Ozan's music

I finally got a chance to listen to the 79-tone Qunun
demonstration while following along in the accompanying
notes...

>1. For the first 15 seconds I flirt on the Hijaz tetrachord
>starting on A.
>2. From hereon to 20 seconds I descend to D to pronounce the
>Buselik flavour.
>3. From 20 seconds onward, I make a modulation from Hijaz on
>A to Buselik on high D.
>4. The modulations continue and come to a stop on D with a
>Buselik repetition of the same motif.
>5. From 33 seconds onward one hears a D minor arpeggio and
>I perform the same motif on high D.
>6. At about 40 seconds, I make a transition to a Nikriz
>flavor, which requires an alteration of two notes of Buselik
>on high D, making another Hijaz tetrachord.
>7. From 50 seconds onward, I return to Buselik on high D and
>rest on A Hijaz.
>8. From 1:06 you hear the same motif and a transition to the
>Hijaz Maqam on high D instead of D.
>9. By 1:25, I begin to return to Buselik on D and sound the
>arpeggio of D minor once more.
>10. By 1:30 you hear Nikriz again.
>11. By 1:40 Buselik again and a famous melody I borrowed.
>12. At 1:57 minutes, I try to alterate F to F# but the
>mandals get stuck. Fortunately, I recover and carry on.
>13. Around 2 minutes, I come to rest at low A with a Hijaz
>tetrachord.
>14. By 2:07, Nikriz one last time.
>15. By 2:15 a G minor scale with a sesquitonal Bb, in fact a
>requirement of Nikriz.
>16. At 2:20 I have descended to low A Hijaz.

...these really aided my appreciation of the piece.

Also, Ozan, I found "Neva Cengi Harbi.wma" and
"Kullar Olam Seni Doouran Anaya.wma" on my hard drive.
I gather these are in 12-tET -- is that why you haven't
mentioned them here? Nevertheless, they strike me as
an interesting blend of maqameque scales with tonal
harmony.

-Carl

Your continued attention honors me Carl. Only the second piece is in 12-tET.
The first one was detuned by myself twice... once for the principal melody,
and once for the brass harmony accompaniment. The composition was written
and recorded much before my theoretical understanding of intervals was
sufficient, and hence, I cannot give an accurate account of what or how I
did it. I only tuned the pitches by ear back then.

Indeed, Nawa Jeng-i Harbi is a well known anonymous composition of Maqam
Music. I only arranged and harmonized it. The same is also true for the
anonymous Turku from Aegea transliterated: `Qullar olam seny doouran anaya`,
which goes something like: `May I be a slave to the mother who gave you
birth`, in praise of the lover.

SNIP

>
> Also, Ozan, I found "Neva Cengi Harbi.wma" and
> "Kullar Olam Seni Doouran Anaya.wma" on my hard drive.
> I gather these are in 12-tET -- is that why you haven't
> mentioned them here? Nevertheless, they strike me as
> an interesting blend of maqameque scales with tonal
> harmony.
>
> -Carl
>
>
>