ahmed_eissa - 11-22-2012 at 11:06 PM
I found this interesting resource that may be of use to some:
http://www.turath.org/Resources/MaqamTrans.htm
(Dr. Ali Jihad Racy, UCLA Professor of Ethnomusicology)
My question is, how exactly can transpositions within the same maqam be used? For example, if I play Bayati (tonic, D) and then arbitrarily transpose
it to Bayati (tonic, F), will this sound good? Or is there a method for choosing which transpositions to play?
Thanks in advance.
Ahmed
David.B - 11-23-2012 at 08:47 AM
Hi Ahmed,
You can use this -> https://www.facebook.com/photo.php?fbid=4244569443335&set=a.1482...
The way it works is explain there -> https://www.facebook.com/photo.php?fbid=1492018711287&set=a.1482...
If you use the different tables you'll miss the micro-tonality! It is up to you.
In fact D is note the tonic of Bayyati (Nawa), it's the last note. If you transpose to F it's supposed to be in order to accommodate a singer for
example, or to demonstrate your virtuosity in the art of transposition.
All the maqamat are connected in a specific way, with a specific finalis* -> https://www.facebook.com/photo.php?fbid=2711582559621&set=a.1482...
* I use "starting note" but this is as false as "tonic". What we call "tonic" should be called "qarar" (the resting place), or "asas" (the fundamental
or principal note), in all cases a maqam should end on its finalis (Bayyati -> D, Rast -> C, etc.)
PS
Tell me if you don't use facebook, I'll take time to post the pics ...