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Copyright © 2014 by Oud for Guitarists The cover design is based on the image, Oud Azerbaïdjan by Rosier and is licensed under CC BY-SA 3.0. The rosettes were extracted from the Oud image and the strings removed.
Introduction..............................................................................................................................................................................1 Arabic Maqamat ......................................................................................................................................................................2 Preface ..................................................................................................................................................................................3 Ajam Family .........................................................................................................................................................................5 Nahawand Family ..............................................................................................................................................................8 Kurd Family ...................................................................................................................................................................... 11 Hijaz Family ...................................................................................................................................................................... 13 Rast Family........................................................................................................................................................................ 16 Bayati Family .................................................................................................................................................................... 19 Sikah Family ..................................................................................................................................................................... 21 Saba Family....................................................................................................................................................................... 25 Nawa Athar Family ......................................................................................................................................................... 27 Turkish Makamlar................................................................................................................................................................ 29 Preface ............................................................................................................................................................................... 30 Cargah Family .................................................................................................................................................................. 33 Buselik Family .................................................................................................................................................................. 37 Rast Family........................................................................................................................................................................ 41 Ussak Family..................................................................................................................................................................... 44 Hicaz Family ..................................................................................................................................................................... 49 Kurdi Family ..................................................................................................................................................................... 55 Nev'eser Family ............................................................................................................................................................... 57 Segah Family .................................................................................................................................................................... 59 Saba Family....................................................................................................................................................................... 63 Hybrid Maqamlar............................................................................................................................................................ 65
Persian Dastgah.................................................................................................................................................................... 71 Preface ............................................................................................................................................................................... 72 Dastgahe Shur .................................................................................................................................................................. 74 Avaze Abu-Ata.................................................................................................................................................................. 74 Avaze Bayate Tork ........................................................................................................................................................... 75 Avaze Afshari .................................................................................................................................................................... 75 Avaze Dashti ..................................................................................................................................................................... 76 Dastgahe Segah ............................................................................................................................................................... 76 Dastgahe Chahargah ...................................................................................................................................................... 77 Dastgahe Homayoun ..................................................................................................................................................... 77 Dastgahe Esfahan............................................................................................................................................................ 77 Dastgahe Nava................................................................................................................................................................. 78 Dastgahe Mahur.............................................................................................................................................................. 78 Dastgahe Rast-Panjgah.................................................................................................................................................. 79 References ............................................................................................................................................................................. 81 Index........................................................................................................................................................................................ 82
Hi there! We are very happy that you have this Maqam Mastery Reference Guide in your hands, because this is going to be your ultimate maqam dictionary. The Reference Guide is organized by region - Arabic Maqamat, Turkish Makamlar, and Persian Dastgah - then by family. You will also find an index at the end of the Reference Guide, so if you need to quickly look up notes or structure of a maqam, it is easy to do so. You can use this Reference Guide to: Quickly check notes and structures of maqamat; Find out what maqam you are hearing by jins, family, or region; See what kind of modulations are possible by identifying notes and ajna used in each basic and hybrid maqam; Remind yourself of ascending and descending patterns; Print out and make notes as you learn each maqam to create your own go-to reference guide for maqamat. A huge thanks to Veronika Redfern, who took our hand-drawn maqamat and put this Reference Guide together, making it look very neat and professional. Good luck, and have fun playing with maqamat! Navid & Mao
Arabic Maqamat
Preface
How to Use This Reference The maqamat presented here are divided up by family, defined by the starting Ajna of each maqam.
Ajna Some maqamat are defined by having two upper ajna. These will be located on the right hand side of the main maqam. The top right hand side usually indicates the use of those notes in ascending, and the bottom right hands side indicate notes usually used in descending. These conventions are not always the case, so do not interpret them in black and white. The primary ajna that created the maqam are indicated above the staff, and ajna of secondary importance or “hidden” ajna are indicated below the staff. Hidden ajna are intervals of notes that appear within the maqam but are not the main identifiers of the maqam. An example of this is Maqam Nawa Athar.
Separate Staff In the case of Maqam Hijaz Kar Kurd, the two maqamat are stacked on top of each other. This indicates that there is modulation between these two overlapping structures.
Whole Notes Whole notes indicate the dominant, as the dominant in Western music theory. The whole note also indicates the main pivot note.
Arabic Maqamat
Preface
Accidental Legend indicates a quarter flat note indicates a quarter sharp note
Arabic Maqamat
Ajam Family
Ajam
Ajam Ushayran
Jiharkah
Arabic Maqamat
Ajam Family
Shawq Afza
Arabic Maqamat
Nahawand Family
Nahawand
Nahawand Murassah
Farahfaza
Arabic Maqamat
Nahawand Family
Ushaq Masri
Arabic Maqamat
Kurd Family
Kurd
Hijaz Kar Kurd
Arabic Maqamat
Hijaz Family
Hijaz
Hijaz Kar
Shadd Araban
Arabic Maqamat
Hijaz Family
Shahnaz
Suzidil
Zanjaran
Arabic Maqamat
Rast Family
Rast
Suznak
Nairuz
Arabic Maqamat
Rast Family
Mahur
Yakah
Arabic Maqamat
Bayati Family
Bayati
Bayati Shuri
Husseini
Arabic Maqamat
Sikah Family
Sikah
Huzzam
Rahat El Arwah
Arabic Maqamat
Sikah Family
Iraq
Bastanikar
Mustaar
Arabic Maqamat
Sikah Family
Sikah Baladi
Arabic Maqamat
Saba Family
Saba
Saba Zamzam
Arabic Maqamat
Nawa Athar Family
Nawa Athar
Nikriz
Athar Kurd
Turkish Makamlar
Preface
How to Use This Reference The following Turkish Maqamlar are organized in such a way to distinguish between the main parts of the maqam.
Organization of the Staff The main notes are positioned in the center. Optional ajna are positioned to the left and the right with lines showing the relationships between them. Melodic extensions below the tonic of the maqam are positioned to the bottom left hand side. Melodic extensions in a range above the main maqam are positioned on the top right hand side. Descending passages or descending melodic extensions are positioned on the bottom right hand side of the main maqam. Example:
Turkish Makamlar
Preface
In hybrid Maqamat like Ferahnak, and Hijaz Kar Kurd, staff that are stacked on top of each other indicate that each are overlapping and modulated to and used in melodic development. Example:
The arrows under the staff indicate the specific path or "seyir" each Maqam takes. An up arrow indicate and ascending path. A down arrow indicates a descending path. An arrow that is pointing in both directions indicates an ascending-descending path. Example:
Paths An ascending path begins at the tonic and moves upwards developing the whole maqam and then returns to the tonic. A descending path starts on the upper tonic of the maqam and develops melody eventually moving toward the lower tonic to resolve. An ascending-descending path starts somewhere in between the ajna that create the maqam moving up and down before moving toward the lower tonic to resolve.
Turkish Makamlar
Preface
Notation A very strange thing about Turkish notation is that they write notes higher than they are in reality. So when the note “A” is written within the staff, in reality the actual note is “E” below the “A”. In other words, they write everything a 4th above what note is actually being played. For example, if they are playing Maqam Buselik it will start on an actual “E” not, but will be written from “A”. In addition to this, Turkish Ouds are tuned a whole step above Arabic Ouds, so what do you do if you want to play Turkish maqamat on your Arabic Oud in the finger position that each maqam was meant to be played? If you see an “A” note written, you have to think of your third open string D.
Accidental Legend Turkish accidental notes are many, and may take a while to get familiar with. In Turkish music, from one note to another note, a whole step, let’s say C to D, there are 9 divisions between that note. Each division is called a koma, or comma in English. The differences between these microtonal intervals are very subtle and difficult to distinguish. One of the biggest frustrations is that Turkish musicians do not adhere to this 9 koma division strictly. In fact, they will often play certain intervals flatter than the accidental indicates. My recommendation is to use your ear, listen to a lot of Turkish music, and copy what you hear. The division of notes in this manner is due to the use of “natural”, “pure”, or “just” thirds, fourths, and fifth notes in Middle Eastern music. Notation in this manner makes it impossible to play genuine Turkish music on an equal tempered instrument.
koma bemolu
lowers by one comma
koma diyezi
raises by one comma
bakiye bemolu
lowers by four commas
bakiye diyezi
raises by four commas
kucmuc diyezi
raises by five commas
kucmuc bemolu lowers by five commas
Turkish Makamlar
Cargah Family
Acem Aşiran
Mâhur
Turkish Makamlar
Cargah Family
Şevk-Efzâ
Sûz-i Dilârâ
Turkish Makamlar
Cargah Family
Zâvil
Acem
Turkish Makamlar
Bûselik Family
Bûselik
Şehnaz Bûselik
Turkish Makamlar
Bûselik Family
Nihavend
Ferahfezâ
Turkish Makamlar
Bûselik Family
Sultânîyegâh
Turkish Makamlar
Rast Family
Rast
Sûz-nâk
Turkish Makamlar
Rast Family
Sazkâr
Nişâburek
Turkish Makamlar
Uşşak Family
Uşşak
Karcığar
Turkish Makamlar
Uşşak Family
Neva
Bayâtî
Turkish Makamlar
Uşşak Family
Muhayyer
Tâhir
Turkish Makamlar
Uşşak Family
Hüseynî
Turkish Makamlar
Hicaz Family
Hicaz
Hümâyun
Turkish Makamlar
Hicaz Family
Uzzal
Zirgüleli Hicaz
Turkish Makamlar
Hicaz Family
Hicazkâr
Zirgüleli Sûz-nâk
Turkish Makamlar
Hicaz Family
Şedaraban
Sûz-i Dil
Turkish Makamlar
Hicaz Family
Evcârâ
Şehnaz
Turkish Makamlar
Kürdî Family
Kürdî
Kürdîli Hicazkâr
Turkish Makamlar
Nev'eser Family
Nev'eser
Nikriz
Turkish Makamlar
Segâh Family
Segâh
Irak
Eviç
Turkish Makamlar
Segâh Family
Bestenigâr
Hüzzam
Turkish Makamlar
Segâh Family
Müstear
Turkish Makamlar
Sabâ Family
Sabâ
Sabâ Zemzeme
Turkish Makamlar
Hybrid Maqamlar
Ferahnâk
Turkish Makamlar
Hybrid Maqamlar
Muhayyer Kürdî
Acem Kürdî
Turkish Makamlar
Hybrid Maqamlar
Gerdaniye
Hisar Bûselik
Turkish Makamlar
Hybrid Maqamlar
Isfahan
Bayâtî Araban
Turkish Makamlar
Hybrid Maqamlar
Tâhir Bûselik
Dügâh
Persian Dastgah
Preface
Understanding Persian Music In Persian music, the concept of Gushe replaces the concept of Jins. Gushe means “niche”, “corner”, or “part” in Farsi. In some way, they can refer to different sections of notes like Ajna do. However, they go beyond referring to intervallic structures and relationships. They are actually specific melodic compositions that have been passed down in oral tradition from master to pupil. Each Gushe can be defined by having a particular melodic development, certain repetitive phrases, certain modulations, or certain forms and phraseology. These Gushe are copied, improvised and elaborated upon in performance. They are compiled in what is called the “Radif”, which means “order”.
How to Use This Reference Persian maqam are presented in similar fashion to Turkish Maqamlar. Because the concept of jins is different in Persian music, ajna names have not been included above each staff. Instead, the Dastgah is divided to suggest ajna which are similar to other ajna in Turko-Arabic traditions. Each division could be said to be a jins. The reader can analyse the different divisions to relate them to what they know about Turko-Arabic Ajna.
Separate Staff The central staff indicates the primary notes that characterize the Dastgah. Melodic extensions that move toward a tonic are positioned on the bottom left hand side of the main Dastgah (central staff). Melodic extensions above the central range of the Dastgah are positioned to the top right of the central staff. Descending melodic structures are positioned to the bottom right of the central staff.
Persian Dastgah
Preface
Whole Notes In the Dastgah, the whole notes indicate the tonic, focal point, or starting point of the Dastgah.
Accidental Legend indicates a quarter flat note
called Koron
indicates a quarter sharp note
called Sori
Persian Dastgah
Dastgahe Shur
Avaze Abu-Ata
Persian Dastgah
Avaze Bayate Tork
Avaze Afshari
Persian Dastgah
Avaze Dashti
Dastgahe Segah
Persian Dastgah
Dastgahe Chahargah
Dastgahe Homayoun
Dastgahe Esfahan
Persian Dastgah
Dastgahe Nava
Dastgahe Mahur
Persian Dastgah
Dastgahe Rast-Panjgah 1st Structure, “Mahur-like”
2nd Structure, “Abu-Ata like”
Persian Dastgah
3rd Structure, “Shur-like”
4th Structure, “Esfahan-like”
Cohen, Dalia, and Ruth Katz. Palestinian Arab Music: A Maqam Tradition in Practice. Chicago: U of Chicago, 2006. Print. Farraj, Johnny, and Sami Abu Shumays. Arabic Maqam World. Web.
Acem, 34 Acem Aşiran, 32 Acem Kürdî, 65 Ajam, 4 Ajam Ushayran, 4 Athar Kurd, 26 Avaze Abu-Ata, 72 Avaze Afshari, 73 Avaze Dashti, 74
Farahfaza, 7 Ferahfezâ, 37 Ferahnâk, 64 Gerdaniye, 66 Hicaz, 48 Hicazkâr, 50 Hijaz, 12 Hijaz Kar, 12 Hijaz Kar Kurd, 10 Hisar Bûselik, 66 Hümâyun, 48 Hüseynî, 46 Husseini, 18 Huzzam, 20 Hüzzam, 59
Bastanikar, 21 Bayati, 18 Bayâtî, 44 Bayâtî Araban, 67 Bayati Shuri, 18 Bestenigâr, 59 Bûselik, 36 Dastgahe Chahargah, 75 Dastgahe Esfahan, 75 Dastgahe Homayoun, 75 Dastgahe Mahur, 76 Dastgahe Nava, 76 Dastgahe Rast-Panjgah, 77 Dastgahe Segah, 74 Dastgahe Shur, 72 Dügâh, 68
Irak, 58 Iraq, 21 Isfahan, 67 Jiharkah, 4 Karcığar, 43 Kurd, 10 Kürdî, 54 Kürdîli Hicazkâr, 54
Evcârâ, 52 Eviç, 58
Index Mahur, 16 Mâhur, 32 Muhayyer, 45 Muhayyer Kürdî, 65 Mustaar, 21 Müstear, 60
Şehnaz Bûselik, 36 Şevk-Efzâ, 33 Shadd Araban, 12 Shahnaz, 13 Shawq Afza, 5 Sikah, 20 Sikah Baladi, 22 Sultânîyegâh, 38 Sûz-i Dil, 51 Sûz-i Dilârâ, 33 Suzidil, 13 Suznak, 15 Sûz-nâk, 40
Nahawand, 7 Nahawand Murassah, 7 Nairuz, 15 Nawa Athar, 26 Neva, 44 Nev'eser, 56 Nihavend, 37 Nikriz, 26, 56 Nişâburek, 41
Tâhir, 45 Tâhir Bûselik, 68
Rahat El Arwah, 20 Rast, 15, 40
Ushaq Masri, 8 Uşşak, 43 Uzzal, 49
Saba, 24 Sabâ, 62 Saba Zamzam, 24 Sabâ Zemzeme, 62 Sazkâr, 41 Şedaraban, 51 Segâh, 58 Şehnaz, 52
Yakah, 16 Zanjaran, 13 Zâvil, 34 Zirgüleli Hicaz, 49 Zirgüleli Sûz-nâk, 50
Introduction..............................................................................................................................................................................1 Arabic Maqamat ......................................................................................................................................................................2 Preface ..................................................................................................................................................................................3 Ajam Family .........................................................................................................................................................................5 Nahawand Family ..............................................................................................................................................................8 Kurd Family ...................................................................................................................................................................... 11 Hijaz Family ...................................................................................................................................................................... 13 Rast Family........................................................................................................................................................................ 16 Bayati Family .................................................................................................................................................................... 19 Sikah Family ..................................................................................................................................................................... 21 Saba Family....................................................................................................................................................................... 25 Nawa Athar Family ......................................................................................................................................................... 27 Turkish Makamlar................................................................................................................................................................ 29 Preface ............................................................................................................................................................................... 30 Cargah Family .................................................................................................................................................................. 33 Buselik Family .................................................................................................................................................................. 37 Rast Family........................................................................................................................................................................ 41 Ussak Family..................................................................................................................................................................... 44 Hicaz Family ..................................................................................................................................................................... 49 Kurdi Family ..................................................................................................................................................................... 55 Nev'eser Family ............................................................................................................................................................... 57 Segah Family .................................................................................................................................................................... 59 Saba Family....................................................................................................................................................................... 63 Hybrid Maqamlar............................................................................................................................................................ 65
Persian Dastgah.................................................................................................................................................................... 71 Preface ............................................................................................................................................................................... 72 Dastgahe Shur .................................................................................................................................................................. 74 Avaze Abu-Ata.................................................................................................................................................................. 74 Avaze Bayate Tork ........................................................................................................................................................... 75 Avaze Afshari .................................................................................................................................................................... 75 Avaze Dashti ..................................................................................................................................................................... 76 Dastgahe Segah ............................................................................................................................................................... 76 Dastgahe Chahargah ...................................................................................................................................................... 77 Dastgahe Homayoun ..................................................................................................................................................... 77 Dastgahe Esfahan............................................................................................................................................................ 77 Dastgahe Nava................................................................................................................................................................. 78 Dastgahe Mahur.............................................................................................................................................................. 78 Dastgahe Rast-Panjgah.................................................................................................................................................. 79 References ............................................................................................................................................................................. 81 Index........................................................................................................................................................................................ 82
Hi there! We are very happy that you have this Maqam Mastery Reference Guide in your hands, because this is going to be your ultimate maqam dictionary. The Reference Guide is organized by region - Arabic Maqamat, Turkish Makamlar, and Persian Dastgah - then by family. You will also find an index at the end of the Reference Guide, so if you need to quickly look up notes or structure of a maqam, it is easy to do so. You can use this Reference Guide to: Quickly check notes and structures of maqamat; Find out what maqam you are hearing by jins, family, or region; See what kind of modulations are possible by identifying notes and ajna used in each basic and hybrid maqam; Remind yourself of ascending and descending patterns; Print out and make notes as you learn each maqam to create your own go-to reference guide for maqamat. A huge thanks to Veronika Redfern, who took our hand-drawn maqamat and put this Reference Guide together, making it look very neat and professional. Good luck, and have fun playing with maqamat! Navid & Mao
Arabic Maqamat
Preface
How to Use This Reference The maqamat presented here are divided up by family, defined by the starting Ajna of each maqam.
Ajna Some maqamat are defined by having two upper ajna. These will be located on the right hand side of the main maqam. The top right hand side usually indicates the use of those notes in ascending, and the bottom right hands side indicate notes usually used in descending. These conventions are not always the case, so do not interpret them in black and white. The primary ajna that created the maqam are indicated above the staff, and ajna of secondary importance or “hidden” ajna are indicated below the staff. Hidden ajna are intervals of notes that appear within the maqam but are not the main identifiers of the maqam. An example of this is Maqam Nawa Athar.
Separate Staff In the case of Maqam Hijaz Kar Kurd, the two maqamat are stacked on top of each other. This indicates that there is modulation between these two overlapping structures.
Whole Notes Whole notes indicate the dominant, as the dominant in Western music theory. The whole note also indicates the main pivot note.
Arabic Maqamat
Preface
Accidental Legend indicates a quarter flat note indicates a quarter sharp note
Arabic Maqamat
Ajam Family
Ajam
Ajam Ushayran
Jiharkah
Arabic Maqamat
Ajam Family
Shawq Afza
Arabic Maqamat
Nahawand Family
Nahawand
Nahawand Murassah
Farahfaza
Arabic Maqamat
Nahawand Family
Ushaq Masri
Arabic Maqamat
Kurd Family
Kurd
Hijaz Kar Kurd
Arabic Maqamat
Hijaz Family
Hijaz
Hijaz Kar
Shadd Araban
Arabic Maqamat
Hijaz Family
Shahnaz
Suzidil
Zanjaran
Arabic Maqamat
Rast Family
Rast
Suznak
Nairuz
Arabic Maqamat
Rast Family
Mahur
Yakah
Arabic Maqamat
Bayati Family
Bayati
Bayati Shuri
Husseini
Arabic Maqamat
Sikah Family
Sikah
Huzzam
Rahat El Arwah
Arabic Maqamat
Sikah Family
Iraq
Bastanikar
Mustaar
Arabic Maqamat
Sikah Family
Sikah Baladi
Arabic Maqamat
Saba Family
Saba
Saba Zamzam
Arabic Maqamat
Nawa Athar Family
Nawa Athar
Nikriz
Athar Kurd
Turkish Makamlar
Preface
How to Use This Reference The following Turkish Maqamlar are organized in such a way to distinguish between the main parts of the maqam.
Organization of the Staff The main notes are positioned in the center. Optional ajna are positioned to the left and the right with lines showing the relationships between them. Melodic extensions below the tonic of the maqam are positioned to the bottom left hand side. Melodic extensions in a range above the main maqam are positioned on the top right hand side. Descending passages or descending melodic extensions are positioned on the bottom right hand side of the main maqam. Example:
Turkish Makamlar
Preface
In hybrid Maqamat like Ferahnak, and Hijaz Kar Kurd, staff that are stacked on top of each other indicate that each are overlapping and modulated to and used in melodic development. Example:
The arrows under the staff indicate the specific path or "seyir" each Maqam takes. An up arrow indicate and ascending path. A down arrow indicates a descending path. An arrow that is pointing in both directions indicates an ascending-descending path. Example:
Paths An ascending path begins at the tonic and moves upwards developing the whole maqam and then returns to the tonic. A descending path starts on the upper tonic of the maqam and develops melody eventually moving toward the lower tonic to resolve. An ascending-descending path starts somewhere in between the ajna that create the maqam moving up and down before moving toward the lower tonic to resolve.
Turkish Makamlar
Preface
Notation A very strange thing about Turkish notation is that they write notes higher than they are in reality. So when the note “A” is written within the staff, in reality the actual note is “E” below the “A”. In other words, they write everything a 4th above what note is actually being played. For example, if they are playing Maqam Buselik it will start on an actual “E” not, but will be written from “A”. In addition to this, Turkish Ouds are tuned a whole step above Arabic Ouds, so what do you do if you want to play Turkish maqamat on your Arabic Oud in the finger position that each maqam was meant to be played? If you see an “A” note written, you have to think of your third open string D.
Accidental Legend Turkish accidental notes are many, and may take a while to get familiar with. In Turkish music, from one note to another note, a whole step, let’s say C to D, there are 9 divisions between that note. Each division is called a koma, or comma in English. The differences between these microtonal intervals are very subtle and difficult to distinguish. One of the biggest frustrations is that Turkish musicians do not adhere to this 9 koma division strictly. In fact, they will often play certain intervals flatter than the accidental indicates. My recommendation is to use your ear, listen to a lot of Turkish music, and copy what you hear. The division of notes in this manner is due to the use of “natural”, “pure”, or “just” thirds, fourths, and fifth notes in Middle Eastern music. Notation in this manner makes it impossible to play genuine Turkish music on an equal tempered instrument.
koma bemolu
lowers by one comma
koma diyezi
raises by one comma
bakiye bemolu
lowers by four commas
bakiye diyezi
raises by four commas
kucmuc diyezi
raises by five commas
kucmuc bemolu lowers by five commas
Turkish Makamlar
Cargah Family
Acem Aşiran
Mâhur
Turkish Makamlar
Cargah Family
Şevk-Efzâ
Sûz-i Dilârâ
Turkish Makamlar
Cargah Family
Zâvil
Acem
Turkish Makamlar
Bûselik Family
Bûselik
Şehnaz Bûselik
Turkish Makamlar
Bûselik Family
Nihavend
Ferahfezâ
Turkish Makamlar
Bûselik Family
Sultânîyegâh
Turkish Makamlar
Rast Family
Rast
Sûz-nâk
Turkish Makamlar
Rast Family
Sazkâr
Nişâburek
Turkish Makamlar
Uşşak Family
Uşşak
Karcığar
Turkish Makamlar
Uşşak Family
Neva
Bayâtî
Turkish Makamlar
Uşşak Family
Muhayyer
Tâhir
Turkish Makamlar
Uşşak Family
Hüseynî
Turkish Makamlar
Hicaz Family
Hicaz
Hümâyun
Turkish Makamlar
Hicaz Family
Uzzal
Zirgüleli Hicaz
Turkish Makamlar
Hicaz Family
Hicazkâr
Zirgüleli Sûz-nâk
Turkish Makamlar
Hicaz Family
Şedaraban
Sûz-i Dil
Turkish Makamlar
Hicaz Family
Evcârâ
Şehnaz
Turkish Makamlar
Kürdî Family
Kürdî
Kürdîli Hicazkâr
Turkish Makamlar
Nev'eser Family
Nev'eser
Nikriz
Turkish Makamlar
Segâh Family
Segâh
Irak
Eviç
Turkish Makamlar
Segâh Family
Bestenigâr
Hüzzam
Turkish Makamlar
Segâh Family
Müstear
Turkish Makamlar
Sabâ Family
Sabâ
Sabâ Zemzeme
Turkish Makamlar
Hybrid Maqamlar
Ferahnâk
Turkish Makamlar
Hybrid Maqamlar
Muhayyer Kürdî
Acem Kürdî
Turkish Makamlar
Hybrid Maqamlar
Gerdaniye
Hisar Bûselik
Turkish Makamlar
Hybrid Maqamlar
Isfahan
Bayâtî Araban
Turkish Makamlar
Hybrid Maqamlar
Tâhir Bûselik
Dügâh
Persian Dastgah
Preface
Understanding Persian Music In Persian music, the concept of Gushe replaces the concept of Jins. Gushe means “niche”, “corner”, or “part” in Farsi. In some way, they can refer to different sections of notes like Ajna do. However, they go beyond referring to intervallic structures and relationships. They are actually specific melodic compositions that have been passed down in oral tradition from master to pupil. Each Gushe can be defined by having a particular melodic development, certain repetitive phrases, certain modulations, or certain forms and phraseology. These Gushe are copied, improvised and elaborated upon in performance. They are compiled in what is called the “Radif”, which means “order”.
How to Use This Reference Persian maqam are presented in similar fashion to Turkish Maqamlar. Because the concept of jins is different in Persian music, ajna names have not been included above each staff. Instead, the Dastgah is divided to suggest ajna which are similar to other ajna in Turko-Arabic traditions. Each division could be said to be a jins. The reader can analyse the different divisions to relate them to what they know about Turko-Arabic Ajna.
Separate Staff The central staff indicates the primary notes that characterize the Dastgah. Melodic extensions that move toward a tonic are positioned on the bottom left hand side of the main Dastgah (central staff). Melodic extensions above the central range of the Dastgah are positioned to the top right of the central staff. Descending melodic structures are positioned to the bottom right of the central staff.
Persian Dastgah
Preface
Whole Notes In the Dastgah, the whole notes indicate the tonic, focal point, or starting point of the Dastgah.
Accidental Legend indicates a quarter flat note
called Koron
indicates a quarter sharp note
called Sori
Persian Dastgah
Dastgahe Shur
Avaze Abu-Ata
Persian Dastgah
Avaze Bayate Tork
Avaze Afshari
Persian Dastgah
Avaze Dashti
Dastgahe Segah
Persian Dastgah
Dastgahe Chahargah
Dastgahe Homayoun
Dastgahe Esfahan
Persian Dastgah
Dastgahe Nava
Dastgahe Mahur
Persian Dastgah
Dastgahe Rast-Panjgah 1st Structure, “Mahur-like”
2nd Structure, “Abu-Ata like”
Persian Dastgah
3rd Structure, “Shur-like”
4th Structure, “Esfahan-like”
Cohen, Dalia, and Ruth Katz. Palestinian Arab Music: A Maqam Tradition in Practice. Chicago: U of Chicago, 2006. Print. Farraj, Johnny, and Sami Abu Shumays. Arabic Maqam World. Web.
Acem, 34 Acem Aşiran, 32 Acem Kürdî, 65 Ajam, 4 Ajam Ushayran, 4 Athar Kurd, 26 Avaze Abu-Ata, 72 Avaze Afshari, 73 Avaze Dashti, 74
Farahfaza, 7 Ferahfezâ, 37 Ferahnâk, 64 Gerdaniye, 66 Hicaz, 48 Hicazkâr, 50 Hijaz, 12 Hijaz Kar, 12 Hijaz Kar Kurd, 10 Hisar Bûselik, 66 Hümâyun, 48 Hüseynî, 46 Husseini, 18 Huzzam, 20 Hüzzam, 59
Bastanikar, 21 Bayati, 18 Bayâtî, 44 Bayâtî Araban, 67 Bayati Shuri, 18 Bestenigâr, 59 Bûselik, 36 Dastgahe Chahargah, 75 Dastgahe Esfahan, 75 Dastgahe Homayoun, 75 Dastgahe Mahur, 76 Dastgahe Nava, 76 Dastgahe Rast-Panjgah, 77 Dastgahe Segah, 74 Dastgahe Shur, 72 Dügâh, 68
Irak, 58 Iraq, 21 Isfahan, 67 Jiharkah, 4 Karcığar, 43 Kurd, 10 Kürdî, 54 Kürdîli Hicazkâr, 54
Evcârâ, 52 Eviç, 58
Index Mahur, 16 Mâhur, 32 Muhayyer, 45 Muhayyer Kürdî, 65 Mustaar, 21 Müstear, 60
Şehnaz Bûselik, 36 Şevk-Efzâ, 33 Shadd Araban, 12 Shahnaz, 13 Shawq Afza, 5 Sikah, 20 Sikah Baladi, 22 Sultânîyegâh, 38 Sûz-i Dil, 51 Sûz-i Dilârâ, 33 Suzidil, 13 Suznak, 15 Sûz-nâk, 40
Nahawand, 7 Nahawand Murassah, 7 Nairuz, 15 Nawa Athar, 26 Neva, 44 Nev'eser, 56 Nihavend, 37 Nikriz, 26, 56 Nişâburek, 41
Tâhir, 45 Tâhir Bûselik, 68
Rahat El Arwah, 20 Rast, 15, 40
Ushaq Masri, 8 Uşşak, 43 Uzzal, 49
Saba, 24 Sabâ, 62 Saba Zamzam, 24 Sabâ Zemzeme, 62 Sazkâr, 41 Şedaraban, 51 Segâh, 58 Şehnaz, 52
Yakah, 16 Zanjaran, 13 Zâvil, 34 Zirgüleli Hicaz, 49 Zirgüleli Sûz-nâk, 50
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