* References for Arabic music::
* Arabic note names ::
* Arabic key signatures::
-* Arabic time signatures::
-* Further reading::
+* Arabic time signatures::
+* Arabic music example::
+* Further reading::
@end menu
elsewhere:
@itemize
-@item Note names can be tailored as discussed in
-@ref{Note names in other languages}.
+@item Note names and accidentals (including quarter tones) can be
+tailored as discussed in @ref{Note names in other languages}.
-@item Additional key signatures can be obtained by the
-inclusion of @code{"arabic.ly"} as discussed in
-@ref{Note names in other languages}. Key signatures
-can also be tailored as described in @ref{Key signature}.
+@item Additional key signatures can also be tailored as described
+in @ref{Key signature}.
-@item Medium intervals, that are neither minor or major,
-but are approximately a three quarter of a tone, can be
-indicated by the note names of quarter tones as described
-in @ref{Note names in other languages}.
+@item Complex time signatures may require that notes be grouped
+manually as described in @ref{Manual beams}.
-@item Complex time signatures may require that notes
-are grouped manually using @code{[ ]} to
-surround grouped notes, as described in @ref{Manual beams}.
+@item @notation{Takasim} which are rhythmically free
+improvisations may be written down omitting bar lines as
+described in @ref{Unmetered music}.
@end itemize
-
+
@seealso
+
Notation Reference:
@ref{Note names in other languages},
-@ref{Key signature}.
+@ref{Key signature},
+@ref{Manual beams}.
Snippets:
@rlsr{World music}.
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 @code{"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}.
+used. English note names are not very familiar in Arabic music
+education, so Italian or Solfege note names (@code{do, re, mi, fa,
+sol, la, si}) are used instead. Modifiers (accidentals) can also
+be used, as discussed in @ref{Note names in other languages}.
For example, this is how the Arabic @notation{rast} scale can be
notated:
@end lilypond
+@cindex Arabic semi-flat symbol
+@cindex Semi-flat symbol appearance
+
+The symbol for semi-flat does not match the symbol which is used
+in Arabic notation. The @code{\dwn} symbol defined in
+@code{arabic.ly} may be used preceding a flat symbol as a work
+around if it is important to use the specific Arabic semi-flat
+symbol. The appearance of the semi-flat symbol in the key
+signature cannot be altered by using this method.
+
+
+@lilypond[quote,verbatim]
+\include "arabic.ly"
+\relative do' {
+ \set Staff.extraNatural = ##f
+ dod dob dosd \dwn dob dobsb dodsd do do
+}
+@end lilypond
+
+
@seealso
Notation Reference:
@cindex Arabic key signatures
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
+key signatures are defined in @code{arabic.ly}: @notation{bayati},
+@notation{rast}, @notation{sikah}, @notation{iraq}, and
+@notation{kurd}. These key signatures define a small number of
+maqam groups rather than the large number of maqams that are in
common use.
In general, a maqam uses the key signature of its group, or a
For example to indicate the key signature of a maqam muhayer piece:
- \key re \bayati
+@example
+\key re \bayati
+@end example
-Here re is the default pitch of the muhayer maqam, and bayati is the
-name of the base maqam in the group.
+Here @var{re} is the default pitch of the muhayer maqam, and
+@var{bayati} is the name of the base maqam in the group.
-While the key signature indicates the 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.
+While the key signature indicates the 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.
-Other maqams in the same group, as shown in the table below:
-bayati, hussaini, saba, and ushaq can be indicated in the
-same way. These are all variations of the base and most common
-maqam in the group, which is bayati. They usually differ from the
-base maqam in their upper tetrachords, or certain flow details that
-don't change their fundamental nature, as related siblings.
+Other maqams in the same bayati group, as shown in the table below:
+(bayati, hussaini, saba, and ushaq) can be indicated in the same
+way. These are all variations of the base and most common maqam
+in the group, which is bayati. They usually differ from the base
+maqam in their upper tetrachords, or certain flow details that
+don't change their fundamental nature, as siblings.
-The other maqam in the same group (Nawa) is related to bayati by
-modulation which is indicated in the table in parenthesis for
-those maqams that are modulations of their base maqam. Arabic
+The other maqam in the same group (Nawa) is related to bayati by
+modulation which is indicated in the table in parenthesis for
+those maqams that are modulations of their base maqam. Arabic
maqams admit of only limited modulations, due to the nature of
-Arabic musical instruments. Nawa can be indicated as follows :
+Arabic musical instruments. Nawa can be indicated as follows:
- \key sol \bayati
+@example
+\key sol \bayati
+@end example
+In Arabic music, the same term such as bayati that is used to
+indicate a maqam group, is also a maqam which is usually the most
+important in the group, and can also be thought of as a base
+maqam.
-In Arabic music, the same term such as bayati that is used to indicate
-a maqam group, is also a maqam which is usually the most important
-in the group, and can also be thought of as a base maqam.
-
-Here is one suggested grouping that maps the more common maqams to key
-signatures:
+Here is one suggested grouping that maps the more common maqams to
+key signatures:
@multitable @columnfractions 0.1 0.1 0.1 0.6
@headitem maqam group
@tab huzam
@end multitable
+@snippets
-
-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 @code{"arabic.ly"}, or if you don't wish to use the
-above method of determining a key signature based on the maqam
-group.
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{non-traditional-key-signatures.ly}
@seealso
@rlsr{World music},
@rlsr{Pitches}.
+
@node Arabic time signatures
@unnumberedsubsubsec Arabic time signatures
@cindex Semai form
@cindex taqasim
-Some Arabic and Turkish music classical forms such as Semai use
-unusual time signatures such as 10/8. This may lead to an
-automatic grouping of notes that is quite different from existing
-typeset music. You can override this by switching off automatic
-beaming, and grouping the notes manually using @code{[ ]} to
-surround grouped notes, as described in @ref{Manual beams}.
+Some Arabic and Turkish music classical forms such as
+@notation{Semai} use unusual time signatures such as 10/8. This
+may lead to an automatic grouping of notes that is quite different
+from existing typeset music, where notes may not be grouped on the
+beat, but in a manner that is difficult to match by adjusting
+automatic beaming. You can override this by switching off
+automatic beaming and beaming the notes manually. Where matching
+existing typeset music is not an issue, you may still want to
+adjust the beaming behaviour and/or use compound time signatures.
+
+@snippets
-For improvisations or taqasim which are temporarily free, the time
-signature can be omitted, and @code{\cadenzaOn} can be used.
-You might need to adjust the accidental style, since the absence
-of bar lines will cause the accidental to be marked only once:
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{compound-time-signatures.ly}
-@example
-#(set-accidental-style 'forget)
-@end example
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{arabic-improvisation.ly}
@seealso
@ref{Manual beams},
@ref{Automatic beams},
@ref{Unmetered music},
-@ref{Automatic accidentals}.
+@ref{Automatic accidentals},
+@ref{Setting automatic beam behavior},
+@ref{Time signature}.
Snippets:
@rlsr{World music}.
+
+@node Arabic music example
+@unnumberedsubsubsec Arabic music example
+
+@cindex Arabic music example
+@cindex Arabic music template
+@cindex Template Arabic music
+
+Here is a template that also uses the start of a Turkish Semai
+that is familiar in Arabic music education in order to illustrate
+some of the peculiarities of Arabic music notation, such as medium
+intervals and unusual modes that are discussed in this section.
+
+@lilypond[quote,verbatim]
+\include "arabic.ly"
+\score {
+ \relative re' {
+ \set Staff.extraNatural = ##f
+ \set Staff.autoBeaming = ##f
+ \key re \bayati
+ \time 10/8
+
+ re4 re'8 re16 [misb re do] sisb [la sisb do] re4 r8
+ re16 [misb do re] sisb [do] la [sisb sol8] la [sisb] do [re] misb
+ fa4 fa16 [misb] misb8. [re16] re8 [misb] re [do] sisb
+ do4 sisb8 misb16 [re do sisb] la [do sisb la] la4 r8
+ }
+ \header {
+ title = "Semai Muhayer"
+ composer = "Jamil Bek"
+ }
+}
+@end lilypond
+
+@seealso
+
+Snippets:
+@rlsr{World music}
+
+
+
@node Further reading
@unnumberedsubsubsec Further reading
projects / lilypond.git / blobdiff