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
6 version that you are working on. See TRANSLATION for details.
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 can be tailored as discussed in
67 @ref{Note names in other languages}.
69 @item Additional key signatures can be obtained by the
70 inclusion of @code{"arabic.ly"} as discussed in
71 @ref{Note names in other languages}. Key signatures
72 can also be tailored as described in @ref{Key signature}.
74 @item Medium intervals, that are neither minor or major,
75 but are approximately a three quarter of a tone, can be
76 indicated by the note names of quarter tones as described
77 in @ref{Note names in other languages}.
79 @item Complex time signatures may require that notes
80 are grouped manually using @code{[ ]} to
81 surround grouped notes, as described in @ref{Manual beams}.
87 @ref{Note names in other languages},
94 @node Arabic note names
95 @unnumberedsubsubsec Arabic note names
98 @cindex Arabic note names
100 The more traditional Arabic note names can be quite long and are
101 not suitable for the purpose of music writing, so they are not
102 defined by the inclusion of @code{"arabic.ly"}. English note
103 names @code{a, b, c, d, e, f, g} are not very familiar in Arabic
104 music education. Italian or Solfege note names @code{do, re, mi,
105 fa, sol, la, si} are more familiar, and are used when
106 @code{"arabic.ly"} is included. Modifiers can also be used, as
107 discussed in @ref{Note names in other languages}.
109 For example, this is how the Arabic @notation{rast} scale can be
112 @lilypond[quote,verbatim]
115 do re misb fa sol la sisb do sisb la sol fa misb re do
123 @ref{Note names in other languages}.
129 @node Arabic key signatures
130 @unnumberedsubsubsec Arabic key signatures
132 @cindex Arabic key signatures
134 In addition to the minor and major key signatures, the following
135 key signatures are defined in @code{"arabic.ly"}: bayati, rast,
136 sikah, iraq, and kurd. These key signatures define a small number
137 of maqam groups rather than the large number of maqams that are in
140 In general, a maqam uses the key signature of its group, or a
141 neighbouring group, and varying accidentals are marked throughout
144 For example to indicate the key signature of a maqam muhayer piece:
148 Here re is the default pitch of the muhayer maqam, and bayati is the
149 name of the base maqam in the group.
151 While the key signature indicates the group, it is
152 common for the title to indicate the more specific maqam, so in this
153 example, the name of maqam muhayer should appear in the title.
155 Other maqams in the same group, as shown in the table below:
156 bayati, hussaini, saba, and ushaq can be indicated in the
157 same way. These are all variations of the base and most common
158 maqam in the group, which is bayati. They usually differ from the
159 base maqam in their upper tetrachords, or certain flow details that
160 don't change their fundamental nature, as related siblings.
162 The other maqam in the same group (Nawa) is related to bayati by
163 modulation which is indicated in the table in parenthesis for
164 those maqams that are modulations of their base maqam. Arabic
165 maqams admit of only limited modulations, due to the nature of
166 Arabic musical instruments. Nawa can be indicated as follows :
171 In Arabic music, the same term such as bayati that is used to indicate
172 a maqam group, is also a maqam which is usually the most important
173 in the group, and can also be thought of as a base maqam.
175 Here is one suggested grouping that maps the more common maqams to key
178 @multitable @columnfractions 0.1 0.1 0.1 0.6
179 @headitem maqam group
182 @tab Other maqmas in group (finalis)
190 @tab hussaini, muhayer, saba, ushaq, nawa (sol)
194 @tab shahnaz, shad arban (sol), hijazkar (do)
202 @tab hijazkar kurd (do)
206 @tab busalik (re), farah faza (sol)
210 @tab nawa athar, hisar (re)
214 @tab mahur, yakah (sol)
223 You can also set the key signature using Staff.keySignature as
224 discussed in @ref{Key signature}. This offers more flexibility
225 if you don't wish to be limited to the key signatures that are
226 defined in @code{"arabic.ly"}, or if you don't wish to use the
227 above method of determining a key signature based on the maqam
236 @rlearning{Accidentals and key signatures}.
239 @rinternals{KeySignature}.
245 @node Arabic time signatures
246 @unnumberedsubsubsec Arabic time signatures
248 @cindex Arabic time signatures
252 Some Arabic and Turkish music classical forms such as Semai use
253 unusual time signatures such as 10/8. This may lead to an
254 automatic grouping of notes that is quite different from existing
255 typeset music. You can override this by switching off automatic
256 beaming, and grouping the notes manually using @code{[ ]} to
257 surround grouped notes, as described in @ref{Manual beams}.
259 For improvisations or taqasim which are temporarily free, the time
260 signature can be omitted, and @code{\cadenzaOn} can be used.
261 You might need to adjust the accidental style, since the absence
262 of bar lines will cause the accidental to be marked only once:
265 #(set-accidental-style 'forget)
272 @ref{Automatic beams},
273 @ref{Unmetered music},
274 @ref{Automatic accidentals}.
279 @node Further reading
280 @unnumberedsubsubsec Further reading
285 The music of the Arabs by Habib Hassan Touma [Amadeus Press, 1996],
286 contains a discussion of maqams and their method of groupings.
288 There are also various web sites that explain maqams and some
289 provide audio examples such as :
293 @uref{http://www.maqamworld.com/}
295 @uref{http://www.turath.org/}
298 There are some variations in the details of how maqams are grouped,
299 despite agreement on the criteria of grouping maqams that are
300 related through common lower tetra chords, or through modulation.
303 There is not a complete consistency, sometimes even in the same
304 text on how key signatures for particular maqams should be
305 specified. It is common, however, to use a key signature per
306 group, rather than a different key signature for each different
309 Oud methods by the following authors, contain examples of
310 mainly Turkish and Arabic compositions.
318 Ibrahim Ali Darwish Al-masri