version that you are working on. See TRANSLATION for details.
@end ignore
-@c \version "2.11.51"
+@c \version "2.12.0"
@node World music
@section World music
The purpose of this section is to highlight musical notation issues
-that are relevant to traditions outside the Western tradition.
+that are relevant to traditions outside the Western tradition.
@menu
-* Arabic music::
+* Arabic music::
@end menu
@node Arabic music
music.
@menu
-* References for Arabic music::
-* Arabic note names ::
-* Arabic key signatures::
-* Arabic time signatures::
-* Further reading::
+* References for Arabic music::
+* Arabic note names ::
+* Arabic key signatures::
+* Arabic time signatures::
+* Arabic music example::
+* Further reading::
@end menu
-
+
@node References for Arabic music
-@unnumberedsubsubsec References for Arabic music
+@unnumberedsubsubsec References for Arabic music
@cindex Arabic music
-@cindex medium intervals
-@cindex maqam
+@cindex medium intervals
+@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.
+communicate and preserve Arabic music.
Some elements of Western musical notation such as the
transcription of chords or independent parts, are not required to
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.
-Several issues that are relevant to Arabic music are covered
-elsewhere:
+Several issues that are relevant to Arabic music are covered
+elsewhere:
@itemize
@item Note names and accidentals (including quarter tones) can be
in @ref{Key signature}.
@item Complex time signatures may require that notes be grouped
-manually as described in @ref{Manual beams}.
+manually as described in @ref{Manual beams}.
-@end itemize
+@item @notation{Takasim} which are rhythmically free
+improvisations may be written down omitting bar lines as
+described in @ref{Unmetered music}.
+
+@end itemize
-@seealso
+@seealso
Notation Reference:
-@ref{Note names in other languages},
+@ref{Note names in other languages},
@ref{Key signature},
@ref{Manual beams}.
Snippets:
@rlsr{World music}.
-
-@node Arabic note names
-@unnumberedsubsubsec Arabic note names
+@node Arabic note names
+@unnumberedsubsubsec Arabic note names
-@cindex Arabic note names
+
+@cindex Arabic note names
The more traditional Arabic note names can be quite long and are
not suitable for the purpose of music writing, so they are not
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}.
+be used, as discussed in @ref{Note names in other languages}.
For example, this is how the Arabic @notation{rast} scale can be
notated:
-@lilypond[quote,verbatim]
+@lilypond[quote,verbatim]
\include "arabic.ly"
-\relative do' {
- do re misb fa sol la sisb do sisb la sol fa misb re do
+\relative do' {
+ do re misb fa sol la sisb do sisb la sol fa misb re do
}
@end lilypond
-@seealso
+@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
+
-Notation Reference:
+@seealso
+Notation Reference:
@ref{Note names in other languages}.
Snippets:
@node Arabic key signatures
-@unnumberedsubsubsec Arabic key signatures
+@unnumberedsubsubsec Arabic key signatures
@cindex Arabic key signatures
@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.
+common use.
-In general, a maqam uses the key signature of its group, or a
-neighbouring group, and varying accidentals are marked throughout
+In general, a maqam uses the key signature of its group, or a
+neighbouring group, and varying accidentals are marked throughout
the music.
-For example to indicate the key signature of a maqam muhayer piece:
+For example to indicate the key signature of a maqam muhayer piece:
@example
-\key re \bayati
+\key re \bayati
@end example
Here @var{re} is the default pitch of the muhayer maqam, and
-@var{bayati} is the name of the base maqam in the group.
+@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
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.
+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
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:
@example
\key sol \bayati
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.
+maqam.
Here is one suggested grouping that maps the more common maqams to
-key signatures:
+key signatures:
@multitable @columnfractions 0.1 0.1 0.1 0.6
-@headitem maqam group
- @tab key
- @tab finalis
- @tab Other maqmas in group (finalis)
-@item ajam
- @tab major
- @tab sib
+@headitem maqam group
+ @tab key
+ @tab finalis
+ @tab Other maqmas in group (finalis)
+@item ajam
+ @tab major
+ @tab sib
@tab jaharka (fa)
-@item bayati
+@item bayati
@tab bayati
@tab re
- @tab hussaini, muhayer, saba, ushaq, nawa (sol)
-@item hijaz
+ @tab hussaini, muhayer, saba, ushaq, nawa (sol)
+@item hijaz
@tab kurd
- @tab re
+ @tab re
@tab shahnaz, shad arban (sol), hijazkar (do)
-@item iraq
+@item iraq
@tab iraq
@tab sisb
- @tab -
-@item kurd
+ @tab -
+@item kurd
@tab kurd
@tab re
- @tab hijazkar kurd (do)
-@item nahawand
+ @tab hijazkar kurd (do)
+@item nahawand
@tab minor
- @tab do
+ @tab do
@tab busalik (re), farah faza (sol)
-@item nakriz
+@item nakriz
@tab minor
- @tab do
+ @tab do
@tab nawa athar, hisar (re)
-@item rast
+@item rast
@tab rast
@tab do
@tab mahur, yakah (sol)
-@item sikah
+@item sikah
@tab sikah
@tab misb
- @tab huzam
-@end multitable
+ @tab huzam
+@end multitable
@snippets
-
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{non-traditional-key-signatures.ly}
@seealso
-
-Notation Reference:
+Notation Reference:
@ref{Key signature}.
-
+
Learning Manual:
@rlearning{Accidentals and key signatures}.
@rinternals{KeySignature}.
Snippets:
-@rlsr{World music},
+@rlsr{World music},
@rlsr{Pitches}.
@node Arabic time signatures
-@unnumberedsubsubsec Arabic time signatures
+@unnumberedsubsubsec Arabic time signatures
@cindex Arabic time signatures
-@cindex Semai form
-@cindex taqasim
+@cindex Semai form
+@cindex taqasim
Some Arabic and Turkish music classical forms such as
@notation{Semai} use unusual time signatures such as 10/8. This
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 using compound time
-signatures.
-
-@c FIXME: move to snippet? -gp note for gp
-For improvisations or @notation{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:
-
-@example
-#(set-accidental-style 'forget)
-@end example
+adjust the beaming behaviour and/or use compound time signatures.
@snippets
@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
{compound-time-signatures.ly}
+@lilypondfile[verbatim,lilyquote,texidoc,doctitle]
+{arabic-improvisation.ly}
-@seealso
+@seealso
Notation Reference:
@ref{Manual beams},
@ref{Automatic beams},
-@ref{Unmetered music},
-@ref{Automatic accidentals},
-@ref{Setting automatic beam behavior},
-@ref{Time signature}.
+@ref{Unmetered music},
+@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
@enumerate
-@item
-The music of the Arabs by Habib Hassan Touma [Amadeus Press, 1996],
+@item
+The music of the Arabs by Habib Hassan Touma [Amadeus Press, 1996],
contains a discussion of maqams and their method of groupings.
-There are also various web sites that explain maqams and some
+There are also various web sites that explain maqams and some
provide audio examples such as :
-@itemize @bullet
-@item
+@itemize @bullet
+@item
@uref{http://www.maqamworld.com/}
-@item
+@item
@uref{http://www.turath.org/}
-@end itemize
+@end itemize
-There are some variations in the details of how maqams are grouped,
-despite agreement on the criteria of grouping maqams that are
-related through common lower tetra chords, or through modulation.
+There are some variations in the details of how maqams are grouped,
+despite agreement on the criteria of grouping maqams that are
+related through common lower tetra chords, or through modulation.
-@item
-There is not a complete consistency, sometimes even in the same
-text on how key signatures for particular maqams should be
-specified. It is common, however, to use a key signature per
-group, rather than a different key signature for each different
+@item
+There is not a complete consistency, sometimes even in the same
+text on how key signatures for particular maqams should be
+specified. It is common, however, to use a key signature per
+group, rather than a different key signature for each different
maqam.
-
-Oud methods by the following authors, contain examples of
-mainly Turkish and Arabic compositions.
+
+Oud methods by the following authors, contain examples of
+mainly Turkish and Arabic compositions.
@itemize @bullet
-@item
+@item
Charbel Rouhana
-@item
+@item
George Farah
-@item
+@item
Ibrahim Ali Darwish Al-masri
@end itemize
@end enumerate
projects / lilypond.git / blobdiff