1 @c -*- coding: utf-8; mode: texinfo; -*-
3 Translation of GIT committish: FILL-IN-HEAD-COMMITTISH
5 When revising a translation, copy the HEAD committish of the
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14 The purpose of this section is to highlight musical notation issues
15 that are relevant to traditions outside the Western tradition.
22 @subsection Arabic music
24 This section highlights issues that are relevant to notating Arabic
28 * References for Arabic music::
29 * Arabic note names ::
30 * Arabic key signatures::
31 * Arabic time signatures::
36 @node References for Arabic music
37 @unnumberedsubsubsec References for Arabic music
40 @cindex medium intervals
44 Arabic music so far has been mainly an oral tradition. When music
45 is transcribed, it is usually in a sketch format, on which
46 performers are expected to improvise significantly. Increasingly,
47 Western notation, with a few variations, is adopted in order to
48 communicate and preserve Arabic music.
50 Some elements of Western musical notation such as the
51 transcription of chords or independent parts, are not required to
52 typeset the more traditional Arabic pieces. There are however
53 some different issues, such as the need to indicate medium
54 intervals that are somewhere between a semi-tone and a tone, in
55 addition to the minor and major intervals that are used in Western
56 music. There is also the need to group and indicate a large
57 number of different maqams (modes) that are part of Arabic music.
59 In general, Arabic music notation does not attempt to precisely
60 indicate microtonal elements that are present in musical practice.
62 Several issues that are relevant to Arabic music are covered
66 @item Note names and accidentals (including quarter tones) can be
67 tailored as discussed in @ref{Note names in other languages}.
69 @item Additional key signatures can also be tailored as described
70 in @ref{Key signature}.
72 @item Complex time signatures may require that notes be grouped
73 manually as described in @ref{Manual beams}.
80 @ref{Note names in other languages},
88 @node Arabic note names
89 @unnumberedsubsubsec Arabic note names
92 @cindex Arabic note names
94 The more traditional Arabic note names can be quite long and are
95 not suitable for the purpose of music writing, so they are not
96 used. English note names are not very familiar in Arabic music
97 education, so Italian or Solfege note names (@code{do, re, mi, fa,
98 sol, la, si}) are used instead. Modifiers (accidentals) can also
99 be used, as discussed in @ref{Note names in other languages}.
101 For example, this is how the Arabic @notation{rast} scale can be
104 @lilypond[quote,verbatim]
107 do re misb fa sol la sisb do sisb la sol fa misb re do
115 @ref{Note names in other languages}.
121 @node Arabic key signatures
122 @unnumberedsubsubsec Arabic key signatures
124 @cindex Arabic key signatures
126 In addition to the minor and major key signatures, the following
127 key signatures are defined in @code{arabic.ly}: @notation{bayati},
128 @notation{rast}, @notation{sikah}, @notation{iraq}, and
129 @notation{kurd}. These key signatures define a small number of
130 maqam groups rather than the large number of maqams that are in
133 In general, a maqam uses the key signature of its group, or a
134 neighbouring group, and varying accidentals are marked throughout
137 For example to indicate the key signature of a maqam muhayer piece:
143 Here @var{re} is the default pitch of the muhayer maqam, and
144 @var{bayati} is the name of the base maqam in the group.
146 While the key signature indicates the group, it is common for the
147 title to indicate the more specific maqam, so in this example, the
148 name of maqam muhayer should appear in the title.
150 Other maqams in the same bayati group, as shown in the table below:
151 (bayati, hussaini, saba, and ushaq) can be indicated in the same
152 way. These are all variations of the base and most common maqam
153 in the group, which is bayati. They usually differ from the base
154 maqam in their upper tetrachords, or certain flow details that
155 don't change their fundamental nature, as siblings.
157 The other maqam in the same group (Nawa) is related to bayati by
158 modulation which is indicated in the table in parenthesis for
159 those maqams that are modulations of their base maqam. Arabic
160 maqams admit of only limited modulations, due to the nature of
161 Arabic musical instruments. Nawa can be indicated as follows:
167 In Arabic music, the same term such as bayati that is used to
168 indicate a maqam group, is also a maqam which is usually the most
169 important in the group, and can also be thought of as a base
172 Here is one suggested grouping that maps the more common maqams to
175 @multitable @columnfractions 0.1 0.1 0.1 0.6
176 @headitem maqam group
179 @tab Other maqmas in group (finalis)
187 @tab hussaini, muhayer, saba, ushaq, nawa (sol)
191 @tab shahnaz, shad arban (sol), hijazkar (do)
199 @tab hijazkar kurd (do)
203 @tab busalik (re), farah faza (sol)
207 @tab nawa athar, hisar (re)
211 @tab mahur, yakah (sol)
221 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
222 {non-traditional-key-signatures.ly}
231 @rlearning{Accidentals and key signatures}.
234 @rinternals{KeySignature}.
241 @node Arabic time signatures
242 @unnumberedsubsubsec Arabic time signatures
244 @cindex Arabic time signatures
248 Some Arabic and Turkish music classical forms such as
249 @notation{Semai} use unusual time signatures such as 10/8. This
250 may lead to an automatic grouping of notes that is quite different
251 from existing typeset music, where notes may not be grouped on the
252 beat, but in a manner that is difficult to match by adjusting
253 automatic beaming. You can override this by switching off
254 automatic beaming and beaming the notes manually. Where matching
255 existing typeset music is not an issue, you may still want to
256 adjust the beaming behaviour and/or using compound time
259 @c FIXME: move to snippet? -gp note for gp
260 For improvisations or @notation{taqasim} which are temporarily
261 free, the time signature can be omitted and @code{\cadenzaOn} can
262 be used. You might need to adjust the accidental style, since the
263 absence of bar lines will cause the accidental to be marked only
267 #(set-accidental-style 'forget)
272 @lilypondfile[verbatim,lilyquote,texidoc,doctitle]
273 {compound-time-signatures.ly}
280 @ref{Automatic beams},
281 @ref{Unmetered music},
282 @ref{Automatic accidentals},
283 @ref{Setting automatic beam behavior},
284 @ref{Time signature}.
289 @node Further reading
290 @unnumberedsubsubsec Further reading
295 The music of the Arabs by Habib Hassan Touma [Amadeus Press, 1996],
296 contains a discussion of maqams and their method of groupings.
298 There are also various web sites that explain maqams and some
299 provide audio examples such as :
303 @uref{http://www.maqamworld.com/}
305 @uref{http://www.turath.org/}
308 There are some variations in the details of how maqams are grouped,
309 despite agreement on the criteria of grouping maqams that are
310 related through common lower tetra chords, or through modulation.
313 There is not a complete consistency, sometimes even in the same
314 text on how key signatures for particular maqams should be
315 specified. It is common, however, to use a key signature per
316 group, rather than a different key signature for each different
319 Oud methods by the following authors, contain examples of
320 mainly Turkish and Arabic compositions.
328 Ibrahim Ali Darwish Al-masri