Daryush - 7-15-2020 at 08:15 PM
Hello,
I am very new to the world of maqam theory and so apologies if this question may seem very obvious or badly-worded. I have listened to Arabic (Gulf in
particular) music since childhood, but only recently have tried to understand it (and play to a very limited extent), being more familiar with music
theory from a Western perspective (although still very limited).
My question is:
Does Hijaz (or indeed other ajnās) ever 'modulate' onto the 4th degree (or whatever the final degree is)? I.e. I realise Hijazkar is composed of
two consecutive Hijaz, e.g.: D Eb F# G - A Bb C# D
However, is it ever heard of for the second Hijaz to begin on the 4th degree (G in my example), so: D Eb F# G - G G# B C?
Is the interval between the final note of a jins and the following jins always 'fixed' (i.e. a whole tone in this example)?
I realise I may have understood a fundamental principle wrong here, so any comments would be welcome!
Many thanks.
Jody Stecher - 7-15-2020 at 08:58 PM
A partial answer from 3 points of view
1) 2 ajnas of 4 notes each may be conjoined. The final note of the lower tetrachord may be also the first note of the upper tetrachord. So
jins/gap/jins is not the only formula.
2) Not every jins is a tetrachord. It may have 5 or 3 pitches.
3) the scale you describe is Hijazkar from G. Written down and starting from D it looks funny but sounds good. But if you start from G below it is
hijaz/whole step gap/ hijaz.
majnuunNavid - 7-15-2020 at 09:46 PM
Maqam Nawa Athar fits your description however the root is C not D.
C [D Eb F# G] [G Ab B C] . With Nawan Athar the first jins is a pentachord, but I put the brackets around the hidden hijaz tetrachord.
It must be noted that this intervallic relationship exists in the hijaz kar maqams like Maqam Shadd ‘Araban, Maqam Suzidil, and Maqam Shahnaz.
But you have to look at it from another perspective
Maqam Shahnaz: [D Eb F# G] [A Bb C# D]
When improvising if you look at the maqam like this then you have the relationship you describe: [A Bb C# [D] Eb F# G]
(as I write this I just realized I'm saying the same thing as Jody said in point 3.)