Yahoo Tuning Groups Ultimate Backup tuning RE: [tuning] Digest Number 3369

Blackwood "Structure of Recognizable Diatonic Tunings"

It's quite brief, but available all over.

Buffalo has it (BISON) - they even have the
12" disc of the pieces. Groove out.

Richard A Sanford PhD (Rick)
Investment Manager
San Francisco

Original Message:
-----------------
From: tuning@yahoogroups.com
Date: 9 Jan 2005 11:00:33 -0000
To: tuning@yahoogroups.com
Subject: [tuning] Digest Number 3369

There are 8 messages in this issue.

Topics in this digest:

1. Blackwood "Structure of Recognizable Diatonic Tunings"
From: Brad Lehman <bpl@umich.edu>
2. New Csound drone instrument/sruti box
From: Dave Seidel <dave@superluminal.com>
3. Re: Rauf Yekta's 12-tone temperament
From: Dave Seidel <dave@superluminal.com>
4. Microtonal course
From: "Lorenzo Frizzera" <lorenzo.frizzera@cdmrovereto.it>
5. Re: New Csound drone instrument/sruti box
From: "Haresh BAKSHI" <hareshbakshi@hotmail.com>
6. Re: Re: New Csound drone instrument/sruti box
From: Dave Seidel <dave@superluminal.com>
7. Re: Kafi thaat
From: "Haresh BAKSHI" <hareshbakshi@hotmail.com>
8. for dear ozan and others , about persian music
From: "Mohajeri Shahin" <shahinm@kayson-ir.com>

________________________________________________________________________
________________________________________________________________________

Message: 1
Date: Sat, 08 Jan 2005 10:01:28 -0500
From: Brad Lehman <bpl@umich.edu>
Subject: Blackwood "Structure of Recognizable Diatonic Tunings"

>The link for Blackwood's book no longer functions, does anyone know
>how I can obtain a copy?

I've got it from Interlibrary Loan several times. Excellent book.

Brad Lehman

________________________________________________________________________
________________________________________________________________________

Message: 2
Date: Sat, 08 Jan 2005 13:58:05 -0500
From: Dave Seidel <dave@superluminal.com>
Subject: New Csound drone instrument/sruti box

Hi all,

It's me again, with another new Csound (actually, CsoundAV) project.
This one is not a composition, it's a realtime instrument for use in
live performance as part of an ensemble. Once to four drones, tunable
by ratios (will accept numerator/denominator values up to 1500), a
variety of waveforms, and optional use of the Risset harmonic arpeggio
effect for tamboura-like goodness. I hope someone finds it useful, but
I'm open to suggestions if there is a feature someone would like to see
added (or fixed); of course, the source code is there for anyone who
wants to tinker.

URL: http://mysterybear.net/article/8/drone-instrument---sruti-box

TinyURL: http://tinyurl.com/4o238

- Dave

--
Dave Seidel
[blog] http://superluminal.com/dave/weblog
[music] http://mysterybear.net

________________________________________________________________________
________________________________________________________________________

Message: 3
Date: Sat, 08 Jan 2005 15:37:09 -0500
From: Dave Seidel <dave@superluminal.com>
Subject: Re: Rauf Yekta's 12-tone temperament

Hi Ozan,

This sound very nice on my keyboard. I don't know if you're familiar
with Karl Signell's book, but his maqam spellings seem to work nicely
with this scale when it a mapped to C (as Scala does by the default),
although I don't know enough about Turkish music to judge how accurate
the tuning is. I just played the "extra" accidentals, which he says
come from the Ezgi-Arel system, as their closest sharp/flat, but I'm not
sure if that's the best way to do it.

- Dave

> Folks, the attached file contains the 12 tone (chromatic Turkish
> Maqam) temperament of Rauf Yekta given in his very long article
> published in the Lavignac Music Encyclopedia of1922 in Paris. He claims
> it to surpass the equal temperament in matters of purity of harmonic
> oscillation when polyphony is concerned. I would like your opinions on
> this temperament if possible.
>
> Cordially,
> Ozan Yarman

________________________________________________________________________
________________________________________________________________________

Message: 4
Date: Sat, 8 Jan 2005 22:51:14 +0100
From: "Lorenzo Frizzera" <lorenzo.frizzera@cdmrovereto.it>
Subject: Microtonal course

I would like to project a course of microtonal music in a music school.
Maybe some of you can help me in making an index of arguments?
The course should be of eight months 2 hours every week.

Lorenzo

________________________________________________________________________
________________________________________________________________________

Message: 5
Date: Sun, 09 Jan 2005 00:47:33 -0000
From: "Haresh BAKSHI" <hareshbakshi@hotmail.com>
Subject: Re: New Csound drone instrument/sruti box

Hi Dave, this is very interesting. I will report after trying this
shruti box.

Regards,
Haresh.

--- In tuning@yahoogroups.com, Dave Seidel <dave@s...> wrote:
> Hi all,
>
> It's me again, with another new Csound (actually, CsoundAV) project.
> This one is not a composition, it's a realtime instrument for use in
> live performance as part of an ensemble. Once to four drones, tunable
> by ratios (will accept numerator/denominator values up to 1500), a
> variety of waveforms, and optional use of the Risset harmonic arpeggio
> effect for tamboura-like goodness. I hope someone finds it useful, but
> I'm open to suggestions if there is a feature someone would like to see
> added (or fixed); of course, the source code is there for anyone who
> wants to tinker.
>
> URL: http://mysterybear.net/article/8/drone-instrument---sruti-box
>
> TinyURL: http://tinyurl.com/4o238
>
> - Dave
>
> --
> Dave Seidel
> [blog] http://superluminal.com/dave/weblog
> [music] http://mysterybear.net

________________________________________________________________________
________________________________________________________________________

Message: 6
Date: Sat, 08 Jan 2005 22:15:33 -0500
From: Dave Seidel <dave@superluminal.com>
Subject: Re: Re: New Csound drone instrument/sruti box

Haresh, I look forward to your comments. If you have already downloaded
the CSD file, please download it again -- I realized that it had a
setting (the output device selection) that would work on my system, but
not necessarily of other systems. I have just uploaded the fix.

- Dave

>
> Hi Dave, this is very interesting. I will report after trying this
> shruti box.
>
> Regards,
> Haresh.

________________________________________________________________________
________________________________________________________________________

Message: 7
Date: Sun, 09 Jan 2005 04:33:33 -0000
From: "Haresh BAKSHI" <hareshbakshi@hotmail.com>
Subject: Re: Kafi thaat

Hello Ozan, thanks for your post.

>>>> In the good old days, Rast was the principal pitch 1/1 of the
scale system used by the Ottoman Empire & co. Nowadays, Chargah is
accepted as C4 on the staff in Turkish Music (an abhorrent blunder in
my sight). >>>>

Do you mean that C4 is now the key/Tonic for Chargah?

>>>> It is only a recent proposition of mine vindicating actual
practice that the perde-system is not based on pitches but degrees.
Thus, a perde-system starting with Rast can be transposed to any aheng
(key). Maqam modulations then take place within the transposed system.
Do you think there are any parallels between my approach and Indian
Art Music practice? >>>>

Let us refer to playing a raga on Sitar. Yes, we shift the fret
(singular perdah; plural perde) positions according to the flats
occurring in the raga. However, in case of the raga Bhairavi (C Db Eb
F G Ab Bb), I have seen it played with the key/tonic on the fret which
is usually the second natural note normally. We may call this a case
of "transposing for convenience".

>>>> Do you think there are any parallels between my approach and
Indian Art Music practice? >>>>

I know too little about your music to be able to answer that. I recall
that I had some off-list exchange of views with Dr. Akkoc in the past.
I do not recollect what it was right now.

However, there is no modulation in Indian music.

Regards,
Haresh.

________________________________________________________________________
________________________________________________________________________

Message: 8
Date: Sun, 9 Jan 2005 08:04:30 +0330
From: "Mohajeri Shahin" <shahinm@kayson-ir.com>
Subject: for dear ozan and others , about persian music

Dear my brother , ozan

please send me the english version of the essay.

U can read this and the book which is written by dr.hormoz farhat , in
iranian composer & musician

thanks

This page is the index to my hyper-media report on the traditional
classical music of Persia (Iran). Of the many ancient societies that have
shaped the history of human civilization, Persia has been one of the few
which has persistently maintained its identity, and individuality through
the ages; this is reflected in its classical music. The purpose of this
site is to allow the casual observer an opportunity to explore the musical
tradition of this ancient civilization.

You will need a WAV player to hear the sound clips in this report. Click
here <http://www.recall.com/zahara/soundfaqs.html> if you need to download
a player.

Below is an outline of the ideas presented in this report. To view any
topic in greater detail, simply click on it.

* A brief history of musical development in Iran
<http://www.duke.edu/~azomorod/history.html>
* Characteristics of the music
<http://www.duke.edu/~azomorod/persian2.html#B#B>
* The dastgah system <http://www.duke.edu/~azomorod/dastgah.html>
* Compositional structure <http://www.duke.edu/~azomorod/persian2.html#D#D>

* Instruments <http://www.duke.edu/~azomorod/persian2.html#E#E>
* The relationship between music, Sufi poetry, and the associated art of
calligraphy <http://www.duke.edu/~azomorod/poetry.html>
* Elsewhere on the web <http://www.duke.edu/~azomorod/persian2.html#F#F>
* Bibliography <http://www.duke.edu/~azomorod/persian2.html#G#G>

Characteristics:

The following characteristics are shared between Iranian and other Central
Asian music:

* The music is mainly monophonic, with each instrument in an ensemble
following one melodic scheme.
* The music is based upon a modal system; with each mode engenderring
different melodic types, called gushehs in Farsi. The execution of the
melodic types are left up to the musician.
* The use of microtones divides the scales into more than twelve
semi-tones.
* A priority is given to ornamentation.
* There are a number of substantial pauses in each piece.

The following are characteristics which distinguish Persian music from
other Central Asian music:

* Melodies are concentrated on a relatively narrow register.
* Melodic movement occurs by conjunct steps.
* Emphasis is on cadence, symmetry, and motivic repetition at different
pitches.
* Rhythmic patterns are kept simple.
* The tempo is often rapid, and the ornamentation is dense.
* Vocal parts are often decorated with Tahrir, a vocal ornamentation
similar to yodeling. Click here <http://www.duke.edu/~azomorod/tahrir.wav>
to hear an example of tahrir. (This is a 229K WAV file. )
* Also, Iranian music is unique in the Middle Eastern tradition in that the
different melodic phrases, or gushes are supposed to model the rhythmic
stamp and melodic pattern of poetry.

Return to index <http://www.duke.edu/~azomorod/persian2.html#A#A>

Compositional Structure

There are three instrumental forms and one vocal form in Persian music. The
instrumental forms are pishdaramad, cheharmezrab, and reng. Pishdaramad was
invented by a great master of the tar, Darvish Khan, and was inteded as a
prelude to the daramad of a dastgah. It may be in duple, triple, or
quadruple time, and it draws its melody from some of the important gushehs
of the piece. Cheharmezrab is a solo piece, mostly with a fast tempo, and
is usually based on the melody immediately preceding it. The third
instrumental form is the reng, which is a simple dance piece that is
usually played at the conclusion of the dastgah.

The vocal form is called tasnif. It has a design similar to the
pishdaramad, and is usually placed immediately before the reng.

Return to index <http://www.duke.edu/~azomorod/persian2.html#A#A>

Instruments

Iranian classical music is usually performed by small ensembles of variable
size. These groups typically consist of the singer, one or two accompanying
melodic instruments (either of kamanche, tar, santur, setar, or nay) and
perhaps a rhythmic instrument, such as the dombak, or the now rarer daf.
The most important instruments are listed below. Click on the names or
pictures to read a description and to hear a sound sample.

<http://www.duke.edu/~azomorod/setar.html>

setar <http://www.duke.edu/~azomorod/setar.html>

<http://www.duke.edu/~azomorod/santur.html>

santur <http://www.duke.edu/~azomorod/santur.html>

<http://www.duke.edu/~azomorod/tar.html>

tar <http://www.duke.edu/~azomorod/tar.html>

<http://www.duke.edu/~azomorod/kamanche.html>

kamanche <http://www.duke.edu/~azomorod/kamanche.html>

<http://www.duke.edu/~azomorod/nay.html>

nay <http://www.duke.edu/~azomorod/nay.html>

<http://www.duke.edu/~azomorod/tombak.html>

tombak <http://www.duke.edu/~azomorod/tombak.html>

Even though they have unique voicings, these instruments are intertwined in
the ensemble to maintain a monophonic texture. The following example, in
which all of the instruments play the same melodic line is typical of
Persian music. To hear what an ensemble sounds like, click the speaker
below:

<http://www.duke.edu/~azomorod/monoph~1.wav> The nay, tar, santur, and
setar playing as an ensemble(133K WAV file).

Return to the index <http://www.duke.edu/~azomorod/persian2.html#A#A>

Related Sites

Bellow is a list of other sites having to do with Iran or Persian Music.

* The Iran pages at Stanford <http://tehran.stanford.edu/audio.html>
This site contains many more sound clips, and information about other
aspects of Persian culture.
* On Iranian Classical Music
<http://www.best.com/~mccomb/music/world/iran.html>
This site contains a very extensive Iranian classical music discography,
including information about some of the most famous composers and musicians
of Iran.
* Persia Home Page <http://www.ed.ac.uk/~bhm/art.html>
A great site containing links to sites which cover every aspect of Persian
art and culture.
* Rootsworld <http://www.rootsworld.com>
This on-line journal is devoted to the music of the world. Occasionally,
it will contain some information about Persian music or musicians.
* Kereshmeh Records <http://www.kereshmeh.com>
This record company deals exclusively in Iranian music. Their site is a
good place to start looking if you want to start listening to Persian
Music. They have a number of sound clips from one of the most respected
vocalists of the classical style, Mohammad Reza Shajarian.

Return to index <http://www.duke.edu/~azomorod/persian2.html#A#A>

Bibliography

* During, Jean. The Art of Persian Music. Washington D. C.: Mage
Publishers, 1991.
* Farhat, Hormoz, The dastgah Concept in Persian Music. Cambridge:
Cambridge University Press. 1990
* Safvate, Dariouche. Nelly Caron. Iran, Les Traditions Musicales. Corra:
Buchet/Chastle. 1966

Created 4/22/96 By Ali Zomorodi

Book Title:

DASTGAH CONCEPT IN PERSIAN MUSIC

Author:

FARHAT, HORMOZ
<http://www.pickabook.co.uk/cgi/search.php?type=author&query=FARHAT%2C+HORMO
Z>

Publisher:

CAMBRIDGE UNIVERSITY PRESS
<http://www.pickabook.co.uk/cgi/search.php?type=publisher&query=CAMBRIDGE+UN
IVERSITY+PRESS>

Edition:

NEW ED

ISBN:

0521542065

Binding:

PAPERBACK

Pub. date:

8th July 2004

Pages:

213

Despatch:

Not In Stock (You can still order this item and we will despatch your
order as soon as it is available)
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________________________________

From: Ozan Yarman [mailto:ozanyarman@superonline.com]
Sent: Thursday, January 06, 2005 11:37 AM
To: tuning@yahoogroups.com
Subject: Re: [tuning] modulation in persian music

Dear brother Mohajeri,

Our musical heritage links us to the same past. But tell me please about
the destgah system and its difference from the maqam system. What are the
fundamental differences after the Persian reform in music? And when did
this conversion take place?

Peace,

Ozan

----- Original Message -----

From: Mohajeri Shahin <mailto:shahinm@kayson-ir.com>

To: tuning@yahoogroups.com

Sent: 06 Ocak 2005 Perþembe 6:02

Subject: RE: [tuning] modulation in persian music

The theoric basis of persian music was affeted by theories of pythagorean
school in the era of al-farabi and avicena.but at the past and before
construction of dastgah system , our music had maqams like turkish and
arabic.

shaahin

________________________________

From: Lorenzo Frizzera [mailto:lorenzo.frizzera@cdmrovereto.it]
Sent: Wednesday, January 05, 2005 5:11 PM
To: tuning@yahoogroups.com
Subject: Re: [tuning] modulation in persian music

Hi.

I did'nt know nothing about persian music.

After I've read this http://www.duke.edu/~azomorod/dastgah.html I've
better understood what you mean.

I think that this system is very similar to ancient greek music. Am I
wrong?

Lorenzo

----- Original Message -----

From: Mohajeri Shahin <mailto:shahinm@kayson-ir.com>

To: tuning@yahoogroups.com

Sent: Wednesday, January 05, 2005 5:25 AM

Subject: [tuning] modulation in persian music

Hi dears

Radif of persian music is systemt of dastgahs.each dastgah as subsets of
radif has a few goosheh .

The structure of goosheh is based on different formulas which is
charactristic for each.

the strucrture of each dastgah is based on tetrachordal-structure of
intervals :

1- the tetrachordal structure A+B modulates to one perfect fifth up the
tonic of scale.

For example starting with SHUR C and going to SHUR G.

2-Interesting that the sequence of tetrachords in the structure of
dastgah is like A+B+C+.......instead of A+B+A+B.(C BECAUSE OF EFFECT OF
SHIFTING OF FIFTH)

So u see that some goosheh in a dastgah can represent new
tetrachordal-structure and ways to modulation to another dastgahs.

For example in segah dastgah you can go to homayoon or isfahan as
modulation . but the modulation occur after palying gooshehs in a sequence
. u can not start the dar-a-mad (starting goosheh of a dastgah) and
modulate befor ending .

3-U can also change your modal expression in a gooshe structure by
changing function of structral intervals in it. It makes another formula
for new goosheh or goosheh of yours not included in radif and new to every
body(new modal expression)

But as radif is playing for almost 1 century , the new musician think it
as only a way of improvising ..... and looking for new ways of modulation
to dastgahs which there is no modal way for them.

________________________________

From: Kraig Grady [mailto:kraiggrady@anaphoria.com]
Sent: Tuesday, January 04, 2005 7:11 PM
To: tuning@yahoogroups.com
Subject: [tuning] ragas, maqams, (Bach . . )

13th Century Persian music theory is the source of north Indian tuning.
not Sure about the Maqams , but i read recently that the Radif has
prearranged formulas for modulation
with the improvisations being before and after.
Structurally and compositionally i find this idea quite appealing

>
>Message: 9
> Date: Tue, 4 Jan 2005 00:05:25 -0500 (EST)
> From: Christopher Bailey <chris@music.columbia.edu>
>Subject: ragas, maqams, (Bach . . )
>
>
>What you have described "smells" very much like the 'maqam'
>concept/structure in maqam music.
>

>Not all maqams modulate as far as I know.

>
>
>
>
>
>

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/>
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html> 88.9 FM Wed 8-9 pm Los Angeles

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RE: [tuning] Digest Number 3369

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