özkan's work. Not sure what the
best way is to do that in this instance as it is so well set up, improving upon it is unlikely....
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