Yahoo Tuning Groups Ultimate Backup makemicromusic A peshrev in a new maqam and new usul, strictly in AEU

Dear members,

I have composed a new piece, strictly in the Classical Turkish music
paradigm, adhering completely to the Arel-Ezgi-Uzdilek tone-system (24-
tone subset out of 53-EDO) and utilizing a new maqam and a new usul.
This is the first time I attempted to write a peshrev - which is an AB
+CB+DB+EB... form in Turkish Art music - despite the fact that I am by
profession rather unfamiliar with this musical setting.

The piece is in maqam "Nishabureyn", which is, as the name suggests,
"Dual-Nishabur", whose scale can be described simply as:

B C# D E F E D C# B
>>>>>>>>>><<<<<<<<<

where B is perde buselik, which is, in AEU, 81/64 away from perde
rast. The pitches are Pythagorean, with C# situated an apotome below
D. Bear in mind that the diapason is different from the international
standard and the note names do not correspond to their piano key
equivalents.

Nishabureyn is a terkib, or composite, which requires the modulation
of Nishabur one semitone above perde buselik. One starts the maqam
transposed to perde chargah (C) and modulates down to Nishabur on
perde buselik (B) which is the finalis. I believe no one prior to me
utilized a composite like this. It is quite difficult to handle I'll
say!

The usul of the piece is called "Devr-i Aryan", which is a 7/8 meter
variant I innovated and different from the established Devr-i Hindi
and Devr-i Turan usuls in the same meter in that, it pertains to the
2+3+2 beat configuration rather than 3+2+2 or 2+2+3. I believe I'm the
first to use this configuration in Turkish Maqam music.

The Nishabureyn pesrev can be heard here:

http://www.ozanyarman.com/musics.html

I employed Omer Tulgan's Hamparsum Nota 2.2 program written in Java
for engraving and converting the music to MIDI. From the MIDI file, I
recorded a digital performance under Logic Pro 8 and gave the music a
"classical" feel. Without Nota 2.2, a few minutes' work of microtonal
tuning of the pitches could have taken days. Tulgan's software
automatically bends the notes to AEU pitches.

The peshrev was written, as customary, according to the Mansur Ahenk
and sounded in Bolahenk - that is, a perfect fifth higher. The Bendir
samples in the background were obtained from the Usul-Velvele Editor
designed by Ugur Kececioglu. This program's sample-generated beat were
recorded and applied to the pertinent tracks in Logic.

Because the peshrev exceeds 5 minutes even in this moving pace,
Kececioglu and I dubbed this compositional form a "concert peshrev".
This denomination signifies the need to devote more than the usual
rehearsal-time to execute the work properly.

Other maqams and usuls used in the composition are not divulged at
this stage. You may like to decipher the score as you listen to the
music. The score can be downloaded as a PDF from the above link. Feel
free to ask me any time about the other maqams and usuls!

Cordially,
Oz.

✩ ✩ ✩
www.ozanyarman.com

[Non-text portions of this message have been removed]

🔗jonszanto <jszanto@...>

🔗aum <aum@...>

🔗Ozan Yarman <ozanyarman@...>

Ah, success then! Thank you Jon. It took me quite a while to give the
recording the impression of a live performance. So I managed to fool
you eh? Hah hah. Good. It shows that I'm improving in this digital
mastering ordeal.

I would indeed appreciate it much if you could give a review of my
other microtonal pieces on this list.

Cordially,
Oz.

✩ ✩ ✩
www.ozanyarman.com

On Mar 31, 2010, at 7:16 AM, jonszanto wrote:

> Ozan,
>
> --- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@...>
> wrote:
>> I have composed a new piece, strictly in the Classical Turkish
>> music paradigm...
>
> I enjoyed that very much! You know, for the briefest of time, I was
> almost fooled into thinking you had recorded acoustic instruments.
> I'm going to take some time later this week to catch up on listening
> to some of your other pieces presented on that page.
>
> Thanks.
>
> Cheers,
> Jon
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>

🔗Ozan Yarman <ozanyarman@...>

🔗Chris Vaisvil <chrisvaisvil@...>

🔗jonszanto <jszanto@...>

Ozan,

--- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
> So I managed to fool you eh? Hah hah.

Well, I did say "almost fooled". :)

One of the things I mentioned to Prent (but I think it only applies if what you are doing is *actually* trying to present the recording *as if* it were a live/non-electronic recording): one of the dead giveaways is the simultaneous nature of the attacks. If you managed to put each melodic instrument on a separate track and can go back and play with the midi data, slight variations on the attack time of the notes, so that they don't hit BING all at the same time, can give one more small step towards the illusion of a live, small ensemble performance.

But the rest of the recording comes off quite well - good samples, nice amount of room sound, etc.

Cheers,
Jon

🔗Ozan Yarman <ozanyarman@...>

🔗cameron <misterbobro@...>

Very nice! The first melody would fugue very nicely, it almost works just as it is, try singing it!

--- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@...> wrote:
>
> Dear members,
>
> I have composed a new piece, strictly in the Classical Turkish music
> paradigm, adhering completely to the Arel-Ezgi-Uzdilek tone-system (24-
> tone subset out of 53-EDO) and utilizing a new maqam and a new usul.
> This is the first time I attempted to write a peshrev - which is an AB
> +CB+DB+EB... form in Turkish Art music - despite the fact that I am by
> profession rather unfamiliar with this musical setting.
>
> The piece is in maqam "Nishabureyn", which is, as the name suggests,
> "Dual-Nishabur", whose scale can be described simply as:
>
> B C# D E F E D C# B
> >>>>>>>>>><<<<<<<<<
>
> where B is perde buselik, which is, in AEU, 81/64 away from perde
> rast. The pitches are Pythagorean, with C# situated an apotome below
> D. Bear in mind that the diapason is different from the international
> standard and the note names do not correspond to their piano key
> equivalents.
>
> Nishabureyn is a terkib, or composite, which requires the modulation
> of Nishabur one semitone above perde buselik. One starts the maqam
> transposed to perde chargah (C) and modulates down to Nishabur on
> perde buselik (B) which is the finalis. I believe no one prior to me
> utilized a composite like this. It is quite difficult to handle I'll
> say!
>
> The usul of the piece is called "Devr-i Aryan", which is a 7/8 meter
> variant I innovated and different from the established Devr-i Hindi
> and Devr-i Turan usuls in the same meter in that, it pertains to the
> 2+3+2 beat configuration rather than 3+2+2 or 2+2+3. I believe I'm the
> first to use this configuration in Turkish Maqam music.
>
> The Nishabureyn pesrev can be heard here:
>
> http://www.ozanyarman.com/musics.html
>
> I employed Omer Tulgan's Hamparsum Nota 2.2 program written in Java
> for engraving and converting the music to MIDI. From the MIDI file, I
> recorded a digital performance under Logic Pro 8 and gave the music a
> "classical" feel. Without Nota 2.2, a few minutes' work of microtonal
> tuning of the pitches could have taken days. Tulgan's software
> automatically bends the notes to AEU pitches.
>
> The peshrev was written, as customary, according to the Mansur Ahenk
> and sounded in Bolahenk - that is, a perfect fifth higher. The Bendir
> samples in the background were obtained from the Usul-Velvele Editor
> designed by Ugur Kececioglu. This program's sample-generated beat were
> recorded and applied to the pertinent tracks in Logic.
>
> Because the peshrev exceeds 5 minutes even in this moving pace,
> Kececioglu and I dubbed this compositional form a "concert peshrev".
> This denomination signifies the need to devote more than the usual
> rehearsal-time to execute the work properly.
>
> Other maqams and usuls used in the composition are not divulged at
> this stage. You may like to decipher the score as you listen to the
> music. The score can be downloaded as a PDF from the above link. Feel
> free to ask me any time about the other maqams and usuls!
>
> Cordially,
> Oz.
>
> âo?=© âo?=© âA533;©
> www.ozanyarman.com
>
> âo?=© âo?=© âo?=©
> www.ozanyarman.com
>
>
>
> [Non-text portions of this message have been removed]
>

🔗cameron <misterbobro@...>

Daaa-da-da, dum-dee-da...
......................Daaa-da-da, dum-dee-da...
...............................................Daaa-da-da, dum-dee-da

A challenge to you, Ozan my friend! Otherwise I'll be forced to borrow the melody myself. :-)

--- In MakeMicroMusic@yahoogroups.com, "cameron" <misterbobro@...> wrote:
>
> Very nice! The first melody would fugue very nicely, it almost works just as it is, try singing it!
>
> --- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@> wrote:
> >
> > Dear members,
> >
> > I have composed a new piece, strictly in the Classical Turkish music
> > paradigm, adhering completely to the Arel-Ezgi-Uzdilek tone-system (24-
> > tone subset out of 53-EDO) and utilizing a new maqam and a new usul.
> > This is the first time I attempted to write a peshrev - which is an AB
> > +CB+DB+EB... form in Turkish Art music - despite the fact that I am by
> > profession rather unfamiliar with this musical setting.
> >
> > The piece is in maqam "Nishabureyn", which is, as the name suggests,
> > "Dual-Nishabur", whose scale can be described simply as:
> >
> > B C# D E F E D C# B
> > >>>>>>>>>><<<<<<<<<
> >
> > where B is perde buselik, which is, in AEU, 81/64 away from perde
> > rast. The pitches are Pythagorean, with C# situated an apotome below
> > D. Bear in mind that the diapason is different from the international
> > standard and the note names do not correspond to their piano key
> > equivalents.
> >
> > Nishabureyn is a terkib, or composite, which requires the modulation
> > of Nishabur one semitone above perde buselik. One starts the maqam
> > transposed to perde chargah (C) and modulates down to Nishabur on
> > perde buselik (B) which is the finalis. I believe no one prior to me
> > utilized a composite like this. It is quite difficult to handle I'll
> > say!
> >
> > The usul of the piece is called "Devr-i Aryan", which is a 7/8 meter
> > variant I innovated and different from the established Devr-i Hindi
> > and Devr-i Turan usuls in the same meter in that, it pertains to the
> > 2+3+2 beat configuration rather than 3+2+2 or 2+2+3. I believe I'm the
> > first to use this configuration in Turkish Maqam music.
> >
> > The Nishabureyn pesrev can be heard here:
> >
> > http://www.ozanyarman.com/musics.html
> >
> > I employed Omer Tulgan's Hamparsum Nota 2.2 program written in Java
> > for engraving and converting the music to MIDI. From the MIDI file, I
> > recorded a digital performance under Logic Pro 8 and gave the music a
> > "classical" feel. Without Nota 2.2, a few minutes' work of microtonal
> > tuning of the pitches could have taken days. Tulgan's software
> > automatically bends the notes to AEU pitches.
> >
> > The peshrev was written, as customary, according to the Mansur Ahenk
> > and sounded in Bolahenk - that is, a perfect fifth higher. The Bendir
> > samples in the background were obtained from the Usul-Velvele Editor
> > designed by Ugur Kececioglu. This program's sample-generated beat were
> > recorded and applied to the pertinent tracks in Logic.
> >
> > Because the peshrev exceeds 5 minutes even in this moving pace,
> > Kececioglu and I dubbed this compositional form a "concert peshrev".
> > This denomination signifies the need to devote more than the usual
> > rehearsal-time to execute the work properly.
> >
> > Other maqams and usuls used in the composition are not divulged at
> > this stage. You may like to decipher the score as you listen to the
> > music. The score can be downloaded as a PDF from the above link. Feel
> > free to ask me any time about the other maqams and usuls!
> >
> > Cordially,
> > Oz.
> >
> > âo?=© âo?=© â�©
> > www.ozanyarman.com
> >
> > âo?=© âo?=© âo?=©
> > www.ozanyarman.com
> >
> >
> >
> > [Non-text portions of this message have been removed]
> >
>

🔗cameron <misterbobro@...>

Hm, the spacing is wrong on the forum, the next voice comes in after each dum-dee-da

--- In MakeMicroMusic@yahoogroups.com, "cameron" <misterbobro@...> wrote:
>
> Daaa-da-da, dum-dee-da...
> ......................Daaa-da-da, dum-dee-da...
> ...............................................Daaa-da-da, dum-dee-da
>
> A challenge to you, Ozan my friend! Otherwise I'll be forced to borrow the melody myself. :-)
>
>
> --- In MakeMicroMusic@yahoogroups.com, "cameron" <misterbobro@> wrote:
> >
> > Very nice! The first melody would fugue very nicely, it almost works just as it is, try singing it!
> >
> > --- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@> wrote:
> > >
> > > Dear members,
> > >
> > > I have composed a new piece, strictly in the Classical Turkish music
> > > paradigm, adhering completely to the Arel-Ezgi-Uzdilek tone-system (24-
> > > tone subset out of 53-EDO) and utilizing a new maqam and a new usul.
> > > This is the first time I attempted to write a peshrev - which is an AB
> > > +CB+DB+EB... form in Turkish Art music - despite the fact that I am by
> > > profession rather unfamiliar with this musical setting.
> > >
> > > The piece is in maqam "Nishabureyn", which is, as the name suggests,
> > > "Dual-Nishabur", whose scale can be described simply as:
> > >
> > > B C# D E F E D C# B
> > > >>>>>>>>>><<<<<<<<<
> > >
> > > where B is perde buselik, which is, in AEU, 81/64 away from perde
> > > rast. The pitches are Pythagorean, with C# situated an apotome below
> > > D. Bear in mind that the diapason is different from the international
> > > standard and the note names do not correspond to their piano key
> > > equivalents.
> > >
> > > Nishabureyn is a terkib, or composite, which requires the modulation
> > > of Nishabur one semitone above perde buselik. One starts the maqam
> > > transposed to perde chargah (C) and modulates down to Nishabur on
> > > perde buselik (B) which is the finalis. I believe no one prior to me
> > > utilized a composite like this. It is quite difficult to handle I'll
> > > say!
> > >
> > > The usul of the piece is called "Devr-i Aryan", which is a 7/8 meter
> > > variant I innovated and different from the established Devr-i Hindi
> > > and Devr-i Turan usuls in the same meter in that, it pertains to the
> > > 2+3+2 beat configuration rather than 3+2+2 or 2+2+3. I believe I'm the
> > > first to use this configuration in Turkish Maqam music.
> > >
> > > The Nishabureyn pesrev can be heard here:
> > >
> > > http://www.ozanyarman.com/musics.html
> > >
> > > I employed Omer Tulgan's Hamparsum Nota 2.2 program written in Java
> > > for engraving and converting the music to MIDI. From the MIDI file, I
> > > recorded a digital performance under Logic Pro 8 and gave the music a
> > > "classical" feel. Without Nota 2.2, a few minutes' work of microtonal
> > > tuning of the pitches could have taken days. Tulgan's software
> > > automatically bends the notes to AEU pitches.
> > >
> > > The peshrev was written, as customary, according to the Mansur Ahenk
> > > and sounded in Bolahenk - that is, a perfect fifth higher. The Bendir
> > > samples in the background were obtained from the Usul-Velvele Editor
> > > designed by Ugur Kececioglu. This program's sample-generated beat were
> > > recorded and applied to the pertinent tracks in Logic.
> > >
> > > Because the peshrev exceeds 5 minutes even in this moving pace,
> > > Kececioglu and I dubbed this compositional form a "concert peshrev".
> > > This denomination signifies the need to devote more than the usual
> > > rehearsal-time to execute the work properly.
> > >
> > > Other maqams and usuls used in the composition are not divulged at
> > > this stage. You may like to decipher the score as you listen to the
> > > music. The score can be downloaded as a PDF from the above link. Feel
> > > free to ask me any time about the other maqams and usuls!
> > >
> > > Cordially,
> > > Oz.
> > >
> > > âo?=© â�© âo?=©
> > > www.ozanyarman.com
> > >
> > > âo?=© âo?=© âo?=©
> > > www.ozanyarman.com
> > >
> > >
> > >
> > > [Non-text portions of this message have been removed]
> > >
> >
>

🔗Ozan Yarman <ozanyarman@...>

Thanks for the tips! Once more, I appreciate your nice comments. :)

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Mar 31, 2010, at 8:33 PM, jonszanto wrote:

> Ozan,
>
>
> --- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@...>
> wrote:
>> So I managed to fool you eh? Hah hah.
>
> Well, I did say "almost fooled". :)
>
> One of the things I mentioned to Prent (but I think it only applies
> if what you are doing is *actually* trying to present the recording
> *as if* it were a live/non-electronic recording): one of the dead
> giveaways is the simultaneous nature of the attacks. If you managed
> to put each melodic instrument on a separate track and can go back
> and play with the midi data, slight variations on the attack time of
> the notes, so that they don't hit BING all at the same time, can
> give one more small step towards the illusion of a live, small
> ensemble performance.
>
> But the rest of the recording comes off quite well - good samples,
> nice amount of room sound, etc.
>
> Cheers,
> Jon
>

🔗Ozan Yarman <ozanyarman@...>

Ay ay. You cannot sing to a peshrev of course! :) Were it a beste or
kar with beautiful lyrics, I could try singing. This shouldn't stop
you from attempting it though!

In fact, it has been suggested to me to compose a whole "taqim" or
"bouquet", comprising, next to the peshrev, two bestes, and one largo
+one allegretto saz semai in Nishabureyn maqam and Devr-i Aryan usul
as is was the custom of the ancients.

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Apr 1, 2010, at 9:38 PM, cameron wrote:

> Daaa-da-da, dum-dee-da...
> ......................Daaa-da-da, dum-dee-da...
> ...............................................Daaa-da-da, dum-dee-da
>
> A challenge to you, Ozan my friend! Otherwise I'll be forced to
> borrow the melody myself. :-)
>
>
> --- In MakeMicroMusic@yahoogroups.com, "cameron" <misterbobro@...>
> wrote:
>>
>> Very nice! The first melody would fugue very nicely, it almost
>> works just as it is, try singing it!
>>
>> --- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@>
>> wrote:
>>>
>>> Dear members,
>>>
>>> I have composed a new piece, strictly in the Classical Turkish music
>>> paradigm, adhering completely to the Arel-Ezgi-Uzdilek tone-system
>>> (24-
>>> tone subset out of 53-EDO) and utilizing a new maqam and a new usul.
>>> This is the first time I attempted to write a peshrev - which is
>>> an AB
>>> +CB+DB+EB... form in Turkish Art music - despite the fact that I
>>> am by
>>> profession rather unfamiliar with this musical setting.
>>>
>>> The piece is in maqam "Nishabureyn", which is, as the name suggests,
>>> "Dual-Nishabur", whose scale can be described simply as:
>>>
>>> B C# D E F E D C# B
>>>>>>>>>>>>> <<<<<<<<<
>>>
>>> where B is perde buselik, which is, in AEU, 81/64 away from perde
>>> rast. The pitches are Pythagorean, with C# situated an apotome below
>>> D. Bear in mind that the diapason is different from the
>>> international
>>> standard and the note names do not correspond to their piano key
>>> equivalents.
>>>
>>> Nishabureyn is a terkib, or composite, which requires the modulation
>>> of Nishabur one semitone above perde buselik. One starts the maqam
>>> transposed to perde chargah (C) and modulates down to Nishabur on
>>> perde buselik (B) which is the finalis. I believe no one prior to me
>>> utilized a composite like this. It is quite difficult to handle I'll
>>> say!
>>>
>>> The usul of the piece is called "Devr-i Aryan", which is a 7/8 meter
>>> variant I innovated and different from the established Devr-i Hindi
>>> and Devr-i Turan usuls in the same meter in that, it pertains to the
>>> 2+3+2 beat configuration rather than 3+2+2 or 2+2+3. I believe I'm >>> the
>>> first to use this configuration in Turkish Maqam music.
>>>
>>> The Nishabureyn pesrev can be heard here:
>>>
>>> http://www.ozanyarman.com/musics.html
>>>
>>> I employed Omer Tulgan's Hamparsum Nota 2.2 program written in Java
>>> for engraving and converting the music to MIDI. From the MIDI
>>> file, I
>>> recorded a digital performance under Logic Pro 8 and gave the
>>> music a
>>> "classical" feel. Without Nota 2.2, a few minutes' work of
>>> microtonal
>>> tuning of the pitches could have taken days. Tulgan's software
>>> automatically bends the notes to AEU pitches.
>>>
>>> The peshrev was written, as customary, according to the Mansur Ahenk
>>> and sounded in Bolahenk - that is, a perfect fifth higher. The
>>> Bendir
>>> samples in the background were obtained from the Usul-Velvele Editor
>>> designed by Ugur Kececioglu. This program's sample-generated beat
>>> were
>>> recorded and applied to the pertinent tracks in Logic.
>>>
>>> Because the peshrev exceeds 5 minutes even in this moving pace,
>>> Kececioglu and I dubbed this compositional form a "concert peshrev".
>>> This denomination signifies the need to devote more than the usual
>>> rehearsal-time to execute the work properly.
>>>
>>> Other maqams and usuls used in the composition are not divulged at
>>> this stage. You may like to decipher the score as you listen to the
>>> music. The score can be downloaded as a PDF from the above link.
>>> Feel
>>> free to ask me any time about the other maqams and usuls!
>>>
>>> Cordially,
>>> Oz.
>>>
>>> âo?=© âo?=© âo?=©
>>> www.ozanyarman.com
>>>
>>> âo?=© âo?=© âo?=©
>>> www.ozanyarman.com
>>>
>>>
>>>
>>> [Non-text portions of this message have been removed]
>>>
>>
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>

🔗Ozan Yarman <ozanyarman@...>

Ay ay. You cannot sing to a peshrev of course! :) Were it a beste or
kar with beautiful lyrics, I could try singing. This shouldn't stop
you from attempting it though!

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Apr 1, 2010, at 9:38 PM, cameron wrote:

> Daaa-da-da, dum-dee-da...
> ......................Daaa-da-da, dum-dee-da...
> ...............................................Daaa-da-da, dum-dee-da
>
> A challenge to you, Ozan my friend! Otherwise I'll be forced to
> borrow the melody myself. :-)
>
>
> --- In MakeMicroMusic@yahoogroups.com, "cameron" <misterbobro@...>
> wrote:
>>
>> Very nice! The first melody would fugue very nicely, it almost
>> works just as it is, try singing it!
>>
>> --- In MakeMicroMusic@yahoogroups.com, Ozan Yarman <ozanyarman@>
>> wrote:
>>>
>>> Dear members,
>>>
>>> I have composed a new piece, strictly in the Classical Turkish music
>>> paradigm, adhering completely to the Arel-Ezgi-Uzdilek tone-system
>>> (24-
>>> tone subset out of 53-EDO) and utilizing a new maqam and a new usul.
>>> This is the first time I attempted to write a peshrev - which is
>>> an AB
>>> +CB+DB+EB... form in Turkish Art music - despite the fact that I
>>> am by
>>> profession rather unfamiliar with this musical setting.
>>>
>>> The piece is in maqam "Nishabureyn", which is, as the name suggests,
>>> "Dual-Nishabur", whose scale can be described simply as:
>>>
>>> B C# D E F E D C# B
>>>>>>>>>>>>> <<<<<<<<<
>>>
>>> where B is perde buselik, which is, in AEU, 81/64 away from perde
>>> rast. The pitches are Pythagorean, with C# situated an apotome below
>>> D. Bear in mind that the diapason is different from the
>>> international
>>> standard and the note names do not correspond to their piano key
>>> equivalents.
>>>
>>> Nishabureyn is a terkib, or composite, which requires the modulation
>>> of Nishabur one semitone above perde buselik. One starts the maqam
>>> transposed to perde chargah (C) and modulates down to Nishabur on
>>> perde buselik (B) which is the finalis. I believe no one prior to me
>>> utilized a composite like this. It is quite difficult to handle I'll
>>> say!
>>>
>>> The usul of the piece is called "Devr-i Aryan", which is a 7/8 meter
>>> variant I innovated and different from the established Devr-i Hindi
>>> and Devr-i Turan usuls in the same meter in that, it pertains to the
>>> 2+3+2 beat configuration rather than 3+2+2 or 2+2+3. I believe I'm
>>> the
>>> first to use this configuration in Turkish Maqam music.
>>>
>>> The Nishabureyn pesrev can be heard here:
>>>
>>> http://www.ozanyarman.com/musics.html
>>>
>>> I employed Omer Tulgan's Hamparsum Nota 2.2 program written in Java
>>> for engraving and converting the music to MIDI. From the MIDI
>>> file, I
>>> recorded a digital performance under Logic Pro 8 and gave the
>>> music a
>>> "classical" feel. Without Nota 2.2, a few minutes' work of
>>> microtonal
>>> tuning of the pitches could have taken days. Tulgan's software
>>> automatically bends the notes to AEU pitches.
>>>
>>> The peshrev was written, as customary, according to the Mansur Ahenk
>>> and sounded in Bolahenk - that is, a perfect fifth higher. The
>>> Bendir
>>> samples in the background were obtained from the Usul-Velvele Editor
>>> designed by Ugur Kececioglu. This program's sample-generated beat
>>> were
>>> recorded and applied to the pertinent tracks in Logic.
>>>
>>> Because the peshrev exceeds 5 minutes even in this moving pace,
>>> Kececioglu and I dubbed this compositional form a "concert peshrev".
>>> This denomination signifies the need to devote more than the usual
>>> rehearsal-time to execute the work properly.
>>>
>>> Other maqams and usuls used in the composition are not divulged at
>>> this stage. You may like to decipher the score as you listen to the
>>> music. The score can be downloaded as a PDF from the above link.
>>> Feel
>>> free to ask me any time about the other maqams and usuls!
>>>
>>> Cordially,
>>> Oz.
>>>
>>> âo?=© âo?=© âo?=©
>>> www.ozanyarman.com
>>>
>>> âo?=© âo?=© âo?=©
>>> www.ozanyarman.com
>>>
>>>
>>>
>>> [Non-text portions of this message have been removed]
>>>
>>
>
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[Non-text portions of this message have been removed]

A peshrev in a new maqam and new usul, strictly in AEU

🔗Ozan Yarman <ozanyarman@...>

🔗jonszanto <jszanto@...>

🔗aum <aum@...>

🔗Ozan Yarman <ozanyarman@...>

🔗Ozan Yarman <ozanyarman@...>

🔗Chris Vaisvil <chrisvaisvil@...>

🔗jonszanto <jszanto@...>

🔗Ozan Yarman <ozanyarman@...>

🔗cameron <misterbobro@...>

🔗cameron <misterbobro@...>

🔗cameron <misterbobro@...>

🔗Ozan Yarman <ozanyarman@...>

🔗Ozan Yarman <ozanyarman@...>

🔗Ozan Yarman <ozanyarman@...>

🔗Chris Vaisvil <chrisvaisvil@...>

🔗hstraub64 <straub@...>

🔗Ozan Yarman <ozanyarman@...>