1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
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15 The purpose of this section is to highlight musical notation issues
16 that are relevant to traditions outside the Western tradition.
19 * Non-Western notation and tuning systems::
21 * Turkish classical music::
25 @node Non-Western notation and tuning systems
26 @subsection Non-Western notation and tuning systems
28 @c TODO: adapt & expand. -vv
30 Many non-Western musics (and some Western folk and
31 traditional musics) employ alternative or extended tuning
32 systems that do not fit readily into standard classical
35 In some cases standard notation is still used, with the
36 pitch differences being implicit. For example, Arabic
37 music is notated with standard semitone and quarter-tone
38 accidentals, with the precise pitch alterations being
39 determined by context. Others require extended or unique
42 @notation{Turkish classical music}, or Ottoman music,
43 employs melodic forms known as @notation{makamlar}, whose
44 intervals are based on 1/9 divisions of the whole tone.
45 From a modern notational point of view, it is convenient
46 to use the standard Western staff notes (c, d, e, ...)
47 with special accidentals unique to Turkish music. These
48 accidentals are defined in @file{makam.ly} (to locate this
49 file on your system, see
50 @rlearning{Other sources of information}). The following
51 table gives their names, the accidental suffix that must
52 be added to notes, and their pitch alteration as a
53 fraction of one whole tone.
55 @c TODO: can we include the actual accidentals in this table?
57 @multitable {@b{büyük mücenneb (sharp)}} {@b{suffix}} {@b{pitch alteration}}
58 @headitem Accidental name
59 @tab suffix @tab pitch alteration
61 @item büyük mücenneb (sharp)
63 @item kücük mücenneb (sharp)
74 @item kücük mücenneb (flat)
76 @item büyük mücenneb (flat)
81 For further information on Turkish classical music and
82 makamlar, see @ref{Turkish classical music}.
87 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
92 @subsection Arabic music
94 This section highlights issues that are relevant to notating Arabic
98 * References for Arabic music::
100 * Arabic key signatures::
101 * Arabic time signatures::
102 * Arabic music example::
103 * Further reading for Arabic music::
107 @node References for Arabic music
108 @unnumberedsubsubsec References for Arabic music
111 @cindex medium intervals
115 Arabic music so far has been mainly an oral tradition. When music
116 is transcribed, it is usually in a sketch format, on which
117 performers are expected to improvise significantly. Increasingly,
118 Western notation, with a few variations, is adopted in order to
119 communicate and preserve Arabic music.
121 Some elements of Western musical notation such as the
122 transcription of chords or independent parts, are not required to
123 typeset the more traditional Arabic pieces. There are however
124 some different issues, such as the need to indicate medium
125 intervals that are somewhere between a semi-tone and a tone, in
126 addition to the minor and major intervals that are used in Western
127 music. There is also the need to group and indicate a large
128 number of different maqams (modes) that are part of Arabic music.
130 In general, Arabic music notation does not attempt to precisely
131 indicate microtonal elements that are present in musical practice.
133 Several issues that are relevant to Arabic music are covered
137 @item Note names and accidentals (including quarter tones) can be
138 tailored as discussed in @ref{Non-Western notation and tuning systems}.
140 @item Additional key signatures can also be tailored as described
141 in @ref{Key signature}.
143 @item Complex time signatures may require that notes be grouped
144 manually as described in @ref{Manual beams}.
146 @item @notation{Takasim} which are rhythmically free
147 improvisations may be written down omitting bar lines as
148 described in @ref{Unmetered music}.
155 @ref{Non-Western notation and tuning systems},
163 @node Arabic note names
164 @unnumberedsubsubsec Arabic note names
167 @cindex Arabic note names
169 The more traditional Arabic note names can be quite long and are
170 not suitable for the purpose of music writing, so they are not
171 used. English note names are not very familiar in Arabic music
172 education, so Italian or Solfege note names (@code{do, re, mi, fa,
173 sol, la, si}) are used instead. Modifiers (accidentals) can also
174 be used, as discussed in
175 @ref{Non-Western notation and tuning systems}.
177 For example, this is how the Arabic @notation{rast} scale can be
180 @lilypond[quote,verbatim]
183 do re misb fa sol la sisb do sisb la sol fa misb re do
188 @cindex Arabic semi-flat symbol
189 @cindex Semi-flat symbol appearance
191 The symbol for semi-flat does not match the symbol which is used
192 in Arabic notation. The @code{\dwn} symbol defined in
193 @code{arabic.ly} may be used preceding a flat symbol as a work
194 around if it is important to use the specific Arabic semi-flat
195 symbol. The appearance of the semi-flat symbol in the key
196 signature cannot be altered by using this method.
199 @lilypond[quote,verbatim]
202 \set Staff.extraNatural = ##f
203 dod dob dosd \dwn dob dobsb dodsd do do
210 @ref{Non-Western notation and tuning systems}.
216 @node Arabic key signatures
217 @unnumberedsubsubsec Arabic key signatures
219 @cindex Arabic key signatures
221 In addition to the minor and major key signatures, the following
222 key signatures are defined in @code{arabic.ly}: @notation{bayati},
223 @notation{rast}, @notation{sikah}, @notation{iraq}, and
224 @notation{kurd}. These key signatures define a small number of
225 maqam groups rather than the large number of maqams that are in
228 In general, a maqam uses the key signature of its group, or a
229 neighbouring group, and varying accidentals are marked throughout
232 For example to indicate the key signature of a maqam muhayer piece:
239 Here @var{re} is the default pitch of the muhayer maqam, and
240 @var{bayati} is the name of the base maqam in the group.
242 While the key signature indicates the group, it is common for the
243 title to indicate the more specific maqam, so in this example, the
244 name of maqam muhayer should appear in the title.
246 Other maqams in the same bayati group, as shown in the table below:
247 (bayati, hussaini, saba, and ushaq) can be indicated in the same
248 way. These are all variations of the base and most common maqam
249 in the group, which is bayati. They usually differ from the base
250 maqam in their upper tetrachords, or certain flow details that
251 don't change their fundamental nature, as siblings.
253 The other maqam in the same group (Nawa) is related to bayati by
254 modulation which is indicated in the table in parenthesis for
255 those maqams that are modulations of their base maqam. Arabic
256 maqams admit of only limited modulations, due to the nature of
257 Arabic musical instruments. Nawa can be indicated as follows:
263 In Arabic music, the same term such as bayati that is used to
264 indicate a maqam group, is also a maqam which is usually the most
265 important in the group, and can also be thought of as a base
268 Here is one suggested grouping that maps the more common maqams to
271 @multitable @columnfractions 0.1 0.1 0.1 0.6
272 @headitem maqam group
275 @tab Other maqmas in group (finalis)
283 @tab hussaini, muhayer, saba, ushaq, nawa (sol)
287 @tab shahnaz, shad arban (sol), hijazkar (do)
295 @tab hijazkar kurd (do)
299 @tab busalik (re), farah faza (sol)
303 @tab nawa athar, hisar (re)
307 @tab mahur, yakah (sol)
316 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
317 {non-traditional-key-signatures.ly}
325 @rlearning{Accidentals and key signatures}.
328 @rinternals{KeySignature}.
335 @node Arabic time signatures
336 @unnumberedsubsubsec Arabic time signatures
338 @cindex Arabic time signatures
342 Some Arabic and Turkish music classical forms such as
343 @notation{Semai} use unusual time signatures such as 10/8. This
344 may lead to an automatic grouping of notes that is quite different
345 from existing typeset music, where notes may not be grouped on the
346 beat, but in a manner that is difficult to match by adjusting
347 automatic beaming. You can override this by switching off
348 automatic beaming and beaming the notes manually. Where matching
349 existing typeset music is not an issue, you may still want to
350 adjust the beaming behaviour and/or use compound time signatures.
354 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
355 {compound-time-signatures.ly}
357 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
358 {arabic-improvisation.ly}
364 @ref{Automatic beams},
365 @ref{Unmetered music},
366 @ref{Automatic accidentals},
367 @ref{Setting automatic beam behavior},
368 @ref{Time signature}.
374 @node Arabic music example
375 @unnumberedsubsubsec Arabic music example
377 @cindex Arabic music example
378 @cindex Arabic music template
379 @cindex Template Arabic music
381 Here is a template that also uses the start of a Turkish Semai
382 that is familiar in Arabic music education in order to illustrate
383 some of the peculiarities of Arabic music notation, such as medium
384 intervals and unusual modes that are discussed in this section.
386 @lilypond[quote,verbatim]
390 \set Staff.extraNatural = ##f
391 \set Staff.autoBeaming = ##f
395 re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8
396 re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb
397 fa4 fa16 [misb] misb8. [re16] re8 [misb] re [do] sisb
398 do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8
401 title = "Semai Muhayer"
402 composer = "Jamil Bek"
413 @node Further reading for Arabic music
414 @unnumberedsubsubsec Further reading for Arabic music
419 @emph{The music of the Arabs} by Habib Hassan Touma [Amadeus Press, 1996],
420 contains a discussion of maqams and their method of groupings.
422 There are also various web sites that explain maqams and some
423 provide audio examples such as :
427 @uref{http://www.maqamworld.com/}
429 @uref{http://www.turath.org/}
432 There are some variations in the details of how maqams are grouped,
433 despite agreement on the criteria of grouping maqams that are
434 related through common lower tetra chords, or through modulation.
437 There is not a complete consistency, sometimes even in the same
438 text on how key signatures for particular maqams should be
439 specified. It is common, however, to use a key signature per
440 group, rather than a different key signature for each different
443 Method books by the following authors for the @dfn{Oud}, the Arabic lute,
444 contain examples of mainly Turkish and Arabic compositions.
452 Ibrahim Ali Darwish Al-masri
457 @node Turkish classical music
458 @subsection Turkish classical music
460 This section highlights issues that are relevant to notating Turkish
464 * References for Turkish classical music::
465 * Turkish note names::
469 @node References for Turkish classical music
470 @unnumberedsubsubsec References for Turkish classical music
472 @cindex Turkish music
473 @cindex Ottoman music
474 @cindex comma intervals
478 Turkish classical music developed in the Ottoman Empire in a
479 period roughly contemporaneous with classical music in Europe,
480 and has continued on into the 20th and 21st centuries as a
481 vibrant and distinct tradition with its own compositional
482 forms, theory and performance styles. Among its striking
483 features is the use of microtonal intervals based on @q{commas}
484 of 1/9 of a tone, from which are constructed the melodic
485 forms known as @notation{makam} (plural @notation{makamlar}).
487 Some issues relevant to Turkish classical music are covered
491 @item Note names and accidentals are provided in
492 @ref{Non-Western notation and tuning systems}.
497 @node Turkish note names
498 @unnumberedsubsubsec Turkish note names
500 @cindex Turkish note names
504 Pitches in Turkish classical music traditionally have unique
505 names, and the basis of pitch on 1/9-tone divisions means
506 makamlar employ a completely different set of intervals from
507 Western scales and modes: @notation{koma} (1/9 of a tone),
508 @notation{eksik bakiye} (3/9), @notation{bakiye} (4/9),
509 @notation{kücük mücenneb} (5/9), @notation{büyük mücenneb}
510 (8/9), @notation{tanîni} (a whole tone) and
511 @notation{artık ikili} (12/9 or 13/9 of a tone).
513 From a modern notational point of view it is convenient to
514 use the standard Western staff notes (c, d, e, ...) with
515 special accidentals that raise or lower notes by intervals
516 of 1/9, 4/9, 5/9 and 8/9 of a tone. These accidentals are
517 defined in the file @file{makam.ly} (to locate this file on
518 your system, see @rlearning{Other sources of information}).
519 A more detailed description is provided in
520 @ref{Non-Western notation and tuning systems}.