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

✩ ✩ ✩
www.ozanyarman.com

This is awesome Oz, very nice piece, lovely melody and top notch production!

Chris

On Tue, Mar 30, 2010 at 10:28 PM, 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-
>

Thanks Chris! Much appreciated. I'm still learning audio mastering
however.

Oz.

✩ ✩ ✩
www.ozanyarman.com

On Mar 31, 2010, at 7:19 PM, Chris Vaisvil wrote:

>
>
> This is awesome Oz, very nice piece, lovely melody and top notch
> production!
>
> Chris
>
> On Tue, Mar 30, 2010 at 10:28 PM, 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-
>
>
>