From 29300744f23cd3db49151730c771d964ff8b9180 Mon Sep 17 00:00:00 2001 From: Graham Percival Date: Tue, 8 Jul 2008 15:09:38 -0700 Subject: [PATCH] Update from Jonathan. --- Documentation/user/world.itely | 189 ++++++++++++++++----------------- 1 file changed, 89 insertions(+), 100 deletions(-) diff --git a/Documentation/user/world.itely b/Documentation/user/world.itely index b78fe65c41..1d14ea60e5 100644 --- a/Documentation/user/world.itely +++ b/Documentation/user/world.itely @@ -24,7 +24,8 @@ FIXME @menu * Arabic music notation overview:: -* Note names :: +* Arabic note names :: +* Arabic key signatures:: * References for Arabic music:: @end menu @@ -37,134 +38,122 @@ FIXME @cindex maqam @cindex maqams -Arabic music so far has been mainly an oral tradition. When music -is transcribed, it is usually in a sketch format, on which -performers are expected to improvise significantly. Increasingly, -Western notation, with a few variations, is adopted in order to -communicate and preserve Arabic music. - -Some elements of Western musical notation such as the -transcription of chords or independent parts, are not required to -typeset the more traditional Arabic pieces. There are however -some different issues, such as the need to indicate medium -intervals that are somewhere between a semi-tone and a tone, in -addition to the minor and major intervals that are used in Western -music. There is also the need to indicate different maqams which -are more similar to the ancient modes, than modern musical scales, -in the sense that certain flows, intervals, quality of intervals, -musical patterns and finalis are part of the maqam, and may -distinguish two maqams that have the same scale intervals. - +Arabic music so far has been mainly an oral tradition. When music is +transcribed, it is usually in a sketch format, on which performers are +expected to improvise significantly. Increasingly, Western notation, +with a few variations, is adopted in order to communicate and +preserve Arabic music. + +Some elements of Western musical notation such as the transcription +of chords or independent parts, are not required to typeset the more +traditional Arabic pieces. There are however some different issues, +such as the need to indicate medium intervals that are somewhere +between a semi-tone and a tone, in addition to the minor and major +intervals that are used in Western music. There is also the need to +group and indicate a large number of different maqams (modes) that +are part of Arabic music. + In general, Arabic music notation does not attempt to precisely indicate microtonal elements that are present in musical practice. -The mode, if present, may indicate the quality of intervals, -including medium intervals. - -@node Note names -@unnumberedsubsubsec Note names + +@node Arabic note names +@unnumberedsubsubsec Arabic note names @cindex Arabic note names -The more traditional Arabic music note names indicate an absolute -position on an instrument, for example the note name of kardan -refers to the pitch produced when the first (and highest in pitch) -open string on a traditional oud is plucked. This is notated as -@code{do''}, ie a C note that fits in the treble clef, but the -actual pitch produced on the oud is equivalent to the middle C on -a piano if Western tuning is used (since the oud sounds an octave -lower than notated). Many of the more familiar Arabic note names -are associated with maqams for which they serve as the finalis. - -@multitable {Arabic Note Name} {symbol} - -@headitem Arabic Note - @tab symbol - -@item yakah - @tab sol - -@item ushairan - @tab la +The more traditional Arabic note names can be quite long and are +not suitable for the purpose of music writing, so they are not +defined by the inclusion of "arabic.ly". English note names +@code{a, b, c, d, e, f, g} are not very familiar in Arabic music +education. Italian or Solfege note names @code{do, re, mi, fa, +sol, la, si} are more familiar, and are used when +@code{"arabic.ly"} is included. Modifiers can also be used, as +discussed in @ref{Note names in other languages}. -@item ajam ushairan - @tab sib +For example, this is how the Arabic @notation{rast} scale can be +notated: -@item iraq - @tab sisb - -@item rast - @tab do' - -@item dukah - @tab re' - -@item kurd - @tab mib' +@lilypond[quote,verbatim] +% TODO: commented out until arabic is included +%\include "arabic.ly" +%\relative do' { +% do re misb fa sol la sisb do sisb la sol fa misb re do +%} +\relative c' { + c +} +@end lilypond -@item sikah - @tab misb' -@item jaharkah - @tab fa' +@seealso -@item hijaz-saba - @tab solb' +Notation Reference: +@ref{Note names in other languages}. -@item nawa - @tab sol' -@item husseini - @tab la' +@node Arabic key signatures +@unnumberedsubsubsec Arabic key signatures -@item kardan - @tab do'' +@cindex Arabic key signatures -@item muhayer - @tab re'' +In addition to the minor and major key signatures, the following +key signatures are defined in @code{"arabic.ly"}: bayati, rast, +sikah, iraq, and kurd. These key signatures define a small number +of maqam groups rather than the large number of maqams that are in +common use. -@item mahouran - @tab fa'' +In general, a maqam uses the key signature of its base maqam in the +same group, or a neighbouring group, and varying accidentals are +marked throughout the music. -@item jawab nawa - @tab sol'' +For example to indicate the key signature of a maqam muhayer piece: -@item jawab kardan - @tab do''' + \key re \bayati -@end multitable +Here re is the default pitch of the muhayer maqam, and bayati is the +name of the base maqam in the group. +While the key signature indicates the maqam base or group, it is +common for the title to indicate the more specific maqam, so in this +example, the name of maqam muhayer should appear in the title. -The Arabic note names can be quite long and are not suitable for -the purpose of music writing, so they are not defined by the -inclusion of "arabic.ly". English note names @code{a, b, c, d, e, -f, g} are not very familiar in Arabic music education. Italian or -Solfege note names @code{do, re, mi, fa, sol, la, si} are more -familiar, and can be used when @code{"arabic.ly"} is included. -Modifiers may be used, as discussed in -@ref{Note names in other languages}. +You can also set the key signature using Staff.keySignature as discussed +in @ref{Key signature}. This offers more flexibility if you don't wish +to be limited to the key signatures that are defined in "arabic.ly", or if +you don't wish to use the above method of determining a key signature based +on the maqam group. -For example, this is how the Arabic rast scale can be notated: +For example, you can set the key signature to do sharp, mi semi-flat, and +sol flat as follows : @lilypond[quote,verbatim] -%\include "arabic.ly" -%\relative do' { -% do re misb fa sol la sisb do sisb la sol fa misb re do -\relative c' { - c4 +% TODO: uncomment when arabic is added. +%\include "arabic.ly" +%{ +% \set Staff.keySignature = #`( (0 . ,SHARP) (2 . ,SEMI-FLAT) (4 . ,FLAT) ) +% \relative re' +% { +% re misb fa solb la si dod re sisb la solb fa misb re +% } +%} +\relative c'{ + c } @end lilypond +@seealso -@seealso - -Notation Reference: -@ref{Note names in other languages}. +Notation Reference: +@ref{Key signature}. + +Learning Manual: +@rlearning{Accidentals and key signatures}. +Internals Reference: +@rinternals{KeySignature}. @node References for Arabic music -@subsubsection References for arabic music - - - +@unnumberedsubsubsec References for arabic music + -- 2.39.2