David Parfitt
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Maqam Kurd with quarter tones?
Looking through the booklet that accompanies Munir Bashir's CD "L'Art du Ud" I see that for track 6 (Taqsim in Maqam Kurdi) it says:
"This maqam is presented in a form which is in fact found in Kurdish music. The classical Kurdi is diatonic, whereas this improvisation is based on a
scale divided into quarter-tones."
The scale is shown as: G, Ahalfb, Bb, C, D, Ehalfb, F, G
(= D, Ehalfb, F, G, A, Bhalfb, C, D)
This scale is common to quite a few maqams, so I'm not sure exactly what is going on here, and why he would refer to it as Kurdi (other than the fact
that it is Kurdish).
David
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Bodhi
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In the persian tradition the gushe Kurdi contains a flat and a Half flat which is used at a cadence (although not a rule), the Kurdi and Dashti maqams
are similar in this respect but just that they have different tonic notes.
Perhaps the Iraqi Kurds don't use the phrygian equivalent which is given for Arab maqam Kurd? How about in Turkish Makam?
If you do a youtube search for Lori music on Youtube, you will find perfect examples of the persian Kurd in its folk music setting. Or type kamil
alipour and listen to the song he plays from lorestan, which is in Bayat-e Kurd (persian Kurdi).
Hope all this can help a little.
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oudmaker
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Friends
Kurdi is name of a note ( a B flat ) in traditional ottoman music. Many makams which use this particular note named as a version of those makams such
as Muhayyer-i Kurdi, Hicazkar-i kurdi, Acem kurdi ect.
There is also a particular makam just called Kurdi which uses this particular note .
In Arel-Ezgi music theory it is described same as a Bflat in western scale. However in traditional school of Turkish music it is four comma flatter
than Bflat called SEGAH and for comma sharper than western A DUGAH.
I try to describe it the way I know and hope did not confuse the matter further.
Regards
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Masel
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the kurdish maqham is older than ottoman makam so it makes more sense i think to explain it through persian theory as did bodhi and not ottoman
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Alfaraby
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Monir Bashir (1930-1997) Taqsim in Maqam Kurdi
Prof. Taiseer Elias in his doctorate thesis "The Latent Regularity in Improvisation of Instrumental Arab Music, in Terms of Learned and
Natural Schemata" (2007) has related to this specific taqseem by saying:
(translated into poor English by yours indeed) 
Though .. "it's written that the taqseem is on Maqam Kurdi, the tonal behavior of attacking the dominant fifth note is typical to another Maqam called
Hoseini, rather than Kurdi. There are plenty of evidences in the Arabic and Turkish music, in practice and in theory, to why to prefer Hoseini over
Kurd ... e.g. Samaei Hoseini by Jacob Tatious , Samaei Hoseini by Mohieddine Haidar, taqaseem Hoseini by Jamil Bashir and more.
In the fourth line of (Monir Bashir) taqseem we're witnessing, for the first time (in this recording) A' half flat, a bit lower than the A half flat
of Maqam Bayat Nawa (G') or Hoseini Nawa, but yet higher than A' flat of Maqam Kurd on G.
Despite the fuzziness in the Maqam's intonation, I think it's more Hoseini on G rather than Kurdi on G. This fuzziness is sometimes done consciously,
so this uncertainty in the intonation is a part of the stylistic features of the Arabic music that cause excitement .... "
Hope this might help solving the quiz !
Yours indeed
Alfaraby
alfarabymusic@gmail.com
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