KARL L. SIGNELL Da Capo Press Music Reprint Series MAKAM Modal Practice in Turkish Art Music - Foreword by Bruno Nett! | DA.CAPO PRESS + NEWYORK * 1986Sno te hei {29 Sora Brot hw tone 1001 nage trove ‘ec ove trom Turney recently?” leading classtent ‘mck in 1972 that this muse ould Be dead "in ten yoara.” Tove been unable to visse Turkey since 2972, bit All neve from there iniloates tat, fortunately for bin and for us, Recep Bey Woe vrong, ‘The major reversal te Doen the atti= fecd artiste such as Tenburt Aeedet Yaga? on goodwill missions broad. Talented ney artiata, AbdS Cogan tanta and ‘Puller discussions will appear in the journal Asian Waste, but gevoral Snportant new publications my siaply be mites bere: the floal two volumes of THrk MsShies AowiklopedLst (4-2) Mevlevt ayin scores wilted hy Sadettin Meper; two Books ty” ‘uour Gadel on {Iahi; an aptholony of ayrien ty Bten Rabi Snir, Seti Olserse"© thoory Yook; Baran Haradents"® theory books of Ak Uni. Among tbe records recently made, I vould recoment okie 518k on Olean Andel, Kn Yarace on Kent, and KLE Skier en Segoeter, Mevaat Atis¥ oomausting.Since the original publication of thuan se 29TT, eto- reaearch, Professor . Valter Feldnan, currentiy at Princeton's far tastern Studies Departaent, has accomplished mich nev torical research in claetiea] Turkdah music, WY om etuty of rintty bave fatten sicce 1972, ALL lovers of elssefeal Turkish runic WiLL aise the epoyelopedic mind of Sadettin Heper, the Liltties of Neyeen HAU41 Can. I feel eepecieliy teeny the ur- ‘inely tose of my freed and teacher, the testful Atmgiaale futhays neyaen extreordisatre, The truth and style of these Vest Byatterinie, 9 nauneys 1985, mu fn punks Are anteKARL L. SIGNELL MAKAM modal practice in turkish art music (0 Senet Asian Music Publications or ie a te USHn'widxe SF supplenentary shecta inserted Ln theCover design by Ellen Aachoaun Esau 0-913360-07-4 Library of Congress Catalog Card Munber 74-76787 Aslan waste Publications SEF hurter Wetrartlty of weehington Setttley meenington 90193 opretent 7 by Kart, stenett Getnted in the Uatvea states of America EN? Hlants reservee List of tlugtrations vit Foreword by Brine Nett xh Conventions xvii ‘ulde to Pronunciation of Turkien Ferma xix 1. the Matorical Context of furnish Art iste 1 ‘Motortenl svotution of Turtian Aotation 2 Gatton Rapertoise fohunterign Gonent 11, the Classical Tradition in Contanporary Practice 10 Yonsclasates) Genres Sources 21 14, Intervatie structure of Tureiah Art munte 72 ‘meaty tar Practies 37 Ws ona Centers and Tete Sequence 8 Melodie airection 50 Suir so WE, Modulation Between Mexanee 65 Single Ngte"porrowine goto” &? Paesing sotulattona “77 Pound alae» 107, piulecton in tanger” Forme 7233 ey mete "etVAT, stereotyped Hotty ane porasee 125 ura ang “Eranaponed® Makat-2 13% ‘praneponed Pragaente 13% ws SGIREERETEE BR Agu cng otraneponsa © maxan-e ‘sumary Appendix opera Appenaix |v strobooonn meaauresanta of Selected Interval 135 | 3s List of Informanta 151 Gr eotated Soureee” 16) Dy Diaeogrepny 165 a ibiloerapky 85 Index 193 Yea 8 9 2 2 2 2% Intervate of the GANCKK oele ACDUgERLY wale IONE scale Une of ay stenature (RAST) ‘wenty-four pttanen generated bY 67 che of rietne oaple* tetracnerue, pentachorde ourth degree of SAah Texte va. kagi-irel notation ayetene ecdet Yapar'e agaitional pitene {pamobnooaiee Ln theory and practice Extension of SARK acale elocie dirvetion of USAR Detotie direction of AEUATE elodio atrection of HOSEA origin of #4 in HOSEN, MOKArTER Lower Litt of UppAK Tower Matt of Beret Upper Liatt of mura Upper Liat of MOsEENE Sapir by Yertar stah Sapte by Gimertge stat 2 25 25 % » » »” ao » 2 33 56 oesssesExample 27 age ample 58 Belet 080 ending page 100 28 Atteratlon of Belg in Rast o 59 AUMAY scale a 29 Raleed Leading tone, FUSELIK 8 60 Anasen-KOnal A22ustration a. oo ” {51 KORDE tetrachoré on @ aoe a a 462 KOnntut-aGeazde, thret version ase ® n 6 10) 3) Aaleed Leading tone to doainant in RAST 73 6 aoe 3e aleed Leading tone to doainant Sn 6 aos acpusin ” 6 106 95 sewn * 67 wesaR-FUGELEE A21vatration 106 36 SKK, wDsreAR seater me 62 fT THAR aealer a0 32 WOSTELR excerpt % 69 pavAT-DL SHAK wonton a0? 59 wazan scale % 70 BESTE-NGLR sea ae? So. wOZz4N Saiuatration ” 7A aacresntola {2ustration 18 ‘1 ntoaz Auuntratton 2 72 HOSEEN=AS194% soale 109 42 Mfcu2-ADMYUN L2tusteetlon ” 73. PUSELIN-ASIMAN noni 19 49, Passing modulation tn BEUATE 0 7% -BEVAT-AR4B4N {1iuatration no 4 egloing aodulation tn BEZATL a 75 ade Liiueteation am 5 Peening modulation in ACBMgtAAN a 76 ERAVEND-L HEBER soate ae 46 neyan in tian form 83 72 MNAVENO-t XEBIR SIiuetration uz 87 Magn reghater weyan rs 78° geruaanan scale nz 46 mayan in TARR 85 79. SETAaABAN SLDagtration wD ng of TAMA, S12 Shak 36 #0 ns 50 Senter uaed Sn Bx. 52 "7 a is es toed In Be 52 a” 82 meyan structure sn ayin stance ng 2 90 83 hoon Matar excerpt we a ” 1% stereotyped motive (saa) 1 > 95 85. stereotyped notive (ACBUSLRAN) 2 55 mana sequence ina ” 36 stereotyped motive (ROSEN) 1 56 Sone of =HORDE ending * 87 Stereotyped notive (SehH) x 5? ACDA-KDRDE Attustration ” 88 stereotyped motive (RST) a 95 stereotyped motive (QAR) re witha * 93 ” 9s % 8 ” 100 ee 19 1 205 208 io az up ne ‘able 1 theoretic IE piten names, two sete IT Notation of pitehee, ‘stereotyped SBZKK endence, IE ‘ypey” AECAZ pareae sed active SPUN aotive TAROKGAR aot eraonal phrase by Kutbey (SABL) Peraonai phrase by Genii (SAB) ‘eraopal phrase by Yepar HCA erwonal phrase by Sayan (BEYAEL) ‘Traneponed fragaent, Sah oh seaiee bok Lhiurtratton iauetretion of low teneicara riluetration of medium tenettare ast neal, NtgAnuREN scene NY ABUREK metodte 2ine TIRODLELL-ALCAD and Ste “trane ‘onttionet onaracteriatie sodulation, SurtotL ‘Charectertatie nodulation, EVCLAK SEE eee, teaneponed own one MICA este Pigure 1 ‘Tanbur mack fretted for twenty-four- Page 29 ao a0 a0 a an ae we wy ay ns 6 26 oe ae 40 wy ae as 16 18 2 xo ‘The publication of Karl Signell'e atzeertation, the Aire faLl-length treataent of Ate evbJect in Bnglieh, ie indeed a welcone evant, for 1t Relpe to f111 one of the woxt prominent Iecunae In ettnonustcology, the cltanieal aushe of ‘the art musica of the KLddle East have been an aren of Interest to tewtern auele scholars for alnoat two center Deginning with the works of VAllotenu and Klseevette ing the fret part of the trantieth century, thie inte yegan to abeor> much eoholarly aneray. Only in the last #3¢- ‘en youre has there been a powerful resurgence of publication An Madie Easter music, and only in recent tines has thie stunle and susie theory and {te relationship to Masters chr ufeation. hile a geet deal of austcologtenl research in Arable centera of Learning as Ceraany, Teruel, Iran, and the United States, the musle of Turkey haw experienced relative neglect, 1 mull number of studies by Kurt Reinhard and varlove Ter= Len acholara noteltnatanding. At the tine of thie writing, there appeared feinhara'e Righly {lluminating rurvay of ree fsvarch An Turkiah musie (Acta Municologicn 1266-280, 1972)venioh ataten in great detail the preserving and regeneaating Tole of the collecting, publicationvand Miatorleal afforte (of TurtLeh susiclane and acholare, but 1% also pointe out that Uhey have ae Jot not cone to gripe wlth wany baele ques acl signed, who apent four years touching and stuay- ing Sn Turkey, appronener nia wor% ae & contentlonal musts cologist detLing with notated, publiened aaterial and al ‘he Hind of etinenuslcologicel field worker ho Listene records, interviawa, and even participates in the culture to hich he Le devoted. the thrust of Ma study La the explo fetion of the Turkish verelon of the Makan aystan, Snoluding ve Internal structure, ‘ta ueu of sodalatton, and thenatic acts in contenporary theory and practice. Exphaaie 2 08 he theory, anda further step would be the examination, tn ‘he way in which Uhey conforn to the theory. ‘Slenell alo comment on a large nuaber of related quae ‘one atch aa the forme and genren of contenperary music, the problene of Antanation, and the Aistorical antecedents of the fyaten now in use, soong the woat significant parte of Ale ork Le the chapter on modulations between Rekana, whieh he ‘lasesfien and analytes with inconaon eopntetlention. ‘Taroughout the work, the reader Ae struck by the close elationentp of Turkien musle and ite theoretical aystan to ‘Ghat of Iran and the Arable world andy indeed, #9 St of India, Although widely recognized for dacudes, thie Felt Hlonshdp ie here clarified. Ts the stady at band, added comparison of these eystene in theory and in practice. beyond aii thie, Signeli wetee At elear thet furan rt uate te very auch alive toaay, and that Ste practi= ‘loners are great artiste who are continuing & tradition in senle te now different from what {t een, structurelly and functionally, in the daye of tha Ottoman bapire, underecoree te viaiity. slgeiite etuty Le of course not the last ord. Tt Flite w gap but Lt algo polnte in mary directions Mar Signell will alo be the ong to carry out at Leeet gone fof emia iaportant work of the future league of nate rane et tarence cuaniea Surah msi can be considered one of themnlor ug cet neees ofthe worn ntetary, Uv flourished Te SieTeon inne forex cotarest tty, foriaaie TEAR tna an acetone a nproieetion alt aureive the cantar of tat epic ae thate oe ne etter slnitcanc and sha artes orn Ef eestionl Trtien Art monly 16 Bue WEEAW# cot mee eStanitey ot eastenie recordings, and ath akc {7Niory atoiee ave buen swely acing, SET Tor RI te tacts she fieet uch Belses TSAEtuay secu terested in furaion eatery oa tne eeTEPINLttercandottgne Sn Zetanb (ron fobect SOREES}ecn ines to ager. h seat thay ov the Jin cate eeatane te atest of thee tntereets bars I DUEESIU seen in etnoricoaey, shat Tstey 49 7 ton forthe tone and BA rant tron the Oss. goverment ade research in THDRAY FO¥- Siete f areives there in hugst 1970 t0 begin field work reese eruay and return tothe U.S. in bugust 1972. Tose Sconapetncee tontna were fully occuped with Listening 80, Triintings coltectine, dtecussing, and perforning Turkish iy bane of operations wie Tatanbul, the aecot f0F ols cat ond felt nesteLane froa alL over Turkey. learning #0 play She clnsslonl ney (Fhute), Xmas eventually able 42 porters ttn profecatonal ensembles at Rado Tatanbul, the Conserve vie and appeared on severe) recordings Lesved in Turkey. uast thie perforwance activity be alaconstrued, let ee anton to a¢d that my porpone wan never to "puae” an 8 native TTurtieh tislelan, rather to Decone immersed in the musical ite and gein an entree to the world of actual performance practice. hie study would nave bean inconceivable without that expertence.) Tape recordings Wore made of Live perform Chior siden were takens Peshape the aoet valuable, yet in angibie, sapect of ay Life in Zurkay (aelde from perfornine) ab tne expomure to the texture of Turkien 1ife-vthe ator Doapttaliey. ‘pon ny return to the Staten, Twas fortunate in secure tng the appotninent of # classical muslelan, Tanburi needet ugar, ar Vielting Artiet at the Univerelty of Washington for 197273. Yagnry & virtuoso perforser and & formianble author~ fey on eakan praction, was frequently consulted during the riting of the final draft of the dlesertation. Invited to Join the preater U.S. tour of the mavlevi (¥mirLing Der {Uh october-tovenber 1972, I man able to renew con- Taste once sere with aany of the finest aualctans fren Turkey, im Appendix 8, "Living Sourcest List of Informante,” tev of the nany arthete who have nade this atidy powetble are fentioned and belefiy described, Of there, Naysan Atagingte Kutbey, ay naz teacher, and Tague deeerve epeclal santiont ‘oth are eam frlende and both gave lnvalushle auaietance to sy studies, the reapective atafte of Radio Ietanbel, Tataxbuleniciped Conservatory, and of Robert College in Ietanbul were fort generous and patient with help. For xerox eoples of out ftoprin scores, Tian eepectaliy grateful to Hr. dene Stra Taugh, an ettnonualoolony student at the Free University of Berlin. Financial support for to yeare of field work we lnaay provided by NOUL-2itLe 1¥, the Tuntish Minkstry of fiveation, and the Pulbright Conmlasion in Tupkay, lastly, Teladiy acknowledge ay devt te Protensore Irvine and Andrews cof my doctoral committee for their tinely #ugzestions on the riting style and organisation of the dlesertation, ae well Uh toy dvieor, Professor Robart As Garfian, for hie ine ‘rect and aubtle Snfluence (the Dest kind). Colter Park, na. Sarah sisi ‘Aun turtien terns are underiined on fret appearance, ‘huss mean, nay, ete. Following definition, no further une ertining ta ued. upkiah plural suffices, “LAE and cles are avoided tn favor of the nore Feudlly understood *-4" convention, thier anbur-e, garka-e, ete. Arabic plural forme (aakamat, saves” ‘bat, fcr) nave Deen avoided whenever pocsible for the sane sass nan ETAT, ete. and are never underlined letter capltaltaed, thier Bast, Hlgat, ete. Western Letter manes for pitonee (Gs fate) 40 not ‘occur in the context of abaolute pltch, but rather in refer fence to the written pitch. Upper caee Letters inalente the dover octave, with the occasional notes falling below thet evel hom ty adding an apostrophe, thues cro, OI ee tonal notes which Le above thie level shown by adding an Spoatrophe (shown in the right-hand sxaaple shove):EneLishsgulvalent ound in malen = ‘ater, teh ‘ dam, jeer cara ate oe ot Eth) gos st (Clanginens preceding vorei) 1 (alwaye sounded) bat, abe ame) trays, rated in oe pits mast an mengure, Digou stmee 18g) (roundea) F (eingte 199) oe ine, etoevere the Enghioh equivalent Le the same oF nearly the no exanple fs given in the List above, purtate recognise only three élacritical marke in 20d- fem Tankian orthography: the umlaut ("), the cagill6 (,)y and ‘he noft g aien ("J+ verde of Arabic of Persian origin whieh Aneiode 4 clearly lengthened vow) Sn soderm Purkiah pronan- lation will oo be deolented in the text by the traditions clroufiex accent (" yf sound to precede the lengthened vowel, than Kir Le pro= +" hroanftex sara indicating Jong vowels in {he Arable oF Peraian original Dut not sounded in modern Tur= lan do not appaar Sn he text, But will be fomnd correctly An the Glossary. The ain (+) has deen eliminated from thie text on the grounde that Lt no Longer extate in present-day in the Roger Repubitc of Turkey, the torn “Turktah” has femme to nesn many things: Ine queet for a netionel identity ly 2he ofettteation of the ancSent HiteLten and she language fof the provent Turric trites of Central Agia ae Turkish. On the otter hand, the auch cleorr heritage of the Ottonn period is often rejected by those sane people, who wih to ‘laneoctste haneelves fron thls latter symbol of Dachward= hese and corruption. Turkiah art music (Risk ganat ausikisL) is clearly the product of the Ottoman efviliaation and, as auch, suffers ‘ron a conscious oppocttion ty those who reject that culture {for Sdeologicnl Fetcont. The force of tradition has bean we poverful, tough, thet thie musie continues to find auger’ Incerpretere and capacity audiences after Mf & century of ‘the present study in an attempt to explain aime aspects of a najor organising principle of Turkiah art ausic, the fia (nodsl) ayatene Bacauny of the vitaltty of the cont porary tradition, the current etate of the art ie emphasized: Navertheloss, a sumary of the historical origins of the musle st the outent should give sone perepective to the eubeeguent ‘outeton. ‘Traditional Turkien art music today draws its atreneth ron a rich piot, Its vast repertoire includes compositions rnubering in the thousands and spanning a periot of at least ‘ive conturies. During that tine, several native Zuskish notational ayetene were developed to better preserve thatrepertoire, The notated collections of auste throughout ‘utelah Matory have often boon supplenented by the appa ‘ng of # theoretloal treatiae, the aain Derden of thie chapter is to trace the main historical background of thece ‘hove fenturee-crepertotre, notation, and thecry-vin the cmivext of thelr direct influmnee on today's perfomance ‘he performing musician in Turkay today ip almost cone pletely reliant on the written score, wintlar to Me Hester counterpart. Yot only 4 generation ago, the oral tradition wae in {1 eeny-nan teetified #o by the prodigious merorien ff older musiotane (Nine tarettin selpst, Bali2 Can, ete. )e Nishough nesorteution fas thir only very recently Ween pre- ‘native Turklan notation 4e extenaive. Examples of cipher notational aystaes abound in the early vusiin ward, feon Safi alcDin's in the 13th century to Canter sirte in the early 18 (ope Gxtana 19522101 sagt 19591526). Te ke very doutnun hat veh acoree were ever read fron at a performances thair purpore vas narely to illustrate ‘aorvtionl point oF to collect knom plgses. one of shane notational aystens gained any currency aeide from helt farly muses Hampers notation, ale a clphor aystan, was created by comniselon of Sultan Selim IIT in the late 18th century and var widely employed thereafter, only to becone dleplaced in srry recent tinea by Hortern staff notation. Yot the extreme inpLicity of Hanpareun notation--Lt uoes enly one accident {hi'tor instance-vprenuppones a complete familiarity with the oda practias on the part of the user, whLle Manparsun rotation 1s no longer in uen today, ‘te role in preserving ‘large portion of the repertoire of the Inet century oF # fcamot be underestinuted. large nunbere of conposttions in untransertbed fanpareun notation atill rest untouched in private collections in Turkey (Esgh 195315301 sBser 19641247), ‘ester etaff notation wae firet used for Turkish mele by the 170m century folteh convert to Ielea, ALL UNL. In he nowefanous collection, HacmiscL gail sia (Instrutental fing Yoon Collestion), ere found the earLieg® axanplen of uexien muste tn Buropean notation (Oransny 2964088). Buro- aur Yoxta, the flret of the aodern Tarkan aeste t= retiolane, introduced « aodifiag furopean notation in Rie 1921 Lavigne article, Yerta'e aysten utilizes a variety of special soctdentale to exprese the alerotonal inflections required for the Turkloh nodal eysten. Mie notation wae in force for nest official publications of the Tatanbul Conser— vatory during the 1920"e and 1990'a. Yerta'a colleagues, Bagh and Arely sede further revisions of hie notation to provide the eyaten in use frow the 1930 ‘through the presents Detelle of the HegL-Arel notation aystea tre given in chapter IY Aunoet elt classical cosposttions are performed tron veeitten notation today. On one Mandy the unkveraellty of Drectous qualities of the old oral tradition have alaoat dia Aopenred, expecially the concept of the melodie Vine.‘me Current Repartotre in Historia Context ‘he traaLttonel classical repertolee perforned in Turkey today Le selected almost entirely fron notated sources. The various collections, in Western ata‘f notation, seen to derive ‘rom three gourcees (1) compositions of the 20th century ‘alroedy in Wester notations (2) traneeriptions of conpoai~ {one fron the memory of older musicianss and (3) tranelacton| any given ploce in ary of these collections. Moreover, virtuaiiy nit. therefore, a great aany compositions may be fF dsbious attribution. On the other hands internal etyltetie fvidence in woet places elves ene « rough taste upon whieh to fore a judgnent of the approximate period of the plece, though this Le a subjective queee at best. ‘in obviously anelent Instrumental place oceasionslly per formed todny {e sinetines atteibuted to Farabl (2, 950):2 since no notated axanpler of music exist in Parabi's Books (arzrienger 1930ex11), “Ala clan mould appear to be te Umeupportable ae thst of Ferabive vinvention of the kann (aitmer). ‘toire war algo a musician and musle Sworlet, AbuluRAdLe Marags (4. 1895)+ who Live at various tieee at the courte of Baghdad, Hernt, and Buret. Since Meragi weed a type of cipher notation in his treatises, we can ansune cone authan ‘olty for she ome talrty conpoettions today ascribes to . MM yor five centuries after Meraci, music flourished in etactea in te variety ot nationalities, tligtons and teelal stations of typical conpvere of tw pe fetath heads of rate igure gronnenty taongat Obontn onpnera, ors than trnkylontrwntal pleset fom the Steve reperteice ae sttbuted to Gurl Glray tan & 26th Sentry guveriy Fler of Gress campoer, pvt sheen, fed mtelan. The 170-18en century governor of Melani, ‘nce atone (Kanenrodhe in Rerkien), provides ww eivh STURT 3 tan ae Ma'am severe eaten wee Seo trom for ther noice abftsieey she owt evae Being Sutan elim 11 (=. 1709-1807- an acomplahed poet, marker itn, and conontr, della ua tlco ere patron of soles Mie salen fe sneered tn olden ge of Furiohstoneenl ‘The Mevierd order of dervishes Mave hed a twofold Lnflie ence on the repertoire. Tale Doty of titial musse In teeif eontaine much of the neat Alghly ragarded compost tions ‘ron the 16th to the 20th century, In addition, many af the Nevievi conposera--dtatingulshadie ueually by the tithe, “Dude"--vare outstanding in ereular forme 82 well. he beet down Nerlevl composers are KSpek Dervig Mastasa Dede (37eh fev Bede Efendi (1Bth-19%h e.)y and Rau Texte (19th 208 oh Religious ainceitiss, stints minorities, and wenen are saiso well represented. the Best-knom exnnplen are the Polish ‘ALL Ufei and the Rumanian Cantenir, alreedy nentioned shore. 1 Greer fur nevehant of the 28th century, Zabarye, contributed 5songe suffused with Christian ayatictae. An ingtratentaliet tna conporer at 2h court of Salte TIT, anburl te Shows Hanparsun wa an Araenian, OF the aiatar? conposersy fan 18th century wonan of the Rares, Diltayet Hanis, left natranental work often heard fodays ‘he mustonl denande of the Muslin Liturgy ale> protec fxoedient performers and composers, sone of whines gain ‘ane in the secular music vorid. the so-called huslim pro= hibition ageinat susie apparently carried Little welght Jn urney, were even a GahdLiniaw (he highest rank in the Muslin hlorarehy), Beet Efendt, conpoped secular tones. Other reiigious tities, mich en Hatieane fiag,?--enkeh would van to indioate a certain devotion--are Iiberslly epeinklea mong the Tanke of aveular composers ( aft Ponty lac, APif bay) Sinze the founding of the Republics Turkish cons rave been drain from just Ae varied, tough different back= Ggromds. One of the most popular conporere of Light clieel- fat ange touny A Aldettin Yavagpa, & eynecologiet, —Sadettin aynaty of perhaps even greater fans, waa ¢ Righ religious ‘umctionary at the Sultananeet noegue Sn Tetanbul. Refi Ferean waa studying to bacone a chemist, but turned to music snd davotee hie entire Life to teaching and perfornine Antecedents of Conteaporary Theory ‘he Lineage of present-cay Turkiah muse theory often callels that of notation and repertolnes the earLieat oreo are indiatingulsnable frou teabie nodele, but with the folding of Ottonan history gradually develop a dtetinetly ‘The fleet teentioe of the ottonan period wax an snany ous offering to the 15th century conguaror of Constantinople, Seiten tenet fatin, This work, iow tolay best through ‘the Pronen traneietion (a'Erienger 1939), {2 seinly conp= Hation of Farabi, Aviceme, and Sa¢S al-pine T= ke doubesud whether recent Turtien theorkete have Dean influenced in any Including the inpeessive collection of notated muaic alresdy, nentioned atpve, Cantentr's Bavie dealt vith intervaie, nod Gd miytha. One aodern theorlet, Arely obtained & sony of {his work and published eelections fan it (Cantenie 1912)- 1m 20%N century Turkien muio theory, hee names pre sister musician. The pibiianed theoretical works of this troup are renarasbiy sintlar t» she Cantenir teestleo in sub Sect natter of their texte and Oy the inclusion of abundant savleal eran Bey (2871-1935). Hs lengthy articie in the Lavigne ancy: ‘lopodin places enphseie on intervals, nodes, and rhytme sand quotes gone 73 musical exunples (Yerta 1921). This article can be conaidered to By she moat authoritative eource ‘oxte anon Prenahy Arabic tnd Pereian. ie naw interested in laysticion and often performed as # musician at Hevievl cere” ‘ekte vee also chairman of the "Scientific Inve gations Comittee” (Link tezet) of the suntelpa1 Conservatorywhich pubtished 280 cinestce of Surklan muste (aetna TELLLasia) nd the #1 ritual compositions of the tavlert fepertotre. Present-dey theory of Turkleh classical musle brs Supnt Best (1869-1962) tad the groundwork for the oder renalesance of Turkich art muse. A former Army PAY” Guaselce of the past and the weiting of Me aonunentat 1 ‘olua etudy of Tarkten austo (2351 1933-53) which ineiudee tailed information on Sntervale, toslen, modes, chythn forms and composers! liven, ae well se 650 conpositions fron ‘ul Matorical periods. Bugt also took over the reine of the Conservatory Solencifie Investigations Comittee after ‘he death of Texte and overatw the continuing pubitention| of muy inportant works, secred and secular ‘The ‘hind and oy far She nore influsntial aesber of the elo wae He Sadettin Are (1960-1955). If Yeeta was the lawyer by profeceion, he wan fluent in Pranch, Geraany EN an, Persian, Arabic, and Ottomn Turtiah. Ale pereenal Lipraty and notation collections were apparantly immense (eee Catana 1969r49-8)+ When Turkieh music was fret allowed back Into the Conservatory Sn the nideI9H0"s, Arel nas chown Girector, "Official® theory today (ioe.y an taught at 2he Conservatory) {2 a alight wodlfleation of the Arel eyeten futlined in'a seriae of articles (28ter published tn Atel 1968) im hie magetine, Husldi Kecouns, (The Musi Regatine). Me algo wrote books on melo hiotory, counterpoint, fugues ete. vith the persing of the Texte-tagl-Arel ofa, heory me anton Into an alnoet suonolant state. Are) students and otters have mide a fen efforte to prolong the inpeter end ‘igor of thooe tines, but the speck aves to be dying. If yone ie preparing major contribution to euprent Turkkah‘OUAPRER 114 OME CLASSICAL 2RADIETON Since this etudy te concerned with the aakan (noéal) systen In the context of Turkieh claasioal wuske, ‘hie oha practice. Firat, St will be neceossry to differentiate the iasslcel gence fron other types of musie played tosay in Surkey. ext, the typee of performances and instruments steed in claenioal susie vill be briefly examined. And fintl- 1y, the banie prinetples and fore of cleasicel music will In Turkey at the present, © wide variety of muste can be heard. Acide from the clasatesl genre, the following popular, reni-cltssical, merge, and dervien. To etme extent ‘hone categories overlap, yet each has ite avn style, fome sod inatranente, #11 of thege genrew are distinct from ‘Tureish classicel mule, DUE eHeh hae gone relationship to it. Originally, folk nusie meant vitiage susie. The aroha typai exanplee are the shepherd on the mountain playing Me aval (flute), the farm vite alnging a lullaby to her ehild, fod the qypey Ruslcian performing at a wedding. A qutel= Inprovieatory opie form for solo volon 4 called uzun Bata, dance tune fe called oyun havagh, and a foiK song te called Slrud, Each region of Tupley has ite ova variante on these of whieh the nost common ares aval end aurna (baee drum fed ahem), Beflans gash (long-necked lute), Kanenge (182K Sen fade), and garbuea (Arab vans drum). A neo-fonk musie etyle Nas developed in recant years for uzban consump ‘lon, characterized by © large aized horus reading foe notation, Jed by ® conductor, and accompanied by an orchestra of folk inserimanta, The fundamental peincipegot both Folk and classical mate are often axsuned to be sintlar, Af not identical, in Turkey tocaym-but cefinisive study yNt ear on the atrest in front of a record shop, n'a dolnug (i8tray tans) fron the driver's cesenete r¥cor or ine nigntclub. The hone of popular muste Le the Tarkiah record indantry an racorde of he genre can include harmon” ved Turkioh folx songs, Inported Arabic music, and various hybrid styles, Popular singere like Zeit Kren, Deel Savane and Orhan Gencebay are laneneely euscesefud in both record sales and pereonal appearances. Sone typen of popular music ossloly ote classical inetrmente, but the style tnd. reper- ‘ole aiffer fron the oleertca ‘The fag.) (oumi-ciagstenl) genre can de described ae a nightolub vereion of olnerlotl Turkish music, there ie 2 Atetinctiy aypay quatity in fasi2 groupe, not solely due to ‘the number of daek-conplesioned artiste, But ala> clearly vcognkzabie in fom (eug-, ghftatelli inprovtantione), intona- tion, omarentation, and ineerimente, Predoninant inedra~ sonte arer Elarmst (clarines), nanan (vilin), aq ate) oF smig (nodern banjo-Lute), kanun (either), darouka, and BULL tandur (bowed, long-necked cimbip). Last prominently Teatures are the "olasstonl" inatrunente, ont kanenge aa anus. the fami an a for Le 8 voce] wulte of Light clase a‘Sheical teaerngsenty tn Stare 9f program ote Sa teghsts tt msi to specietiees fn ue ne Wiring in ahvt rasta inthe atogy lah een Eis Cnporlentlone ye peedice curently feed on tn Sisley tauies itines te Sestrom state fara {he fa gee rer Rota Kaa (olrint), dst ‘lec tanmyy sate fegelae fan uel nan lor ana feat Soren, Thor ie tunisia mie Srdiion in Tete forthe taut itary mien ea eile were ele” (es ne aepstonawineay vee au soriyHapoaes ie fare forn ite dua (ehice-erehp)s apt (eee) and {Eau (een are eiat in nay rnin’ The mrt (oe Enty ee), the eter tad, dy ceed (eaten proved) on special testo suahtrotn fertatirany Smt angin tr she tecrtnts Ont Whe ot Sign” {esnlon of th Propet hohe te Krona often ented, 10a te nogee ant pate ettosigy a portant Siteone” foes ste smn te comiareet nbspeee of Sar te tcingalnnd oy ooarete fone sencintemental eta te other handy It Leslee {hie tte wo nest seemed “poternere” in releoor mete ive Hla taace anata bbls Bey ave Blghly penne {or thes soponenton! et by Seeing caeoe mesitons [Sttogh ath tervonactety in Tray an oe ee asso sch 1925, to taste hav continued our elanant= Hovy. tev ie one wh folore the tata (os) acuerat (ayatioten). Derviahes meet st a aie (dervish lodge) and perform thatr ritual aikir of ecetatic communal roing and singing. Az in eorgue ausicy composed toma on the tyoma of the Baxtash sect.) Tne repertoire ot the Herlay ovct le dlecussed Below ax ¢ branch of classical Turkish ertommance in the Classics. Genre ‘She quintessential apisit of furkian elaastesd music Le best aiecovered at private performance for an intinate clzele of friends. often neld in the howe of a wealthy aft clonado, the eoltee Degine by carefully preparing the eight od gabet (convereation). The delicacy of exprvaslon and ruanee of tone and pLtoh which the mnie requires esena to ‘loon forth freely in the ataogphare thus crested: A vari= ‘ation on this pleasant custon ia the weekly *at-hone re) inti the Inte nocturnal houre, 1 Life resenblee that in the Wests Concerts fare glven in thentere, concert halle and in radio beeadcaste, often with Lange enuenbieg of uprarde of thirty singer® and Inetrmentaliete, A "zhanber ensemble,” or even 8 vaca. ololet acconpaniaa ty a minimis of instruments are oceasion~ ‘he Tetanbot Municipal Conearvatory (Tutkish susie Divi son) hue two eeparate functions. One te the Veashing of Turkish auate--theory only, no inatrunente, the other he ‘he presenting of protecotnal pubtie performances of wuthene ‘ie Turkleh cleccical and folk muste. The Coneervatory"s »Maik ton Hansel (ciaeateal Performance Ensemble) Deen giving ston concerts every two weeks throughout Uhe concert season since 1904.) carbed in formal black (Vestern) sttire, the sized chorus of about thirty singe standing on Haere Denind the gexted Inetrumentalleta, sbout tan kn rmber. For the full ensanble part of the program, there Ee almaye s condustory for the solo part of the ptograny ‘he inatrunentel group An reduced and she sololet gulde ‘he tempo. The inetrumente normally used for the Conese ‘ory performances ares anbur (Long-necked Lute), nex (flute), anange (fiddle), tanan (Occidental violin), xamun (either), lat Cte), colo, anf fuddn (ened kettiedrine). "the Sunday morning cancerte of the Conservatory Perform ney Boeenble are aloays broadonet lve by Rado fetanbul. In fact, the radio station could be considered the modern successor to the sultan's palece aa the patron of fureian sonic. the Rasy Ext (Radio House) in Tetanbul, with ite ‘nponing StaLinesgue architacture and arned soldiers st the entrance, sctuelly carries on ite payroll alnot every tepor- tant suniolan in the area. In addition to the normal inetra~ inente euch aa thoes found in the Conservatory concetta, exotica ine the Eebab (opike fled) and gantur (aule ‘Tureieh susie mentioned sbovencwith the exception of AEN fd Arabeinfluencad auniey whion Le forbidden. etanbel. Phe Hee ‘ake MiniZi Korot (Sureieh Classiont WusLe Chorus), con= (tusted by Drs Nevint AtI4Z, nae founded by Mesut Conil end fe aintiar to the Conservatory Perforeance Buesble, bat superior im musictananip. acently (1971-72), the Clanste ‘lo other professional group gives conserte at thie tine, ‘ia im eyoles 29 that the aoene Le constantly changing. The fort noteworthy anong the current arop are the alversite (Koronu and the Lark BUDE musitlel Canlysth (Sockety for Progressive Turkish Musto). ‘Perhape the single mort Laportant ausieal qvent of the year Ja the annual Marling Festival. eld in Rorya every {oar daring the two waake preceding Decender 17th, the ectit~ eho honor the philoeophy of favléaa, the ritual of the Maviavivand the rich musiced traditions of the aeets!® {ow of the Dest-mnown artiste in the Mevleed style are fatae Kind Karaca, Ulvk Erguner, Akagindds Kutbay, ond Sade ‘in Haper, AL) ficet-rate musicians consider {8 4 great ‘A misteal composition for the ceremony in called an vine the musicians are known collectively aa te autrig. The a= ‘rip Je ade up nainly of the two traditions! Herlevi Lnetru= rents, ney and wutiny although tanbur, Kenenger rebuby and {2% oF spiritual Leader of the grout in between these ff actual Mevlevs rites Maid previous to the cloeing of the {skia-e, theae modem cerenoniee have taXen on an euthen= Solty of their ow. Altnougn teld in a aporte arenty with ateeries of sisrophones, amateur photographers and televiston camera, the Wivigvi rituah stil) creates an etmoophere of asorganisstional Principien frst, the solution to organisation problema in auch an ar haw depended heavily on two conplex eyotenas ain and The sam syeten ia a aet of compositional rules by vinich the nelodie canpanent of a place of muste te reeilted {Ime closest counterpart in Western musio would te the nedi~ ‘ovat mode. There are approxinately 60-70 nakan-s resomnized Today, each with Lte om mane (RAST, BAYASI, ates) and ite ly Aaanestign the wain satan (CHEE Kta,* SHAD Serkaens™ fetedh large forme are likerize identi¢ied by maken (BKYATE fyiniyt "RST Pasls,” ete.) ‘he ugul eyaten regulates the rhytinic component of all composed pieces. sn uel Le e repeuting shythate cycle, roughly equlvalent to the fester *agagure," but cloesr Ln concept to the tala of India. The current repertolre conpeias bout 0.50 uauless Each has a dlatinctive name--abaak (9/1) Bud (G4), eter-nand « unique patter of Ligne and heavy beats, A spacial class of unul-r, called ainal, Le reserved for fares with the word "somal" in the Tisie (Sh semal ammalal, ete). Poms cn be considered as divided into Unstrunental and vocal eategortes. Each category containe examples of both ‘here are four basic instruments] formes takin, pagrst, fat amb et aznans taba eon Uncorimten wen ng the takaln, the tire: conpoced plece in a progran t= 6 conerally & pagnav. After a anquanoe of voesl forms or otter feterial, the progran cen cloue with « att zanilais An scanaine ts not an independant fore, Dut eerves to conneat two vooei places of the githn form ‘he main vocal ferns ares lds, beste, ais somal, yi suoni, park, and gausl. he nost readily apparent dlatine= of text. An inportant structural device Sn aiyan (nidpoint), At whe @ modulation Le expected. The miyan ie coemon to 1 eaasl is inprorieed, the vootl counterpart of the tate ‘the oane mean, in eone reepecte not unline the Beroque dance wulte In concept. A progran of eanpositione, in the 3 y 3 a 3 a ‘he two inprorientory fomey the Instrumental takin and the vocal gatel, way be Inserted in the sequonce. A tkehn often weaparaten vocal places a gatel nay Pinterrupt” « gartas Audiences and musicians aliie find tn entire faeal in ‘tm pee through two oF Uhre anzanee, alshough the Danie sequence outlined above ia atill precervede ‘Sune forty-tno compositions in the Hevievd ayin fora ”or perforeance st 2he Nevins cerenonten Sn Konyas Du to the Seacrednenet of te tradition, there Naa been i¢8s change or evolution in the form cowpared othe "eeculee™ Line by Teri. She taxeln Ltee2? and 2 pegrev to the secular forme we have just seane Tne haart of the sayin la the four voosl movenante baoed on texte of Kevlina (Gunt), cated gelan-e- The four gtlan-e sceonpany the ritual viriing of the darvishes. The gon (ooneluting) pogrev 48 uly a pegrey in the desired sakan fron the repertolre, ‘itered mytinlorliy to fa1f1 8 concluding function inthe ‘me gon zich aanah is ay instrumental interlude .ar to the aranaine between garia-s) in the uit] inde gona (66). the ayetionl dance of she Maiev cone fo-an end with the finsl note of the azn taksin. in onperisen with the claatcal fant, the ayin ts OF both the maxan and the ural aystens te organizing devices in Turkleh art muote te clear, Becuuse of ite profound com Ploxity ang visbilsay ae 2 Living arty the maean ayaten ote 1»nee points are basic to the nathodology of this studs bestoraanoe, prinary sources, and Iaitation of aubject. ‘pine tenet of modem ettnomiateology 1n Aneriox ie nt should take place in the country of origin of she music ‘eagure of quoceee an 2 performer on the nex. ‘Aithough the type of tota1 Limereton ‘hue required may find the fundamental principles of the music, there fe alway the danger of incomplete wnderetanding reevitine from 2° snort a period of training and fron not being raised tn uty to cite primary aourves for ea0h point ar Lt cones UP: ‘Primary sources” hae meant, In nowt cases, & quotation from either notated gootes or tranecriptione from the present suthor's tapes, inoter control wan the constant feedback Gn the {dene from the fureieh musician In the interests of reliability, the aubjest of thie study wap Linitea to etructural anaiyele of the Turkieh akan ayeten, with prinary eephacis on the genre celled usitha (art music), or Mish naifi (olseetea! music) bythe Turks. The present author can speak wth some claim to apeciat mowiedge and defend Nig etatenente within that scope, Naturelay, many of us are lao curious ebout the Felstionahip of Tureiah ausio to tra), Persian, and other sunlce, Sut rellabie coment on that subject would sear to agulee nore fizetnand knowledge on the part of the Fee seorohar than thet avaQlabie at the tte Pronature concern with the comparison of different susie than renulted in an accunslation of broad generalities and reinplifiostions" (Hood 19631273). Ae we have already o prevaiding in Turhey ie the ena developed Jointly by ett Exghy ad keels he ry are found in the two works already cited, Eink Musikia! Sagsrluat Dacalerh by Aret, end Nasaci ve AneLL Dlr A= Wah by PaeL. This theory was anplified on aonrehat by the Tate fefix diemerig in Me theory course at the Conseevatery (Girveriy 1982). Musica examples have Deen draw sainiy free the publica: ions of the Tetenbul Municipal Coneervatory, the notation collections at the Conservatory and Radio Zetanbul, and Bael'e book. acuMeRER 11+ rwTERPALIC STROSTURE cyeten, but of these, the intervalic structure in the most Findamantal. 4 recognized succession of intervale forme @ fseale and, aa Girmarip expreseer 18, a nakan te firet ent Inportant because ninite inflections of pitch are oftan one Table for diatinction Between one makan and another. The slerotonal dlttereoes betwen aiailar scales are the source of tending debate Between practicing musiciane. snont entirely darived from the work of Yaktsy Bagi, and Aral. ‘The tieat part of thie chapter le a vumary of he main pointe pertaining 42 these eubjecte, the renainder of the Chapter La devoted 20 an evaluation of that theory in terme ‘oxta, Hegis and Arel came to an sgreament on the 0 ntervale whien they anid woulé account for the difference between any tea adjacent tones of any scale, These basic ntervate are five Sn under and their nanes ares” (1) babizes (2) Aoi eicenneas (3) Bini mcemens (4) taninks (5) aetak Gt (Aze1 296615). Te best English tenes for ‘these would stem tober (1) small Balt tones (2) Large helt one! (9) saa] whole tones (4) 2enge whole tones (5) aus rented etcond. To shese we oan add the hana’ (Pyshagoresn Gonna), watch Sa not an interval in Staelf but ig comnenly sined Sp Turkish theory and practice az a discrete Increment ‘ff valve of each in commas, snd the reepective values in Gente (alee rounded-off)-! inten come cant nied ; SGaicms taken, | Rieger ‘he maitest poeelbie Interval betveen tro fn ony sole, theny iz the tonell half tone” of approninately ar 90 cents.® the largest poestbie interval ‘between two aajacent notes in any eoale Le the suprantee fsacond of 12 comaa (or 3) of even 16 under certain cenditione). ozation ‘Ae we have atresdy avon, the uee of the late 18% cent vaiusole compositions up until 4ts selipse by the wideeprend Ssceptance of hantem notation in reoant tines, Yektay in hie publications ("ta Muetgue surgue,” in Lavignacr Basieanin Killlatst mavierd duindasis? ete.), uses a modified for of eter notation which passed into aiauge with Rie Gethin ‘he 1930. The notation systen in effect for the Tact eaner= tion or 0 relies on the conventions daveloped by Peed and cel. Tere conventions are widely accepted today and sre ad at the radio stations, in all publieations by Bagh tnd fret, ae well te 221 publications by the Conservatory since 190 and recent publicatione by the Ministry of baucation. (ther conventions have been proposed fran tine t0 tine,” but 2‘one of the purposes of the Eegi-Arel notation ay vould oven to be that of bringing Turkish conventions more ta the European aajor one would be that of the makan PARGLK The five-tine Western staff without accidentals would therefore Peprosent the distanis AROME aeale. Abgohute pitch would rot be implied, All intarvale represented on the Western Seach would derive fron the diatonic GARGAM eeale. Buample 1 elon shone tha seale of GAGA and the corresponding inter~ of the GAROMH sonte® cpmerg 9 center 204 30h 90 2h 20h 2h 90 ‘the Eegl-Arel notation ayaten uses ait azeldentate t0 0 wate FO) ped (2) Maes files (ble Pratl, Hea, # CO Heese own In tangle, teat up 4 fourth, wil raguiry a *Sucama-flat” accidental. Beanple 2 Below [iver this schle (kom ae ACEIASLRAN) ole notae ary toniony half note uample 2+ ACINAGERAN sone gms 9 = é = oF conte: 20 20h 90 20h hah ‘he “natura” third, eo coman in Turkish scales, reauires fan aceldental in the fagi-trel notation, an the scale of BAST in Byanple 3 below shove (the natural thirg Le bracketed thuss —). sxanple 3. RAST scale? mas 2 piimese eyes jomens 9 5 ———— conta: 20) 180) 20h 20h 180 LN ‘or the scale of GEMUZ, stom in exunple ¥ bolo Bxanple #8002 ees comers 2S Sa ‘he acoldentais required for the Dasic ecate of the aa 4 composition are written into a Xey tlenature, a8 thom Ih Branple 5 below. estnanple 5. Uae of kay algnature (2450) 14 can be ansuned that the acc\dentale tn tay signatures Undoes othersine indicated. (hie Le not 2iteraily aleve the case with Turan publications te various cotbinatione of aockdentale dessribed above cane fon many different scaler. The tats] nanber of available pitohes in Zurkieh art susie should account for all hat the total number of available plsohea per octave should sre unequal, they nated ‘he eyeten the thrpidire gaurh nach sax Gletend (The tventy-Four Nove Non-Tonpered systen). inroughout tno cotaven, a given by Arel.® the present writer ‘ated to Arel's table a "oege pltoh” gulde, Indienting the inflestion of each pitoh fran the base ccale of (ANCHE ‘able LI below shone the notation of 3he pltonan in ‘able Ir according to the Eegi-Arel conventions, Te will be fn tate eysten (C# equate ab, of equate A, ete.).? ay compare ing a pitch with Ite octave, one can aee that differant nanos are used (MGrai/A# ve. Sinbiae/s#, Acsnahran/? ve. asea/S, ated 26 The origin of the pitches given in Tables If and TI is Jn a cyole of t1r%9e, Beginning with the pitch Gangih, eleven pltchea are generated by a cycle of fifthe upward, and twelve, nore by & cycle of {ifthe domearh fron that point. Ignoring ‘he octaves, and using enharmonic substitutions occasionally, we obtain the fine) series eumntsiaed in txamplee fe and Se Delow (adapted fron Arel 1968117-18). Matbera above each Pitch in examples 6a and 0 refar to the corresponding pitchee Example 6. Swanty-four pitches generated by oyele of fLfthe piss ws 39 7 aD | $ Lie 616 2 ow ew ‘he present weiter bas observed Sat every nate generated by tu eerie tn Ox Ga has See vsltnee rin ely enw Come, over in the series given in bx. 6b (1/24, 15/Iby 21/20, ete) {canbe ven fron tha fact tat what wo hve here Le fend santliy a telvectte ayean Wh bee "veretoe™ of each vote, one allghtly Meter than the cokers hie fact in fxephicaly deaonetrated when the plsches re hom an frete on te tect of «aM Clnerectd ate), tein ewe frets to the octave in the illustration. * ”Sitch ase sich dae 25. 5. 8 Navbesooee a . we 2. ole meas 88. a ate lost Sue pam 22. ain Sicams 6. the nin aieee, Ao tie it iear So 3, obese oot 2 Geren 5. gate 7 20, bir pi, 44, ns Sie roel a 3 agteen 2 Mice oe tee Bs ote neni © Abecapiran 2 30. tee : 2. Sean We tie einen 7 Die Reeagiean 9 3h Steen 8 ae 1 te est. Stew os ee es A mae lth» be tt 9 event ms dunn eoh be Kedlnsrses Sine 3 met : 3h. verdentye shen 38. ole gems 1. Beaters. 3 jatar Te Minairsie ks 36 Hin pomae 85 . 2. Sin zingers Nin pom D. aindiek srieecaes 12. 36. Min Bott aiese 3h oie jamas So ‘ oo 25: seramtyen 15. Digan a sushayyer . 10+ Dike Gevegts Dik aahur. 16. Ri a i! Simate es : : 23+ sane a7. otk Mira ot UL. bik simple ot s Be BiB na 19. Senin roe 42. the Segih be 1 alone ae Bs Dik deem. Ke 8 4g, he Pucehie 6, Acenagiran.. 30. BeeRerveceniccee Beate rwetlt WO. He bees ot fe Aptreeesce 5 legnissoscees gra 5 ‘ 8. soa oie Miser 25. oiv Rlear 2. garsin ¢ Ss. na gare ee 22, Nim Wiens a5 46, Tie Mim Hie. €*-5 x poe oa 2). hleas os fo. tie eee 8 2 aie He Heer a 2Hee: ee Gerdaniye. Mahayyer__| Tez puseli te Hea Te here ay taka yolnts 4 ahoaé be obvious that our Tarkan theoreticians were not exactly unfamiliar vith enetent Creek nerstone of their anaiyele of she aakan ayeten La the 1d OF tetrechorde, Tey recognlte a number of “basic” (bazit) Setrachordes GARGHA, FUSELER, wDROL, RAST. UGGAK, AND RICA ‘she moat chareoteriatie part of that aakan ecole (vith the exception of GARDMH, a maken not in vee today). Extending by parentheses in Ex. 7, produces the pentachord of the sane nother pltehs aa In Be 7. Note thet ccceatonsily « “trenapoeition® wl ot suignt alteration in the size of an intervals In lx. 706 he ohatacteriasie Interval of an augmented oteond Sn the HICAZ tetrachora Le altered from 12 to 1) commaa when it te transposed to Ff. Thia in due to the necessity of accom (secs whiiy-niliy, the closest piten must be used). ‘ran the “base” category becauce eithers (1) the fourth Jaogree aid not for ¢ perfect fourtn with the Dane note, oF (2) the doninant was neither on the fourth nor the fife degree, Six of thane "other" tetrachorde and pentachords are given in fe, Bs SAB, SOGbH, MDZzAN, MIKREZ, POWER ana Pesan. ox 7 tBaaler tetrecnorde, pentashorde with tranepoeitions ea sant ou wientz raw pane 7 tempt tn Giese, pases = ; at i 9.2 soot 8.5 panpahe 72a psec 7.20 sesteanep. 2 Rast (0) 59 8 9, Aner fio» 5 5) g 9 + 9 9 Ee a —— | 8.3, mOzzam 2.6 Panui exon ne + pass (0) | Pepe ge sp | aasle® sentes 7d sesteanep. to Yagih (0) A ronnie en definag by Arel an one made up Loa S44 7.50 secteaneps to Agizan (2) sees rota wee 0 franep. to Leak (F4) Lp te ‘chord below and a pontachord above, othe droit (1) ganchis (2) pUSeLtKy GQ) ADRDEy (6) aLSTy (5) uppane (6). MOserty (7) mevhy (8) toAaY () wus (20) vzzaly (0) nothes (2) KARexOAR, (23) SULEWK. thgon shirteen *baske" satan scales and their constituent tetrachorde and pentachords are given in Bx: 9 »Example 9. Thirteen PDasicr nakan seales 91 _panot Pr Son mone she eaorcin 2 £ Sys gino suetnne SSS TR,oa 9 oe 5 a 9 ob ganahts (a) gARCRH pie CO) gaache FUSELIRs (a) PUSELIE plus (2) HECAZ rO7OE+ | (a) KOROE plus (6) Puseite ists (a) RAST plus (b) AST oppacs (a) UggaE plue (o) PuseLtK sere (a) Uppak plue (0) Upp evhs (a) Ugg plus (8) aAst flonts (a) ALOAZ plu () R45? Huw (a) AoA plus () PODER UzzAts (a) MOAD plue (2) 9p evades (a) Micn2 plue (b) ALOAZ rascr Uppa plus. (o) ton SOREARES GPP AAEP A Se to) ah lend with the f20t that ‘hast ayrten: thair Doors Bristle with tabler of transposi- Prickly wth acoldentaia. two examples of the nore Piseitteon-tagin (0) * 10,2 eenadLs-on-agizan (2) The Uheoteticel avaten described above would seem to % sdeqente ac a model for precent-dey practice, Ae in 20 many roqutran one #0 overiooe many detaiie which tend to datract Using oneta eat ae a guide, 1¢ he very élffioult to re- ‘he inervale described by the Uheoretictane, Host musicians OF intervals not found In theory Dookg, most notably in the Sourse of the nazan-e URGAK and SAaK.? ‘% the otter Nanda large majority of the intervals given ariler in thie chapter would even oe Dorneout by actual practice, Intervals played on the tanbur by Tagar were nea fhoun garlier by Usdller (see Appendices *Stesboconn Hea- urenenta") ‘The comma Le widely used by mvatelans we 8 unit of ea rurenant, more of lose Literally. A singer ney complain to the inetrmentel ensemble that the general pitch tevel Le by theory oF notation, ru0h ae thoae found in UGGAK and SABA, x”‘are described in tare of comma ("tv commas f24t,* one NIE conna flat," etes)- snd practiosls again, within Linits, Sonetines, he Literal valve of the eccldentale can deviate at least one cons (23 Cente) fron conten practice, According to the notation, the ‘evar SLiL has an interval of 5 commas between the third snd four of Ste sone: In perfornance though, the interval Le never 5 csmnae, dot Father 6 comme OF nore, sn faanple Le eample LL. Fourth degree of Stat Lisa Ae notated 11.2 he performed 5 out by present pertornance standards. the notation indicates ‘he pitches Pusellk and uahur (ON and fy respectively) for the 3rd and 7th degeeessvan shoe in Example I2s1. lane knom by the present weiter, however, AMVREi8D1Y pe form MIMUR with the sacn aoale ae MST, Lotey with Seah (BO) tnd ie (HF) as the 3rd and 7th degrees-vae shown in Beaep Bxanple 12. MANUR, Ln theory and performance 12a Ae notated 12.2 Ae performed ‘me fundamental alsterence tetween the Eegi-Arel notation syeton and the Tokta notation ayetan Le that the latter tater FRGRE. tn Beka nna that ont of the toe! commonly sed pitenes, saxih (B4 ), requires no accidental in Yoktate syoten. fyanple 13 ehove the makancn RAST and UjpAK notated In tne 90 ayetente 13. Yekta ves Eagicirel notation ayetene apa mast (rex88) 9 8 5 9 9 4 5 13.2 RAST (BeeinAsel) a 8 5 9 9 4s 13.9 pga (Taka) a5 9 9 4 13.4 UppaK (EteteAred) os 9 9 4 9D ‘the advantage of the EegicArel aysten ee in Ite uni~ the etatt La 9 consas and every half step ie § comas. in Yetta’ ayeten, the pitoh Sexihybeing unintlectea, introduces Ue that mont of the cunnan axan-a (RST, AK, BAYT, Miser, SA, SeDRH, HUEIAN, et0-) will require one Ie sccldental--1ves, for Gudh--thin in the Etginkrel ayeten, Yoke, Eegi and Are say that the nuner of available Neodet agar, showy one of thous pitaner are for in the current repertolres Dik Gavest (G6 ), Dike ‘nile (AB ), and Dik EusELSE (C4). On the other hand, finitely requirer additional fate on hie tanbur ‘tne prevent writer Ras naned+ ‘Uppahy", "Sai and *Nin Bvig."2° “Example 3% indicates the tpproninate incervale formed by thece 200 hone) pitenen. 19 aaai stoned pitches hea sbege zinger 24.4 caanane an an 18.2 upgane Bhs enim Brig te‘he nanee given the pitches ohow tn fx. 24 follow the tra- ‘aitkened custon of noting & plteh after the aakam in whion St ke most characteristic, with the exeeption of *Dlkge Dingier--neaning “ellgntiy rateed Zingile!-and *Nin fvigt—— need for 25 frets to the actave, sone different frum the Yoxtantegi-Ared system. Karadeniz, the Uhoretiolan, calle anit, ps 17)+ the question te obviously a debatable one recognised pltahes, euch ae "Kaptls Nevis (about 1/2 some below lei), DLE Gaznih (one comma above Geren), sctasily needed to perform the current repertolee: 1m spite of the comparative precision of he TukLeh pltoh names, slnogt all ausiolane tend 9 use French terme deare terms like "fa diyertand vai bfqoi" and te Tike. The ‘istinetion between ona, two, four, of five canna "Dénol" Le rarely algnificant, nownvery in the context of a elven natan. Xf the plece in queetion Ay Inyeey, MIHAVINE, then obviously ‘oniy the S-coma "bénol” applica Uo the third degree, Kind (BY 14 LE the motan Sa HECK2, then clearly the b-coma ‘béaol” appliee to the second cesroe, Dik Ktdh (H8). Shere a.a parallel to this sort of alninun-redindency in the sinpiietty of the Hanparsim notation, shish only requires ‘he tetrachord/pentachord theory La & very veeful and practioal may of describing sesles, tranepositione, and wogutetionsr 4 will certainly do until sonething better peelally unfortunate. First, there In oh a nakan deserioed ne GAHGHK by fs Second, a small repertoire of pieces do exist in « naka called PARGMH, nut this encond one ie very different tn tructure tron the EugicArel GARGHR, nore closely related fo SiBhe-vitn the finals on GABILH (G)..2 dranpte 15 ehowe the two GARH'S, one in theary, the other in practice uanple 15. GAMOIK aoates in theory and practice sat Beetoared pane 15.2 GARGMH in sepertotce fete. ‘A nore recogniaabie nane for the tetrachord calied GARGRH by {agi and Arel would have Deen AGBIMGLAAM, since ate latter ea funilier aazan with a large repertoize, Dee to the Widespread dissemination of the Exgicirel term, it would be fusile for the presont weiter to attenpt to eubetltute hie com ten) a aaa by Bagh and Are wate no + eons notes are fixed) othere are varlable renth degree of BAST, hom an Bulg (42) in 4s often traneforsed into hoan (£8) tn %[rig when tt ale> appears x the sixth degree of UppAK and Htcht, or ae the fizth degree of SbaMh tai conde, If done not necessarily repent at the sotaven!™ ne of the tost connon exanplee of thie phenonenon 19 the ‘of the makin CAL, Tn Example 16, 1 can be eean that tn ta fn the miaale octave, feat show up in the Spper octave as bobfac, At the other end of the sete, the {Ah of thw upper aiddle sotave Decsnes PF in the lover Riddle Bxanple 16. extanaton of Sia jedes * lentficant elesente in aistingutening tetvean ane maken ond (On the wubject of Antenation, there atil1 ranain gone Avose snde of facts not accounted for by the present theory tance of the "sane" pitehenshether by ta different muah Clans, or by the aaee mugiclan at to di¢rerent point 1p senich could acsount for mart of these dissrepanotes! (2) ‘ography (2) ganas (3) netodte environments (8) conpoe stener coning fram turkey. Part of thie strangenees Se 44up to-a difference in intervals, The Aruba in general per= ‘Tom Sagi and Sabi coneiderabiy Lower than the Turks do, latering the quality of those eruoial tones. The exan, (calicto-prayer) in Tuncay te often Arab-inflvencea to the point that the intervale treamble those of the Aesb ‘The nlgntelud etyie In Turkey, aa hes alrenay been noted seller, tendo to be influenced By aypry traditions. The fata HLCAZ hae a *aypey" intonations” the OF te lover, and the Ub is higher then in strictly classiea) clreleer 14 naw already bean pointed out tat he pitch Belg san be sraneformed so auch ae 8 halt tone dun to the selodic ‘umctin prevatling. It hes aleo been noted that the eecend| the natan UfGAK will be lowered one coma in the hslodie environment of « cedential phrare (Deconing Usstl)> Numerous otter einiler inflections of pitoh, anall and large a enpharize nelodie function. Sone tusiciane tent to eharpen tenporsrity the piten of the ama Kamer (ous pended cadence). ‘This note 4s a nonetonal-center, euch a8 the second degree of HCAZ, BUe KUnds (28). A apecitic conpoetsion may tragttlonklly eal) for & spacial effect of Intonation peculiar to thet composition: Th thle cece, usually only one note ie affected, Intonation f= often persons] matter of opinion, To utatanding musicians performing together san continuotely Play the pitch BugeLih #o ov of tune with each other as to fauce atsconfort. ween questioned wy thie ie #9, they wil ‘shrug and tay Mat the other fe Nelcks” there de such &de variety of opinion as to the onact pitch of Sabi that this Jn anid to be the reason thet the Conservatory no longer programe the makan SHBL for ite concert "The foregoing factare can be categorized ae "intantlonal"s gery of "unintantionai® often influence pitch production. In occidental susie circles, wa are suare that sone persone have a higher sensitivity to pitch differences than Lait for a particular interval will vary fron person to {e found in the custom of wometines adding « bby erend plano (an exotie inetrunent, both in intonation and tone olor, under the elrcunetances) to the eneemble of erientat Sncteimente at Conservatory eoncerte. Thy elas in ints tnough sane of the sore senaitive mustotane conplaine ‘haart every inatrunent, including the bunan vobces 90 Or pltons” Inetrunants with fhted finite increments of plich lke the tanbur (leng-neoked Lute), oF wanun (2teher), have but auffer fron a linit on the number of avallabie plechee fod avirarzness whan St cones to entcuting the aubtle glie- canal ao characteristic of certain notes. Inetrumente with ‘continua of available pitches, tke the voice oF the Weliny 46 ‘an produce any deetred pltoh or gutacando in any tran ooition, but constantly are in danger of drifting ana vague ness of pitan- the ney (flute) has apected pevblest with ‘hort neek of the Kenenge (Fidle) prohibits etayine within closeness of the finger poslstenss ‘intentional variations in pitch are related to aelodic tumotion, ae nan polnted out earlier. Moreover, certain pitehee are never inflected, namely, ‘he tonal centers sh ‘the tante and doninant notes. Chapter ¥ explores, the role of tonal centers and thelr saquence ex « determinant of ”‘vo ER SERUENCE ‘he Lifecgiving force, the forward Sapetun of the melody ie snppliee by the aaiir (proscesaion). Any composition of in= provisetion in the naka aysten will attangt to recreate this prosression: Turkian theoreticians fave Dean alow to veroal~ ne about thie aubjoct, preferring to give specific details shout individual nakance instend. this chapter is intended ciples and sone examples of aeyir- ‘very maan hae ite om dletinctive oeyir, with « tegin= ring, middle, and end. Once the progression bysinay the mel= sarked by pointe of tenorary rest in the nelodys "tonal ‘contera.* Theoe tonal centere includes arr (finals) igh (Gwinant) hg (entry), and surat talaga (te porary stopa)-! "whan the melody etops on ont of thoes & nse of comparative rest ie imparted, In terme of function {nthe nelotie line, these tones are comparatively nective, wit the tonte, of couree, being the least actives ‘omer tonee, oeoureing on intermediate pitches between ‘the tonat centers, also help to define the melodie pros lon. The most inportant anong these sre the eden (Leading Tone) and the sana karar (quspended cadence silody stope on one of twas, a strong ganee of warect oF fneonpletion Le imparted. These tones are to be cone The tonie, or finaltes of any plece t= eaally Leentitied, finktion, At is the Last note in the progression, he by sande of finality and eonplation 4 andere. During « acl Inproviestion, the aveonpanying inateamente often hold = drone on the tonie at the beginning end end of the smprovl- sation. the Siz durak (apper tonte) often plays an import nt role inva progressions St se Located an octave shove the tenkes faround which the f4ret mosionl phrase revolves. Te entey fone aay be either she tone, doninant, or Upper tonic. ‘she doninant Le the nein tonal center midway Yetween the entry tone and the finalie. At the beginning of an imprevt She dominant Le moat often located a Z5fth (in Wet, HUSETVE, ote.) oF a fourth (ln UAE, REVA, eta) above the tonto. OseastoneLiy, the daninent Se a third ( in SEZHH, SAB, sta) any of the unique qualities of any mazan are found in the characteristic tenporary stops in ite progtecsion. Rot fz final as the tonic, nar ap pervading az the deninant, the tanporary stops and thelr sequence are nevertheless vivid tale without which the progression mould lowe ite Andivid oth In emphasising the tonic and by Ite om characteristics, ‘A iasding tone say be alther a wiole step or a halt otep, below the tonics depending on the maken A avopanded cadence Le created when & atop Le nade on a ter in the union content, the effect is one of unrest or suspension. Sone satan-s have & characterletie piteh en which ‘he susponded cadence Le expected: others may ues any active ®‘he progression of a aakanyin tte most beste fore, ean be desoribed in terme of the zelatlonahtp between the 40 sin tonal centers, the entry tone and the finals, the rection of the progreseion. E8Gh, Arely and GUrmeriy ls lly each natan by nolodie direction, in Arel's terminology. the three typea of neloaic direction are calleét gi (ascenting)._snke\(cescending); ané iniatagamea ancending eecending).? Iman ascending ptvgreseion the selody being arcunt the tonte, greduslly rises ta the dom nant, and qrontualiy returna to the atte tans. A desoending progreosion Le one in whiah the melodie line must begin around the upper tanks, then gaeoend t0 the doninant méway in the progression, and finally make @ ctdence an octave below the Lnttieh entry. An ascending-deecendine progression f= one in which the malodie Lina will begin around the dominant, before wating anether stop on the atee tonal canter, ani ASA Anconding 25.2, Descending 15.9. Ancsndeees bet GOR. bros 2 a of melodie direction: UppUC Le an ascending makan, = fa0t whch cin te indicated by a Faing arrow (—*) alongeide te seele, az atom in Exe seple 16.1. The interpretation of this arron and geale into fs tohenstic of she melodic direction i given in Example 26,2. Exanple 16.3 shove how the melodie gizection (e tealited in a composition fron the repertoire. In the coupoaition, the first Parase (nets. 1-2) Segina on the Leading tone (0) of UBGAK and ‘nda on the tonic. The second phraze alao begine on the leading ‘ane and anda on the tonics the two phraeee together conatteute ‘he Thret halt of the progression, centering on she tonic an third pheago (wena. 5-6), although starting with the font, im- nediately rises to exploit the area aroung the dosinant and ends itn e cadence on the daninant. Tr ha typleal of OBphk to empha tise the piton doen (f), as aeen in thi phrases the laet phreas (aoaa, 7-8), sumarizee the foregoing and cadences with the Lest- Ing tone Just before the finalte urkth te AaentioaL to UfpHK An scale, finalSay and dominant. ‘me melodie direction of the former, though, fe aavending- Aeacending, az Indicated by the serow (w=) alongside the fcale shown in Brample 17.1 Exanple 27.2 gives the toheoatic of ‘he melodie cirection and Example 17.) sows how $¢ ie realized na conpoettion. In the cumposition, the opening motive of the ‘inet measure Sa parailel to that of the Ugpik exaople, Dut eh- ‘ars witn the lesfing one to the desinant rather than the 1 ing tone to the tonic, he fLzet station (ease 1-h, Zn endo ng) begine and enda by an Snelatence on the davinant of BKYATt, ed (4). The enoond section (nese. 5-8, 2nf ending) descends yet etl be dietarentiated on the axanple 164. Helodle direction of upp eee 16.2 denenatte = ier] 16.3 a coat” usu sorai UGA Sas Senate esa Dede ‘ron the region of the dominant to the fina tonte on azn (A). Like Wak, mAEAeT Se leo inctined to emphasize the iter keen (£) after the tonie and dandnants {im g01 compositions, ust LLL be on the 2eft, maen and tore nthe center, and conposer’ an the Sights as’ per" Reseian stolen. 2 uanple 17. welotie atection of BAKATE AWA Indteated Wy azror ‘ALtaough UPB and BLAST do aLffer in overait aedodte Aizection (and'in certain other characteristics ae well) shown above, they are still very close mataneer one aight fail then brothers. A sintlar telationehlp of clowened fxlate becween MURKYYER and WOSEHNE, WINAYYER Le a dagcending makan~ TY enters in the region centering around the upper tonic, Auhayzer (4)+ dossende to } the doninant, MKigeynL (e), aidmay, and continues Lte descent to the finatiey Bian (A), an octave Below the entry. This nelodie Line te summarised in Example 18! the selotie di. rwction ie show by an arror alongside the scsle tn Ex, 18-14 ‘his Le schenatically reprecented in Bx, 18.21 and the rene fzetlon of the melodie direction in a composition ie presented {im 18.3. In the canposition, the nalody entere on the upper one (preceded by ite Leeding tone), continues in the reeten ct that note and cadences again on she upper tanie st the end of &he first section (eecond ending). the eacend section 327.9 Ina couposttion avast ste Sema at pe ey $ ——— = final eadanee on the tonto (neas. 8 t0 8). The secondary fenpnaaie on the pitch Ti gargin (©) As typical of HinATreR, Se Le the cancellation of the original sharp on the elxth agree () an the cadunce approneh Misevtt can be considered th UMAR Le required to enter on the HOSEINE must make Ste entry around the dominant, Bxanple 19.1 gives the seale of HOSEN! with * Mexas (e) the azron (27 Iindeating the melodie dirvetion, The sohenatic representation ts show in Sxumple 19.7 and the eslleation of the melodic Line in a compotion ie given in Beanple 29. 18.1 Indicated by arrow ee 18.2 sahanatic 1m the HOSENKE composition (ex: 19.3), the progression of tonal centers can be etsily coardinated with that af the wohe- patio. Tne first tro Lines save fron an rant, Mlaemnt («), #0 a eadence on the sane to Linge begin again on the darinant and a ‘aie on Bigih (A). Ae in the cage of MUMTESR, the app lance of fonatarai in place of f-sharp in the latter part of the progression slenala the begining of the descent to the 1 should be noted that UgGAK, BATAPL, AUSEWME, and NEAT sye muna gare yerin dag ol Ueanple 19. Kelodte direction of HOSEL —, * ‘ote shat the theoretical darinant. 6, J not prominent. The 6 19.2 sonematic 19.3 In comport tion reat oseret fens (unknown) ”he wane “fanity." In fact, the naln distinotion tetwssn the fleet pair and the second pair of makan-a (aside from tha nelodie directions) in the sixth degroes Agen (fonatar in the former end Bulg (sharp) in the latter. Take plten Btigywhion appears only in the frat part of the progreesions fof MISH and MNAFTER, derives fron a construction of UPFAK transposed to Hissynt (e). sample 20.1 shove the UppAK te ashord in original postions Bewaple 20.2 shove the UfGiK ‘atruchord treneposed up a fren. ranple 20. Origin of £4 Sn MOSEYNE, MURAYYER one ee Gontimation of this explanation for the origin of the F cones wen we note that in performance, the fF Le flatted fone coma during & cadence on e, Tha resulting plten (Aim Bulg") paraliels that of Ussak (800 £x. 14,5) in b6tH func Dletinctions between close sakan-s ere revealed when the cay te extended beyond the fundanental onenostave sae. Iolocie dirvetion. Ascending aakan-a generally extend the vate Below the tonto; UjAK comonly exploits the tones 88 s ‘ar dow a0 Texih (0), a8 demonstrated in Example 21. ‘ample 21+ Lower Jini of uppa maa Seale 212 Ina compeattion ‘ise Sonal Tahir Kia ATATL, the ascenting-tescending version of the eane makes, 4s Limited tn ite descent to the Jeading ton how in Beanple 22. BREE (2). ae Srample 22. Lover Llnkt of abtart 7 At the otter end of the range, descending mlan-n tend to eapiott the tetrachord or penucheré aed onthe per ‘enies MDATTER, « descending alan, nay exten tne coupest ‘Meh ae Bg Msn), a0 (Uiustrated in Beagle 2), Wsrrm, "the snconaing-dscending "ether" of HIMAFCR, Melghbor of that note, as Lllustrated in Example eas 2.2 tn composition Paprey nin Efanat 2‘ample 29+ Upper Links of sbnayYER Baa Seale 23.2. tm a cmporition ‘an Senatet gate l Trample 24. Upper Linkt of HOSEENE i aha sone In the upper extension of MIRAYYER and HOSENR, the ine tervale differ. In NIHATZEK, the notes above the upper tonle fend to paralle2 those an octave lower an the tonke pent chords in HOSEYRL, the pltch The Puselik (0) Le generates : 2 the FLftm degree of the URGE pantachord an © (26m Fx 23d and 26.2) sade described et ther in the mort general of terme, melodie direc~ oportoire, 4 detalied Yet generalized exposition of the jon of a given maken ig called gavir (2iterelly, path ). Tale detelled exposition can take two former veroal of notations. etalied than the notationgl one. aypleaiiy, the verbal seyir ie 11t8te nore then a aurios of rotlew put inte words, fe in the foltoving (Quoted in Ared 19680 100)+ Siping mekany tpssat SEs ag Fer hayyer ite csi Kadar,“eEtGORE Rene SEs te mca ae te ss sleneaaaney# cn gdh tn the nance oes Flys eh descriptions are intended as anenonie de lees for the experienced initiate only. On the other Randy ‘the nodern notated aeyir te an invaluable source for che teriving a maten if done by an expert. I an fentliar wien ty exanples written by Yerta for Ne Lavignas article (1921" 7797-3010). Taenlly, a geyir should give 8 widely acceptable tule to the progression of « choeen aatany naking {t spurer ‘han an example fron the repertoire which may be idlosnersties ‘he student who menorises alt thirty of Yertate eeyieens te sggeated by the author, could not inprove on this inereduce Slo to the ayeterien of the maken aystens A sample seyie eon Yoxta to given sn Example 25. ‘there alvaye existe tho problem that his statenent fo a per= sonal understanding of a rich and complex tradition, Rone: rat seyires for a single nakan, each evbotanctelly aifferente ack In hie unfortunate choice of waltatine shytha (rare inBranple 25. Squir ty Yektar sta @ © ‘turkish music) for all thirty examples, ‘aoout fifty years after Yektate wrnnpla, Greer poepared 2 Get of ooventy-tive axyir-e for etadenta at the Conservatery (Girwerigt no date). A wanple of « seyir fron Gimerig, tn ‘ye cane naan at the staple fon Yetta, ie given in Brample 2. ‘Yor purposes of comparison, seyir in the sane maken @ Swanple 26. Sapte by Gimmerigy sak ® © (SARL) vee conntesioned for this study tron @ practicing ruoielan, Yager. An a soloist with a seputation for wxeel= 2s inroristion, tape Ln expesiaiy wei gatisio to ‘eralon of SABh, - a (marked On eseh exanpie) with the tontey Diggh (A) ant cadence the first phrase on the doninanty Gargdh (@). After ‘he dowinant, the next etreagest tonal center in SABh te sithor dea (£) oF gaodankye (g)1 Yorsa prefers to linger 9Branple 27. seyle by Yayere shah {or several phrases over the dominant before finally arriving ons firet, Gartanive (and of phrase 4), then Acan (end of phraoe 5). Gimerig and Yayar, on the other hand, tone vith phrace 2 nave fron the region of the dosinant $0 Asan. 4An1 three coytr-o nave use of the aans Jarar (ouepanded ot ence) on Segin (Bd). Yekta dors ao at the end of his second hoase. Girmerip and Yapar fotiow contenporary wange in heli= ng the ana korar unt the end of the penulsinate phrase (paraze 6 in soth). 401 three geylr~e utilise the lending tones Bat (G), at aone point in the final, eadantial phrase ‘agar var guectioned by 20 a0 t4 the tessone for hie (1) svotding Gerdanige (g) a4 8 cadential toney and (2) avolé= fing the plton Eis gargin (6)+ Hl anever Sa significant An tame of the fine distinctions possible betwwan maar {or avolding these two pointe, said Yager, to teep fron giving too strong an lepresaion of a cose smaxan, SUVEEPZL, which relies on these two pointe for tte ach composition and inprovieation within the malas 29 ‘an must follow the general outline of the comanly accepted progression for the choean makan of that plece, A plece len viotstes the rule excessively fe Fidiculed.? Bren Very fen pleces or Saprovientions will be found #0 be ctusively in's sins Borrore lings fron and nodulatione to ether nakan-e occur regularly tnd according to ateict--if unerittane-rulees The next ebapter 65‘he eeantestion of the eeyie of a aakan, a6 we saw in ing nodulation srw she eupject of thie chapter. ton or improvisation in s given makita, a note, a phrase, oF tem refers to the alailarity of acales at atfferent pitch Levels (Detneen two separate places of musi) in furkiah inonies (soe Chapter YIEE+ Transposed hakan-s.) {run anstner nekan. The purpoce of the pubilehed seyir~e ‘eiven in the previous chapter was to precent the melodie pro- fr inprovieede-in Turan art music, With the exception of considered to have played camething “tageno"(t “ratkals*(colortegs). Yet one would be Nard put to find nore thin e gentence or to in the Literature on thie subject, fogplte Se obvious Snportance. 19 with the phenomenon of modulation on otter sections aay requite At. A atanderdiand nodulation fan evolve inte « new compotnd askam. Finally, the Larger ome (auins {aaiL, ete) wD) be shown t0 be governed by Ainoet every form in Turkish classical muske ha the fin ianental satan sequence we can eali "Able" The frat "Am fection of a place could be termed the *expocktionty 1 {umetion ig to realize the seytr (progression) of the nominal ty modulating to another makan or exploiting the high restater a "developnent,” of expansion, aection. The second "a fection fe + return and eadence on the origina. nakasy Srvcapituiation,” If you nite Sune pieces have an exposition in whieh no madelation xanpie 18.3 in the previous chapter Le nach an exposi hon. ‘the appearance of azcLdentale in the melodie line (in adil ‘Han to those found in the key sferatare) does not nes ssrily indleate a nodulation, Bariter, 1 chowed thet HISEINE nd Ni rYeR charaotertestcalty onane 2¥ taf. The we tne ptenonenon also oooure when Bvig i the seventh degree bxanple 28, Alteration of Bulg in RAS?tm aveidentat nay appear only ab the in Exanple 29. Tn this example, FUSELEK Le anom typically using the whole-rtep lover neighbor, fast (6), throughout noet of the conpasition's exposition. The fitet appearance fof the raised leading tone, Bix Zizzle (Uf), cones only near the ond of the exposition ( indiaeted by an arrows a Js chromate alteration whioh 19 not gustalned enough to cancel out the extabliahed tonailty, « rosantary borrowing of @ selogie 1evely much the soee thing haypena Ln Purklah musk D alngle note, in other words, aay be Dortoved fon cut the nanan, but ite role se merely to add fleeting bit of In the course of « composition oF inproviestion in 2he kan ALCATEL, the foreign note, tn Haas ( ab) Se 20 ‘ner introduced naar the final cadence. In the acto of ALOMAR given in Example 30.1, the foreign note Le ehow in Franple 30.21 the foreign note ho indicated ky sn arrow in ‘te borrowed note Sn Bt. 30 ctn be understood not only coloring the melodie Line, Sut algo a functioning te support the doninant (by obrousthonlly lowering ite upper rwlghbor). This souid be sean Ae the nelodic equivalent of ‘tha sovoaled Nespolitan Sixth in Western muri ‘hat thle Le not an olated phanonenon can be asen Sn the next example. Ap in the RICAIHAR LLlustentiony the bor ‘rowed note appears in the last phrase leading to the fina o Sxample 29. Raia Leading tone, Fuseite seen use eres Peas oeaeaeaoean cance of the exposition of Example 31-2 the scale of the mina akan Le glven in Erample 3i.i with the borzowed note Ivaicetes by parent 1m Exaaplee 30 and Jl, the chronatic upper netghbor enbel- anment of the daninant waz denonscrated. A nore “decorstive® fupporting a tonal center, Le also possibie. In the once of MST, as Llustrated In txanpie 32, the Borrowed note ie fron tne "parallel minor maken, RIVAYENE) the piten Le @ranple 30, Borrowed note Sn ILCADRAR pont Seate eee 30.2 muiveteation tank fate wIcAaxAR Bente Example 91. Serroved note in svetoth nua seule (eae DL2 Mueteation suntolt reprer bain etendh con wee gilt ee Sy pepo oy j | a tami oF SGpal (3) in piece of sazihn (). A very common typu of aingla note alteration te thet which stragthene the dominant by Falsing {te lover neighbor, the opposite technique to that uetd in Examples J0 and 32 Ohie type of alteration accure fairly freely in natan-e euch fe USE, an demonstrated by the {1Justration elven in Baanple 5). The wane type of alteration Le Illustrated in an excerpt {in scoUgtRAN, given in Beaeple 3%. In sane aakan-r, aharpaning of the Leaging tone to the the selody to slip into another maken. Conpare the proere ” lon of ISP4AN, shom below in Example 35, ith that of EYAtE (note that the main difference Lee in the emphasis in ISPAKAN on the 8452-134» eadance Lending up to the dan nant, ae show Sn Bx 5.2). of & single tone can also serve a0 8 aiatinction detween aa sansa (a0 slewady noted above with BEYATL/IGPAMAN), LinttineExample 32. Borrowed note in RAST yeaa Seale asa 32.2 mueteation Tuample 53. Aalaed Leading tone fe doatnant Sn pBr diye nist dros ney Goats ae ae = Tar aoa Ya bab-iballan Besdli MALO yoR Sea0M and NOSTEAR are mich 4 pair. In the course of & SHORH melody, a raleing of the ending tone te the doninent ze Buanple 94. Raleed 1 ing tone 29 dominant in ACEAARE AAR Evter scoupitan avin. Pancettin Ded 2apie 35. TsPHUN 25d Seale === (rue aeuet) 35:2 Maustration SPUN Sat 5 Die Baeergt sezket rarest (2) eer] sr 2h azcLdantal ranaing in to MOSEL are ivan in Examples 37 and 98, reepectively. Seat and HO 7” rample 95. SHDIM, AOSEEAR acuiee seat wtsrean example 97+ SB0KK excerpt matte seat rie naar vars BAS aneey peiNgiaeraes methe omy 4lfterence in tontl materials 18 8 very aliantly fifferent intiaation of the fourth degzee.! other intervals, Tonio, dosinant, and melodie dirvetion are the sane. Yet conparieen of the progression of the two matan-e shore that HDzzwx tendo to enphaaite the dominant, Savi (@), and the tetrachors immediately above ity wheres SEORK tends to con= Example 39 sows the MOZLAM scales Zxanple 40 ‘et another pair of clocely related mance with a rela- Lonship similar ts thoes denoribed above ahoula be mantio MIOKZ and KIGKI-HINAYUN. Phe forner enphesitan the pitch [Bulg (FF) ap Sts sixth degroe, the letter cophasizes AceD (©) fn ity place-® the seales of HICKZ and HECA2-HORAYN can be found in cxanplee 9.8 and 9-9, Fwapeetively. Conparion of ‘he two makanes can be nade by examining the compositions ven in Examples 62 and 42, %Example 38. AOSTEAR excerpt enter NOSTEAR Beste inks Bends ah yar oy Sth ey ‘Beanple 39. HORAN ece heats % Example 40, wOzziN Litusteation Sinele note borrowings, t= 46 ea Introduced inte the expoettion of fxpoektion)y to Bring in pecan ph Inge are Linited of gourae, otherwise the orl ould Lose ity identity. In gone cases, 2 ut these tones in vivid reliefs in other cases (not 80 ftoniy), the original tonal centers are temporarily cancelled Often, the borrowing of & pissing aogulation of thie typete etereotyped ab to mikany In « BEYARE exposition, one of- ton encounters the HICAZ tetrashord trengponed #2 Sexd (4). fe geen in she efcond neagury of she (Alueteation given in Branple $342. uample #2, HtoAZ si2ustration ‘cAZ Son YOrbe sama Trad ttonal he iokI-on-d teteashord Lx show in Example 8341: This ‘passing nodulation im SEYAHL (KICL2non-4) 4 49 common that Beds Etendi ven bagan a gatts with thie Dorrowed setracnord fand continded with {ty reveating the AETACL scale only nek he ond of the place.” hla Le adaistedly an extrwne cane. fnanple 62, HICKZ-HOWTON S22uneration hank onal HUCAEOMAYUN Sa8 Sem. Vell Dede ee ee eet ‘hopar form couee ate in the fees aeQuence (eneOreani= Eieban Principles and formal Sercture™ subheading in Oh ie T1), so thatthe enkan Le sufelenty entailened to one fre soca papfutpes, second, the tone centers of BEY {ene dontnene an upper tone) are peveerved and reinforced by tals eaveilionnents Finally, dete Efe ts an acknowl ston inpniey “the par by etexample 43, ageing sedulation in REwATE erapple U0, Beginning modulation Sn BEvAth 3a foat-on-a serast pares Ded Efendi Tape an vir eile ei le 49.2. sett exoerst [BEYATI AKSAK SEMA Matta Ate arp den example 5. Faasing mogelation in ACEMApIRAN nm —— le men Bern aleve —— se steak scopy gars tlnen fend ete the nist to SEYATL in Bx. Mb occuring simultaneous i E eee ty wt the escond Aine of text (*Yaranse.")s he clooe Pela Bir haber ver woe lonahtp of the textual structure and that of Ate mualeal eet ing 1e'a strong ones The word *aabé* (morning 249n72)¢ pearing in the firat line of the ACEMAGIMAN parka excerpted in Ex. 65, 9 the occasion for a Drief excursion into the makes ' SUML. "SASL Le the aout connon choice for nodulation in AGB AgtaLN, Aneldentay. a ,ston can be found in she fourth meanure of the RIEAZ-MDAAIN ‘ntuetretion in Bxoaple 42, A peeaing notulation to 1SPAKAN ‘The exposition, oF 7A, eeetion of a plece I tenin (Iiteraliy, "ground", Mth or without passing nod fhe "a" section Se sailed the asjan, or alyan (2iserally, adie). A nodulation to a dhfferent nakan or use of the high register of the sare makan, au sentioned previously, i= crpecteg in tha mayan section: ban the Drlafeet of forme, the Rawle SIEM (nymn)e of Lines of text are gst in EAB. The eytting of the third Line of text coupletely cancels out SAIL wisn to nentares of Ftcne (oegtoning wish the word "Zenbnir). he Laat Wo nea te SAM with a cadence on the doninant of S4@hy axgih (2) fn the Lest peasure of Hhat Lines The oetting of the fost Line, typically, Se Sdgntionl to that of the second Lin are, n'a natabell, a the ABL form upon which the vast ma Sorsty of furkiah art musle La bated ‘One does not need to knon any Arabic to ace that the shmme onane of the quttrnin text in Sxample M6 Sg broken in the Example #6. Yexan tn AAEM fore SABA MAKAMINDA SuGUL? iio = Remain glee asta Feguk beyuntt Diiged Da Cid bilalfek yo Wiki men teh eadiin bait Hiflisin bivsedhe yalik inde babike ya clit Zelbiihi senbiin cumiin fjer in Tmnehie gahsan garibin miterebiin aber sat ‘he gaful in Example 6 ueed a contrast of maka for the »fetect. the Yirie Sonat, "Oil yielilerin govkine gel” (=ee eanple 17.3 elven earlier), sor princtpal atkan in BEX, hee the neyan shovn Delon in Exanple 47. The previously wen Underlined by the appearance of Erg (44) agein Mere. evart yore Sonat map ney (ean) Be Mavis ale NL A makan in a high regiater, 1x0 TUNIR (DHAER Le later te muri, bat with Sa doninant on Eavd (4) instead of MWaownl (o) J, may reach oven grater heignte in the neyane In Baanple 48, the meyan (*Dicihan.a*) ie in 212 Shay an ovtave izplacenent of SAB. TAHA and SLal anare the sane Tonal enter, Rutaiver (a), and the note serves as» pivot tana in the sogulation- The ratum to TAHA in the latter subtle becnune of the overlappine a o odrtesi Life tana oy gffar bat efrapla lake iia toe Eten hn oft eaten 85lequenoe, fe one of the heaviest and Langthiest forms, yet the sane principles govern ite najen ta those show in con nection with the Ryans, A rather Lengthy beste Sm VIp ample 09. Overlapping of tat, ote sunt ‘ante rte sunk sent see (rougniy comparable to StolM tranaposed to Brie (4#) and Iaving 4 daeconding nelodle Aine, as show in fxanplee 50-1- 1504) haw an exposition section wich traces the descending otic Line fron the opening on the upper tanks, Brig (4), to 29 cadenon an aotave below, Sunt before the meyan (200 ‘Branplee SIs] and 51.2, respectively), on Arak A shor? Dedce on the exelanetion they, canis” (aeeand ending) p= ‘ing of the mayan (Example $1.3) Sa still in EEG, Dut at higher range, centering around Hudauter (a). A few swasurer ster, the firat nodulation of the meyen oooure (Hxenple $+ 4), involving the ralsing of the lending tone to the dominant (eH), deeimning with the ayLiebie "xbi-." Te wil be Feealled ‘that the zelationenip of this new sthan to EVIG 4s parsllel to that of MUSTEAR and S8cKH ( nee Examples $0:2 and 50-5 J+ 1A the end of the fret mhythnis eycle of the nayans on the syllable "di," the seloay retura to s oadenee on the upper tonie of VG (ote Exanple 51.5}+ the second rnytinic syle a6 50. Sonten used Sn Bee 52 $0.2 SEGKionnt# 50.) SEORNAen=P sou mite 5065 MOsteAR-on=t# 5046 HEAT 50.7 MOcAz-on-e vit re ranple $1. Nakane used in Bx 52 Stsd Opening on Bus ”Fis9 Desig of mera - 2 a dabei 1.6 Pires sogunation Se eayen an oven another nodulation, this tine to gEKMz SUis)y oF RGkInonce (Examples 50:6 and 50-7) (eoe Baan ‘The remainder of the neyan alternates between JEWOAD and Bilg, finally eadeneing on the entey tone of £V1G (Example ry 51.6) in preparstion for the retum £9 the beginning of the onposition, fhe canplete composition, including the sep- arate text, te given In Buanple $2. Tt will be noted that the seyan of the place in Gt. 52 again occure on the third Line of the quateain, with «-non-riyning endings ottar vosat forma--iiry canal, and parki—-tlao follow the ne principles of nodulation in thete respective neyan (ola tnproviestion, tans. Any taksim otter than the Drlafeat, or the moat pe telan, {11 ehow an ADL sequonce of aakan-a. An eranple can be neard® oy Neyuen Vik Brguner on a widely avaliabie re- sording. The principel waten (nonlnally BEP#SL, Out nore ‘ew UpjAK ae Fenlized here) He established at the outs tna seyan besina at 01495 ninuten with an exploration of the ign sestater in GERDAMYE and MRAYYER, andthe final ea ‘once ie at the end made An BEYATE (URBAR)- ‘he Snatrunantal forme, peprwy and ea8 eamalal, show hat Tn a typleal peprev of four wed Sania (refrain) very Je in function and form the aanin ant terennia form, The principal nakan ie established in the ane aanner in both forme, in an Cexpoettien” duriag the ction. The second hane of the Snatrumental fora Le ‘ent to the meyan of the voeat form, in which modatatton9° erat erence thee twIn Example 53, the makan sequence of the four hane-e (and eanin) Sov SEYATL (BEVARE) MOsEYME (SENATE) KOUATHER (BECACL) uaK (Beat),fn ent seanial Snatrunentel form tn Sdentioal to the xanple St. Susceasively higher hane-s'tn pegrey | | ‘Acemasiran Makaminda Pesrev|rmerous- Sone exanplos ares ACOWAUASt, MuAYYERADADt, fea sABI-2CGRHE ( ZK20H Le an early nane for KOROL, oe cording to Gireerig), Te KURDE tatrachord Le identical to ‘hae given previously as a "besiot tetrachord, with the 3t¢~ ference that the uppar neighbor of the dosinan® La aly ‘cfu (in the compound) snatend of ecnatursl (according *9 ‘heoty). This variant of KURDL te shown in Example 56. Trasple 56. Seale of “HORDE ending 4 am at s Lone to account for thw r-flat mentioned in oo rection with Sx. 561 possibly Lt sould be releted to the tar in connection with NLOAZeAR srt SUZEDKL. ‘The method of ueing the -xUaDl snding Az Liuetreted wih ‘hq makan ACEWSROROE ( AGEN Le a variant of BEIATE in which the entry tone Sa Aen (4) in Beanple 57. Note that the Knot tetrechora does not appear until the Jast three ne ‘AGK-ZEWZENE the tine, shows an e¢tronely Drlef appearance fof the KDaDE tetracnord. In Enanpie 58, the ehort phesey in [nat cones only four quarter notes before the finalia. ‘In most sonpounde of the -KOADL elaze, the finaiia of the principal makan in the ohne oe that of HOMDL, cers 2aeih (A: KOwDL, KEVI-KDRDE, ACENRDRIE, ete, Since the main tonal * example 57. AODEADHDE {2tustretion esi senah ———_AGENGRURDL Sat Samat Kanand sane genie) centers are preserved intastin thous eases, there would seen retetively mila on ‘A allentiy different relationehip between two nakan-e of this elaee Le encountered in ARABAN-KDADT. he finalte of ‘Ansa, a4 ahom in the aoale reprowented in Bxamle 39, fervee ae 2 pivot to bacone the doninant of KDADI. The use tr thie sonpoud in the repertoire ie 42lustrated in Example 60. ‘he compound MEOARKAR-KORDL, of, 80 At nore comonly Se ”Beanple 58. Brief -kROE ending xanple 59+ ARABIN soade® te te SS ranple 60. ARABANEKDRDE ‘22ustration evel sunk zenzone Lilueteation of this fret version of KUROILL-AICATER Le | provided in Brawple 62. In Example 62, in adaltioe to RIOAZ- ln and KORO, third maton Le encountered whieh Se typicaluample 61. Xtiat tetrachord on & == sxanple 62. xOepiti-ticaztis, rirat version of thle tieet version of KDROELL-KcADRAR) aAston-c. tn ‘he exanple, MSInon-C appeare on #he ayllabies "QALL Da DKGELE-HLCAZIRK uch a popular and well-Inow makan that conatdersbie aogulation back and forth between the cone stituent uatenve Le practiced without confusing the Listenar. 1 snout aloo be noted that the lover tetrashort of KECA2™ IR In this conpound ia either very Lightly past over of, ne, 62, not shown at alle Other temporary stops and passing adulations are poraibie, ax saen tesin in Bx. 621 fhe tanporary stop on Kisgi (54) on the eylleble “rin in| The second veraion of KDROLLE-HIGAZKIR te elatingulened, peradonicelly, by the conpleta sbuance of HICAZKIR. Osce~ Slonaliy, this sesand version of the compound ly an the entire KORO sonia Sransposed to & (a xanpie 69). uample 65. KORE coats on & fons 8 be whan wlth RASTHon=@ (and/or UppAR-on= AnkzbAer this latter soale Le elven in ‘The eecond vereton of XDROELL-ILCAZGAT Se hom Sn an ntustration fron the repertoire (by the anne conocer te shat of the first version) In Branple 65+ ‘Conpounda ending in -FIGEIRK are even nore merous than ‘the -ADADL conpoundarBEVATI-PUSELER, BETAPL-ARUBAN-PUSEL- 109Huample 64. AnzDAR eonte 3 aust ‘aaaple 55. XTRDILI-MEAZRIR, eecond verelon smtseci get ORME 1k, oaRDANEYE-PUGELEK, MOUETER-PUSKLI, MISAR-PUSELEKG Diun-PUSHLAK, WEVA-PUSELER, EVIG-FOSELIK, ACEN-POSELIK, MOCAZ-PUSELIK, AMMZBAA-PUSELEE, ete, ‘hy fire ackan ao the case with hy -KOROL com Aigtinctive identitien, az wan the cave of RORDLL-AICAZEER, fentioned above. RISAR-PUSELIX 2 composed of HISAR (the Sexlnning ovale of nich 4a given in Example 56) and FOSELIK, HISAR tteeht Ae a compound of HECAZ-once (Ex: 66) and MISE ‘Wy FUSELLE, Me ne atv earlier, containa within ieeel® the kam GANGKH, These four nakan-e are indicated 42 they #D- ear in the iDluctration of HISARPUSELEK, given in Ex G9. Tt mrould be noted that the nodulations in Ee. 67 are Clearly tound up with the poetic structure of the torts [MM ip introduced where the repetition of the fret Line bine, GARGKR begins whore the vocebles of the texan start,srample 65. xbsA2-once | ample 67. nisna-pusecix saiustration (SuELNCon-h4y soe Bx. 40.3). Sone of the nance AF thie late tor clas indicate ths fact by the BESTE prerix (85875 ae akan nano apparenty {a an older name for TRACI! BESEE- MUO, BESTEMESPAIA, ator O8here Like AUF-L IRAK Sndicete a wort sequences 81 0 ppelationer MAT=OL BRVAR (Li3eral1¥y “peasant mood”), DELKER MAVEN (Literally, "Lovesick Orten= fais hy eter When glving th fiven in Examples 68, 69, and 70. Exargle 72 11~ estes. Soc S34 (=arample 71. neste-nibte {itustration (oaitn the exception of A0aMg ‘he compound, ABAIAR-ROROL devorted fret maka of theee conpoundsy Snvaciabiy igih (A), te saplee 72 and 73. Example 72. NOserni-apinan scaler Ss ample 73 PUSELIKASIRAN aoaler AMADAX, a makan which no longer existe outelde of conpoindes he soale of ARABMY, given earlier, te thet of MCAD ( oFone of Lte variants) transposed te dav (¢)- aRUIGE foltore fives the two soales and Example 77 gives a brief, but sie~ Sinct inlustestion of the structure of RINAYEHO-t KERR, Eaample 75. MIE LLLusteation the interacting (AF incestuous) aarcage of twinoe eee ee = Sea vxaeple 77. NbuvenD-t xeate s20untration t ip So as ede 6 oF ARABAN (Hayorsbed earlier, ple ‘Aan tranaponed an octave. jETAUABAN charactertetiealiy hoduletes to MINAVENE, ep show 1) Eemnple 79 at the begin= fing of the teelin. Exaaple 78 provides the constituent Sranple 78. SECAUABAN scale ‘he poseLbinities for permutations and combinations of lasiance ty nerely stitching together ‘wo fom maken one of he nore appealing of theve creations hav Pound appear in the historical reeord, But have long since paced into disuse can seene Find it enough of a challenge to find hearings for thelr vores, to say nothing of introducing a new nak popalar art Se Snuuffictent at tha tine for sues confidence (fe there an analogy here to the geste of Europesnetnerican clasaionl musie?), Sagettin taper, the dean of WevierL forvish musienl comunity and teacher of many outstanding fmuslclaney crested 4 new takan, HEND-1 PUSELIK. Lecord- lng to Gréuna (1969), there are only two known empositions fn this makan, Doth Oy Heper- Datune does not eren de ‘he great modern theorist Arel, of course, aleo trie is hand at putting together compounds for sone of his pieces. se named one LALE-GTL (9s3ip-Roae™ Ja delsgnt ful Sppellation in the Turkish olaseica tredition-soneleting fof MOG2AN and SHEARABIN. Argh left © nunber of compositions fn the now aakan but, Like hls mary other oonpoestton ‘they are almost never performed, nor ie the nakar know. "he concept of compound naka sete Turkle music spart fron Arab an Persian. Tt Le also an indleator of the rich recoutees of the Turkish aaksn ayston, wich al~ owe not only a grest Gesllof freedom for modulation, but Tormaiisee apecitic pointe of modulation. Up to ‘hie point ‘we diecugged modulation within s piace, ¥e how tum to eautation conventions in large-scale works:xanple 79: ETARABAN {2tuatration mar Setaraban Pesrevi "fn fen, ‘See tred\ tional f2011 would contain only sonpositione of the enme makan from Deginning t9 on. Todays a classical « cert ie mide up of places which follow approximtely the suns sequence of fares (peprevy beste, cenaly ete. )y Dut uete ayrnotony.* A typlea progean of thie modern type of fani2 NtnatePepeew 3 5+ toms (renetn) 6 mast jan Av a rule, the transition between mutans in a¥0h con forts ie acconplished oy meane of ara taksini or gegkl {9k ‘int (aoduiating lnprovieation)s in the particular case Indicates shove, 2 solo ney (ute) Dogan nie tnproviestton| An WIKREZ, modulated to RASS and eatabliahed & cadence in ‘A proeran silghtiy eee classical An asquance, dat pentane oven wore typical of modern practice would te the following © 1 smzant veokt ae 2 romazeck gir Samat 3 * Get Sonat (eaxsin) © aon et: Sonat (Ceaeain) 5 mast Kira ter ‘he sequence of taovenanta" st closely conforms te thet of the classical fami in the progran given just above (Kér~2 Nov, deepite tte serlouscsouing nae, te actually a stort Dlece in a rather Light style). Since SULZANE ‘IH and SWAMPS ere very ainilar aakan-a, there can Oy counted two fnanges of matan in this program, ach connected by & transl Monel taxsin. tha fleet of these sakein-e commecte FOIA: Peak (9) with MICA (4). The goalen making up he compound naka, FERAHPaZA, aze elven in Exanple 80. A transcription fof the actual takeln in thie progran appecre Sn Example 82. vary beginning sande for the finale en Yegin 10) of the Inet composition in FERMHFEZA (3). The Anproviantion extends this nakan for a relatively short while end males two more adanese on the sane finalie, at polntensrked © sna @ in the tranertption, dust before the cadence marted @, 8 ‘yptcel MIOAZ melody {2 introduceg (at the Lover stave) the cadence on D for the second tine could be conatcared the Biv ‘otal point between the two aakan-e (Notes the finalis ef FEMAHPEZL Le the doninant of HIGAZ). Imediately following the cadence marked @) 1 PERMMPEZL in canceliee out by the ntroduction of MF and benatural. The behavior of the weledy after thie point, specially with regard to the “flottine™ P4/ P note, gradually reinforces the des that the previous Zeskh (2) shouia now be considered teri (4). Tate Sa continned by the fina cadence in MIOAZ--one octave below Ste place accord= ing to the previously aatabiiahed frane of refersnoe, Like fal really good inproviaations, this one hae the two essential Ingredients of aubtiety and a witty tur of evects (in 208\- ‘Hon to Lntueteating the two nakanee in a supert aeyin) ‘he modern fan} progran, as devoribed, Ineluten to, three, of at sont, four aakan-a. The Mevlerd apin (elu, func of the "wiring derviahes") often enconpeseen an avin us(greater number of major nodulstiore. On another "hidden (voceh movanarte) of he yin are musi : feat settings of selected stanzas, ueutlly fran the writings ‘of Meviina, he aecond and fourth eelan-a are comparatively 7m hort and have one etenta each (often the rane one). Th ‘fleet and thied eeltnee ase 6 ot fron four to eight staneae each. Tha third eelan of the PaNgohH ayin!? nae seven stantses ston stansa tends to pre~ xample 80. FERMIEEZK goatee hig as Seample 61. Traneitional sakein Leet né 7 a7agai stnea wsemt 0+ ont rook "oY sash, sea sot sons ar nthe PENGOMM ayiny the “eeyan™ structure 14ers although present In the Thyne achene of Ae not manifest in the musical wetting, In the fanove BEUATE dg-rhyned line of texto difterert fron parks oF an oP ‘in. A typloal azanss of tale type ka elvan Sn Exeaple 92. ‘he excerpt shown Je the third stenta of the Third eelan of ‘the BEYATE ayins The principal metas of the stanse (Lines 2, By and of the text) iw ASD (or BEWARE) the meyan (Lire 9 of the tart) Sa in sual. Tie de the thidaan® structure, Soy apparent pan exasination of the Parelan tex! and com parison nith the susleal setting. SBTATE conpoetsion were to be on the pragean, = rich canopy fof tance would be encountered ir one continuous musion! {vdinn composition by Tesi Se aleaye thy sane work (In She Bxanple 62. wayan atrueture in ayin atanea sik none, pk mustafa aeraar ayn fn oh kabayL 2 senpar Dergeed (4h beri) anal derin hivkal Jengde berdaed (AN verde famaelnar Teoria residest tigiyia (An tietyid) Der gerhi wate an went anv berdead (ah berdned) fame nakan) no aatter which avin Le performed. Jorsover, the folloving takein normally begine in the noninal sakan of the fayin (rather than maxing a transition, any, in thie cage fron AS? to BETATE), completely ignoring the makan--tnd aven the Ditch referance’-of the Maat. On the tight of December 178hy ‘he short Rivas Wynne (on8 of wich is given in tangle 75) fare added to the ritual following the Son Titik anal. ng‘he recStation of he Koran will tend to be in tne me ff the BEYATE apin would ber Sete a Tenia, ease Hisbons Aan, wtoar Hae HELE eo Sinklar patterne of magulation, bot within te single tanta end between major novenents of the ayin are present fae the Firat pegeev and the tlegt eelan, An extras ‘his wandering satan phenowanon lgnt be the GESARABIN ayint? seston seduiates anay fron the noninal natany JETAMABAN, after other large-scale rellgioue foms (tert, miraciye, ate.) have a unique nakam strecture. The Reviit, for example, tw sraditionally divided into Bahat=1 (chapters), based on the haptere, neh with Ite traditions aaa (8he musleal get {ings Snprovised throughout), ae foliore (see Kahranen 19724 so) a = : ee i there are a nunoer of lange sections, of chapter n'a prinelpah navan (2ee Exgi 1938+ 202-43). ira tae Aa fotting conclusion to the consideration of mogula- ion in turkien art music, wr will conalder the “eataloe aria of the genre: Ricca HAG The liters] netning of the rene Ls "taining iGr"t ite purpore 4a both entertaining and pedagogical. lach Line or couplet of the text cntalne the Pane of s maken (or url) cleverly woven Unto the poetry and often involving wordplay. The most fenous exch sonpocition te the Kirt Matsk of Dede Efendi, which contain twenty-four fntxance in a single composition. “It 4a classfiad 80 RAST ‘other exanple of thie type of composition, by Haitptade Oanen excerpt in feanpie 83), CiPtwen makares and £1Pteen luce are mentioned and exAibited. the text for the excerpt in Bxanple 43 1a given inediately following the notation itn the ntkan nares in all capitals for enphanle and the oul anes andetlined for enphak ‘an Inateumantal “equivalent of the KBr Met Le mene ‘oned by Exgi under the mane Pihtiet Peprevi" (Beet, 1938+ 19). Unlike the Wr: natsk, the {ANEiat pepeay never a taines any popularity. fofay one cannat fin « tingle exsnpleSxample 83. inn tak excerptAST geiai mbrgtear igre o punt tine Lr weui ie Llp der Genter {ttin ran ant ir ADU nageet dlisuee depeeyie Kin Daf gibt pavnicnsbis te dre parma denk ‘ednet NERRI2¢den tapent Bri caneneyl ‘ir Batht ddasite gertin usule tentent 1 NOUVEDrS Aoee nahbubana tanbace din ‘ariaf blinemnisin dain (Barefgan danent) now to sont of the loading mucicLane and masioal authorities ould seen to Ye dhe to 4 certain vitsinens in the andes sation of musie and text, @ highly prized quality in Turkish tre serely fron the briefest of openings alone. This cognitive such stereotyped melodies could not exist independently of seats, melodie direction, nadulation, eta. The Urief oh phrases or motives nich immediately Aduneity thane Sone of fhaon melodies are sh "personal property" of tls erestores there are thn he petite donein-t beginning of a takin (inproviation) on the nay (flute). {he maxes had not been announced, but after only threw notes Avan apparent tat Lt was SABL: Tous thee notee are are intended to suggest the melodie sna than 2Sterei values, since the origina ‘ereot nytha, If should be noted that Ieee than a tetrashoré is revealed, indeed, the most snaractertatic note of Skah, Mag (49), Le not yet included. tna fact suazeate the poe ibility thet very stort aotiven exiat which somehow contain tert to determine whether ach sotives could be resagn Beginning with the above wntioned Stal motive and adaingfive nore drawn fron ny om experiance with the rep (and ehosen for thet auastnetna J, thx "Yoat motives" mere 89, were play nant by me. The inforsant wae sinply asked to Livntify ot the inetrament. Tne second ering of the Sambar ( the Jrone etring) was, however, tuned to the appsopriate reso hating alten for sash satan, Sees, "Lit fer ine. By 35, 86: sacl for tea. 87, 88, and 39. The reaponee of Yep tentions. The eute of a sintlar experiment hae there haz eeldoe been any difficalty in recognizing the tives. Thie type of recognisable short melody hag Deen tamed by ne Netereatyped natlve." to Tanbutd Aeedet Yager on Rig own inate sbove tend to onit what aight be consicered the most oh teristic noter of the maka In qiestion (fourth degree. in SABA, third degree tn RAST, econd degree in sHahty eter. ‘he txplanation for the dletinctireness of these motives Looking at the SABK exanple, one fret notes the oot LMlsmment of two tonal centers, a minor third sparts i xanple 04. Seereotyped motive (saat) (eS ‘aanple 85. stereotyped motive (AceuAgtRAN) = Example 96. stereotyped sotive (1086011) Example 83. stereotyped aotive (RAS) sxanple 89. stereotyped motive (MUR)fa Located in the lower alddle ragheter of the fl) rancer SS 1m aaaition, the tonal configuration of two interval tn the ecuence, Boj, 12 slao an inpartart piace of Informations os der-vindScaten the mtkan S4Af and S4BK only. Tn the case of the oharscterietic mative for SEQ (Bx. 87 abovels elientiy different, although eiuaily étetinctive features tre involved. The clone reletLonsnip of $8244 ang AGT Ag here underlined by beeinnine on Rast (G) and ending on sean (B4 ), with the onaraoterietic leading tone, Kiedh (AW). Ae was tne cage witn the charectariatic motive of Skah ‘isousced above, the relationship af the two tonal centers, ‘Sotal gmut provide powerful clues az #2 the ideneity of the ae. The intervals, in addition, are eapecially eletinetive, to the unusually small interval (four comas) between the Leading tone and the tonie - in the caue of the SEGIK motive, nalther the duninant nor the fed to reoay Saentification, Ho doubt aneractertatie motive fun of nates, oan capauliae the unique features cf a nakan. sno inpressive that Yager aubs then cainiature compositions.” Stereotype aotiven and phrages are normally ‘ound in most cumpositions and inproviestlone. Common makes genePelly have more than one aterestyped melody aazaciated with th fe'being "in the public domain's everyone vere thew and the original conpooer Le Long forgotten. in SGA, eeversl ate Tootyped phreewe can be Noted. Example 90 gives © typi inal eadonsiel phraee fron « pegrevs Zxanple 92 shows sUlentiy ditterent version, taken from a eat cemiehe Example 90. stereotyped SBZfM cadence, 1 29‘xanple 91. Stervotypad SEZIM cadence, 11 Sa] thon evidence of ung eharactorietic phravee. typical HICKZ melody’ te attributed to beth the gypay style and to Turkey (not neceesariiy mutuslly exotusive stylee)- The pirnoe An given telow in Bxanple 92. ple 92. "oypeye HiCAE phrase other charactertetio motives, ausgerted by Yayary are ehven below in Examples 93 trough 95. The KARCIZAR netody (Ex. 95) Ss se mutcnom sha Te hs aeons She “ala” Example 93+ SEAT notive eS 2% rasple 94. ISPAUN aotive Ra Example 95. FARCIEAR notive eS ‘moretically, auch stereotyped nelodles vould not seen to be strictly avoential for naka recoenision--in Light of the factors of goaln, melodic direction, nodulation, ete. revtricting the movenant of #he melody. A virtuoso musician, Indeed, coud pesbably nake a fairly convincing taksin in 2 celven atkan without once quoting a etosk phrage o° motive practice than, almost every eanposttion and inprorieation ould Include one oF more characteristic nelodies at one point Se found botn in thete potential for quick recognition and in Cllohee in te aakar aysten, A greet ereative artist, on the Sher hand, Je conetantiy Saprovising new "ainiature conpoel= ‘Hone which nay tee into ha om atook of charasteriatic atnelodies, may be saltated by his students and contemporariess land may even possibly gain enough currency to decane public Aonain by entering the general repertoire of stock pheaeee Bxanples of personally created stock phrases of natives im Eranpiee 96 through 99. Tt must be polnted out that these are not neceeearlly the mart beutiful or immortal exam siclane named. feanple 96, by Kutbay, wae discovered Oy 1 ‘pal soloist with that group, vex heard to use thie ner pele ‘dy rapenteciy in the course cf His inprovisations. cxanple 97 Cin the sone makan ar x. 96), 07 Tenbutl Gent Bey, was records by Genii Bey. The HIOAD phrase shown in Dranple 98 fe by Yayar Rinoel?, and bas often been uoed by hin In ctden= Wai situations. the last examle of thie type of Sayan, and ig size s cadential shrase (Example 99). sxanple 95. Fereonal pire by metbay (Shak) ae Branple 97. Personal phrase by Cenil (Ski) Hxanple 98. Personal phrase by Yayar (HioA2) ‘ranple 99. Persona phrase by Sayan (SEYATH) aTongs to one of three cataporises (1) baait (beste)! (2) iibcatier (compound): or (3) get (transposed). this ohapter both theory and actual practice. Tranaposttion rafere 20 an Lianelty or eiatlarity of n= nis seedy: G4MGIN tranagoned up 8 fourth ACEUGIRAR. Kt= (chr tetrachord on 4 (pateine noditetion tn BSYAT, xOAOl~ fon-g (RORDLLI-HIGAZKAR), ete. Tranepoettion may De conehd= fred in tro slightly aitterent aspectat the prablaes Lnvoly~ fing tranapoettion of an entire naan are more aigficul® than thous involving fragnantar ‘transpoved Fragrente the prinelpal nakan sae SARL and the nodulation wae fo HIOAZ i Nelther watan was transposed, Le, both were in thle A0cuR- tamed places, on Digit (K): Inve yarn by Sede Efendi, also ssivon earlier, ‘he prinetpal natan nas AEYACY (Sn is toned place). The nodulation, sn this ease, wan to “HICAZ™ oncdy* tranepoced fragment. me cnaractarigtic intervals of Wiehe, instead of being found on Digits were teanspoeed up 1 fourth to Aevd (2). SIBK, probably bee ay of At4 dletinetive intervaite ctrvcture, Se often ured in auch pearing motulstione vet A punber of different tranepost tongs son-D, -on-by 00-8 fod once, Example 100 shows ShBK, transposed up a fourth {to Navi, in the mond hane of the fanous MIMAVENT See fxanple 100, Traneposed fraguent, SiBk nk senai HAVENT Sa SenateL Manut Cent 1 fragnente of transposed maken SPAR fang 8 of this phenonsnan ie to be found in the seyir (proeression) ft one variety of the mater, DOGI, ft Lee ccnpond of lak (Jn ite novmaa place) and S®2KK (transpored dom one full step). In other words, using the tonic of SABA, Digih| (1), aot pivot, a nodulation to SBUMN on the sine pitch te fttucted. the woalee of ODIIM are shown tn Exel 101, and ‘a naka Se belafly ‘iiusteatee by an excerpt fon the eep= frtolre in Bxanple 102. ‘ie veraion of OUGLM te not sentior iments, Out Le Knom Yo many musleba An the repertoire. ws sn al, Arel, oF and 1s ropreeentedranpla 101. 0G som example 102. S06 ‘1tugteation Deveh wedi DicAH Peprey Yuna Papa criteria for Dlatingutahing ctranaponition” of an entire akan Le often dlacuored by ‘red and hie follovere, That ie» Apel, Bagh, Grmerig (ant there) often write ar Af sintlarity of resle were the only Deis for comparing tro aakan-n. Are sume up thie point follows (Are1 19691199)" ws om the other handy Knowtedgasble artiste (ite Sayin, Kavaca, afar, ete.) Aneiat thet etch end every maxan, Unelud= parate quelity-vand cannot be confused with any other matan, ‘ease (and with the compossrs who ueed different nanee #0 dis~ ingulan betneen the “Deste* makan and Ste "trataposs tion )- dred et als would een, in thie once, #9 consider intervals atructure, oF goale, 26 the only erlterton for identifying sdditional criteria eneential to athan recognition, nesel¥! selocie direction, ckaracterlatic modulations, tad 2 type melodies. Besides these, yet another facior must be conetdered--teesitura, It ta ay opinion thet sry too maken ‘The Titeral meaning of the Italian word, teeubturs, is ‘vexture.* Brery sonoltive mueieten (Eastern or western) Se ware of the changing texture of a musical phrase accerdine, ‘he Identity, the color, of each maken Le Bovnd vp with clearionl turkan musle maintain the ease pitch Tevel throueh- a‘between satan-e and thelr evspective toast tus ‘he moment place for the “basict makan, FUSELIR, Le on Diadh (k)s = "tranaposition? of PUSELEE, found a fifth Lover fon Yagi (D) te known a SULEAR YEGKH. "Tenoring completely the moment, it can be dafinieely atated thet they Giffer in samme of tessitura. The deep quilty of the final cadential rnoter in SULTAN Yo:IH (200 Beanple 103) hae s conpletely Utferent texture” than that of the cadence of the migele range found in POSELIK (noe bxample 104). 1 tranaposttion of evan a eingle tane enay, up oF down, ‘with romul! in a perceptibue ctaage in tone color, whether ‘he wedlun Le the nay, the tanbury of the hanan votee: hue fry "ranepoottion” Aa @latinguisned farat by a alatinet dit Pavenae of timbre, even Af no ottar factor Se eonaldered, ‘ample 103, Tiuatrasion of lor teveiture xanple 108, Titustration of In addition to the characteristic of tersitura, certain ae ‘the intervals of IGAZ and SABL agen to be especially onaet able in thie regard, protably due to the Iinited nunber of SHBh fragnent shown In Beanple 100, there Le an avkoaranes Tor most ineteinante (probably even for the voice) in attenpt= ing to realize she charecteriatic fourth degree (bere, 8) ractly parallel to the fourth dugree of SASK in the normal Te has aleeady Bean nated hat HECA2-on-e aare oftan than not see an aacending Intervaiic configuration of 613-5 com nas, in contrast to the configuration of §-12-5 cemmas of NEGh2 in tte custonary pla ‘The main POLL Ls theorethoatly defined aw ZORZOLELE htcA2 (ZEncTL2) tranepored to ia (F#)- Tenoring the other Tour oheracterietion of nakan and comparing solely the inter valle structures, oF sanlee, of the "baslo" and the "rane owes" maxan, we can daternine that--ngtine-thers a & eee nificant difference. Aa ehovn in Eramples 105.1 tnd 105-2, RIMGOLELE HLOAT enhivite an tucending intervalic etructure Im ite lover pentachord of $-12-5-9 commaay VERA, however, Inaleates e structure of §-13-H-9 saman in the cer ing tntervene. One might hazard an expla ‘eration of intervals by noting that the Uhisd destee of RE Az (CA), AF tranepored down exacthy the same anoint 2a the other pltohes, would require a note which does not exist (& plus three commas), The closest available pitch in this ease fe KGrat (A plus four comes). From Unis evidence alone, it oan be eeen hat BIIAK dif ors fron 218001211 MCAT in Doth terektura and intervalic wyxanple 105, s1tered interval 05.2 cinco mleaz Comparing RAST and MIGABURER, wy fret one that the ettfer~ reveals immediately ¢ major divergence betnean the two naan (owe fxanplee 108 and 109)- HUST has an secenting Lines ‘the opaning melody easing in the aren around the tonto (24 108). EGABUREK at the very outaet rises to the dominant odie direction (Ex 102) 105.2 wlohe a example 108. RAST nelodic Line adhe Dinvetion ‘The maran NIGABUREK Le defined by Aral and Me follower : | | ‘ranple 109, NIGASURBK seLedte Line ‘he two makenew are show In Exteplee 106 and 107. Example 106. UST cals es ‘thn gaternining the gelodic akrection of 2 makan, tt fa the {onal genter of the Hitet pheace’ (anu often Ley Fintlig) when Hives She'eteongact clues "Herer she emphasis Le on the dominant, yaronthecee around £4 Srdicate the ambivalence of ‘inte thee Tove pase 67)Sine ei “tranapositlona" of the tbasic® maken :teobtcit eae (ZENCDLE), are in the current repertory. ‘Maen are ‘shown in Buanpiee 110.1 through }10.7- Al) are independent sakance except ARMBMY, which existe only In comme ( noted previously). HAuULELt MEA, Be. 110.5, ie almost dentiosl in cate to fz, 2m tvo nakanes differing salniy In melodie direction. ‘aL seven of the aazan-s shom in Sxaaple 110 have, of course, distinctly separate tensitura, A fev dlecrepancies can be noted here and there int intervaler The lonet naka, GSTAHBAN, has # strictly descending melodie directions one of the nishast, GAAKK, Le strictly ascending ‘gue qualities of « matin can be found in the Uendency towards certain wodulstions. These nadulations ct occur in the #390- ition section of a place, a in the HiCA2-on-d nodulation fharacterietic of BETATE, or In the neyan seotion, aa in the fase of @ tendency towards Sha sotalation in the mayen of 1 piece Sn ACINAGLEAN the altterence between *tranepori” aances SOEiDtL (3x, 10.2 } tende to ineluce 2 panaing nodudstion to PUSELIE In te exposition. thie modulation, sppearing tn the normal po- sen of PHSEEE ( te fart der of SLRs ein 1? ‘to conpare SOc1ott with EVGKRL (2x: 110.3), one must determine vwoether 18 Le nomal to find a modulation to PUSELIE on she aaaple 110, zinotuaLt wicar ang te +tranepostttons® 0.1. pevarana so.2 atetbis 110.3 svoknt pees teeters ny et) ‘ourth engree of fvOKRL, sagih (Bd). Such a aotslation does not, in fact, exist in EV0LHL. Moreover, when the melody Hi Shove the upper tone in EWARK, the Ieading ton to the third nate (g8) ie shown in Example 132. Returning tosO2tatL, xe oeerve that when the neloly pasoee stove the uper ootare, NIGAE ie ueed, Bach of the two makan-e han chtrateriatic nodulations not found in the other. 289120.6 tower io.s cimabuant wlci2, oF poms soe is 9 4 oy 210.6 parca? Go ern ors 220.7 Am 5, es pitts trample 111, oharaccartatie nodulation, oat staat HHCAGEAR ana §OMAZ (nee Faanpleg 110.4 ang 110.5) are Sdenticel but for Their pitch levels.! 4 practicing musteten ine Yapars on the other hand, Snsiete that AECIUK cannot pooaibly be lataken for GEMU2. Using the oritaria develored hus far plus the addition of eeerectyped melody, me should De ‘le to determine wien opinion Le wore corcest. ‘ALL agree that the teuaLtura of the two aakan-s ars not the cane, although the Literature neglects to stress thie point. in regard to Intonation, one Right nate that there Le Gonetines a single coma ditterence in the inflection of the of the scale (Cf. Exes 10st, 120.5).° ctyped natives and ph by a eeyte of each mekan, composed by an authority on the au ject ri aah for GAME and ‘She #xo eumpost tions by agar are shown Sm Sramplen 119 and 23h, with the §ORM2 In the opening parase, marked (Qin exch emmple, fOOU2 toes the etereotyped motive peculiar to Lt (oreviously nen-‘loned): RIOAZIAR does nots thie fret phease opans around snd cadences on 2he upper tonte tr Both examples, Andleating fsecending. Extension of the scales above the upper tonte 4a tise Ldentical, enaept for the fact that HECKER geine one nore note (d'), due to Ste lower teenltura, The ext tone] concer extaptisnea, sarted @ in the examples, in on the Tire degree in GNU2, on the fourtn degree in MICAZEA, ‘The nodulation Us RAST on the fourth degree, sarket G) in xanplas, occurs in both, alshough Sn eLightly alsferent pate tems (egey im HICAZAR, only thon steps of BAST appear ‘Te atted upper nelgaor of the upper tanks in KICAZEAR, nazked @ » te never found in GEILE. Both makan-n tum to ‘he sale of RICAZ-HOUYON, sarked @ in beth examples, An spproaoning the fina cadence. At the very final cadence, the leading tones of the two naktree, marked 6 tre tw aisfers a whole atep in the cove of GHIKZ, a half step sn HtoAarAR rstaponaa dn Sou whole e8ap reweuy serie soaps taper un rages of certain tones, ete. which could also be cited, but Telentiy eatablisned. ALthough very einiiar in many reepteta, SoHUE could not be mletaken for KICAZEAR and vice veres. A fiove oxaminstion of any two makan-s; bagea on the five cele Seria developed above, ehould reveal the distinctions implicit in the GLffarent names of the nak aeSrampia An. HOARE capi Freely sept Neodet Yaga ge : dtteet Tipe Ftp tf peet tee, ‘he Five criteria developed in thle etutyovintervalie nodulation, stereotyped the oricaria wld 1 aitterent though there aew probably other fastore nat touched nae doen Riyash Sayin which eonforan poorly to the repertoire of ite naninal maken, wisn the “erone™ nakan, eee, RURAYTER-KDROT Snetaad of KORDE= Hi-AtcADGR, are not intrequantiy encountered. however, that the musician sho Inproviaee & takelm in Ha plece Soth would agnit the finer dtatinetions 1f polntedintended to be aul ganaria and wat not naceaoariily declened tcrbe compared with other sualey. tleo, inauffclent expe ‘lence with Turkieh folk music, Anbis and Persian music, ete: rake ne Nesitent to atate apintors concerning those ares. Navarthelese, a rurvay of the porsbiiisies for investigation ‘avol and other Turclsh weLtare often give the inpcession ‘nas no alfference whateoever anita between the folk and eagons, eta, Segiy and Arel all have the rather dlaconcert= fing habit of often sLithaly Silustrating the mort eeudite die fusolon of cinusioat music nith a folx tical oF ayn neva yet nowhere do thay discuss the pinilarities and differenoee ans Dd conpacing than, £9 ay Knoeles {TurkLeh, Arabic, and Pareian susion are virtually the sane oF conpletely anlite, oun, for example, diecasees “neten” Al- sont entirely in terms of "the Widile test.” Taentiflentton by regional culture of musical oxmples or musiclane Se appar~ ently not necessseys all ate refereed to ay tnatives,.Orlen- felesskiddle tart.« only Intonation i briefly aentioned in sving 26 2 differentiating factor between *aaase, kA, ni {Ean oF dastean* (Toma 19714 38-18). 'zrlancer Aasertes, ‘To’ telt the truth, there extete no escential alfference Se- ‘woon modern Arab tugle and Turkieh music of the oriental tra" 150 assiont (averisnger 1989124). 1K auanatricsnly oppoeed opinion As held by Tages men asked hie viewpoint on the relationehip of these three musl~ (Gal colturse, he replied shat Turkish music Le Turkish, Per~ tian aurio to Fereian, and Iraqi music Le Tragl.! Arel has Siristen an entire manogeaph prove that Tupkien auete te Conpletely dietinct fron Feroian, Arabic and lyzentine (APS 1969). ‘Sy om opinion, aged on comparatively Linktet experience wis Arabian Porelan munca, woud ve to agrn with alt of caving, "Brerything in related, no two things Ldeticel Sepecifie attanpt Le made to compare two oF three of thes ice, forever, care aust be taken thet the aubject Ae a proached fron an objective (Aor, nat "aebionailette") stands Point. Ap one gets farther goograpaleally from Turkey, the Siniiarities, ef couree, fade, Forere fable that the bas {for conptring wakan and E848 doee not exists” oct an Indian ‘musician and ethnonusleolosy student who heard a Live perform ooo by the Turkish auaLolan, Needet Yapar, assured me thet he Galt an affinity tovarge this musio and would like to ef plore the subject furtner.? Certainly a collaborative study fo attenst such a comparigen will be fossible in the near fue any aspects of fuskiah music Mave been exoluted fron the present study rytheie nodes, instruments, wider treetnent (GF form and Anproviention, the surcent state of the Art, ent fo forthe These wi de presented in a eingle werk In the not 1astangocoN seASURENENS, OF 2 PRELDUTMARE RePORE In chapter 1V £2 was noted that in most of the Litera sew for the vaelous intervala are givens She prerant vtlter site curious ae to how thoes Tigures would coupare with en- Pisioally derivea values of intervate euppiiedby + practicing ‘he fractions indisating frequency ration given Wy Tekta (oranniated ints canta in étarlanger, La auglaue ane, 1127), vould apponr to have Deen derived by purely theoretion! means Ueailek and Zegi, however, claimed to have actually measured Seite a moncohord, though the source for these ‘aay enough, these wonoctord "ase practical Antervale with electronic equipnent night yield report {4 based on source intervala ee pereaived by = furkiah futiclan (as opposed to n0 dese inetrument or random excerpts from recorded exanpl concept, was nought after at thie atage of the atey report, 44 Manly regeedod in Turkish elassion! xeric ofr~lee not ony for Ais virtuoatty, but eleo for the eocuraey cf nis intonation. The present writer often observed other furkien mustotens coneuiting Re. fapar on questions of piten ‘aperts Lasteimenty the tenbur (Long-ntcked lute), vould eon to be the ideal ane for the purpocee of « prelininary survey of thie sorts Ite extrenely Lone neck bas mare then snouth freta for every alzcrote interval and Sa capable of Thun producing fine yet distinct oitchees The aeblilty of the frote makes possible minute aljuetnents of intervale Ae dasired by the nuslolan. yerat no. 910) was sid to be about twenty-five yeare Old. Me, Clean white, Manager of mginering Services, Audio Tix sean Services, Univoreisy of uaahington, calibrated the Strobocom, using @ preclaton sine wave oscillator, a crystal fulator. According to waiters caLtbretions, the satin frror found in the Stzobacem wae 1-3 cane, hardly ehenke~ ‘Before e2oh mengurasant wae talan agar was asked to ‘ty the interval in (te mislead contents Goouelonaiiy, thle failed forth a inet minute fine aijustnent of tone of the {rete by Yapars Mien he felt cartain that the interval founded corract to hin, the meapurenent wa taken. In order ‘» avold conflicting readings, only one of the normally double seloty strings war sounded By Yager. Not ony mas he nore proficLent than the present writer at ‘capturing she fast-Jechying tones of the tanbur, he wer e100 ase plus the one additions! *UppAk” interval were seanured: (1) igi mlcennep (large half tane)s (2) bigie mlgtanen (on) swe tona)s (9) aEtE LELLL (augmented second) and wom wilt be estied nere (8) shalt plvlk algannea (Ginintshed fait whole tone): Each interval was tested at eyveral yosttions in the 0c- hare Lt cheracterietieally ocure. At each position st Leagt threo trials were run. Eech trial was considered Se a new measurement Ln order to evold the problaen of 18 age in piteh on the melody string » a cannon problem to the lance figure in parenthease shoving the spresg bateeen #elale total aprend of all asasurenente of that Interval. nally, ‘the theoretioal interval fron the Literature ie show for arpoees of comparison. Bach table iv scconpanied by = grayh ‘showing the distribution of the average readingn compared to ‘Taree conclusions can be drm froe the dts show here. ‘on show virtualiy negitgible variance (fran 42 to 48)+ an Interval at aifterent positions Le eignificant (teen the ‘conte to £ifteen canta). The data shown in fablae 2 and ‘to indicate that the interval gete exaller as the , yet Tables 1 and 9 contradiet this, he lance In the "eames interval ranaine tobe aiacovered, assPaaktion edt/oie Kegs (48h) Aiea hee a ? _ Reston an yet Eerste Mineyat/eviy (o/t#) srernge Mean Moy verge yaa Theor 3 1} ) 180 396 fag) 8° 9 136 Fosttion of interval Table 3. Augmented Second rats woe ten mat ESEUA a Ben amon on Bie Keenshin'gotmas (t/a) 373 63) 25 20 Titence § 265 Position of Interval astsion average Mean Tagan summa ar" ps at Ge ee BB mom + Hayate dp (y/ Eerie bake geal c/at) 13 (23) hough ten Le dover. “oraastional sccidantaleare retin we i <= EE Ee WE eee cee stconé, the mean results for each interval (At weantns ‘ul at all in Lignt of the spre0d af the data), are virtuaie 2y Adantioal wlth the theoretioal values for the interval 1 ‘heovgh 3s the mean value of De URgAR interval, ranber 6, ‘Inird, Yager had previously maintained teat the UPpAC Lntervaty umber 6, should be the sane ae the characteriotic Intervais of sash (Ganzin/sabi) ant wOz2ac (ev4/iizzan) she date in Table could be interpreted as supporting thie point of view further aesauranerts may confire tt, 18 ‘mun far only one Sntarmant hab Yeon eds Farther ne surenente with other inetranente and additional sxpert ine tative resulta, Once a norm Ae eatiafectorlly established, the degree of tolerance and the musical or personal fastere 19ag men fovemtan epesi nrer Me Ee'eLfot i of Younes ganeratlon of tbisiars. Conetts cena SRSA fanoke ner oh ecand nea! conetdeted st pustey uous Concalfad razaasiye ‘et inele gesk eutnerieative socice ont Reatnar ao Hiei anass. “5 ‘Sonal dered' by nustetana’ to be’ toad Interviews nat tee atbay, yypiayers Amongst Sie't2 feltstous, claesicals eipays fol fron tubstan cortnonial susket”™0Y' seschor’sea, Musah. ey alayer, Shoring Insure tay uae le ae oer HESS) mi er se 100 Rid pip, (gett 19586560719 ee OEE BT. te Jig ae en sna sue yovoneh thangs Lette tthe aapo aE eee ate B ee "auartor 756 ppe il complete aylneer haste SE tas Grga 2 geraa (6 Sng eb, for tit, Bol. Koner by woontiabiews isha, "Start Sn Ped "aghe Hea e care me Se Se Geivtabnes touts Ssgy elie beaks Sct” Tehsahit Bt ‘ltoli fio MMEIFL BE {oe sieniograshy) Contelne about agg Saftton Spkeder (iatanoal), i955. 1,12 Foekeuee tne, Satine rts (eee Mbiography) Containg Baro 303" pp" br moathant Wr Sey. Puble Sanouts'i958e) Gudetoy 22 ry pcglecy/upe en ne, gan, ofa, EE Lane ee MHS che ESE tv ras “te melee fel Fa Be EG, PE Sa ee Ti Eagar nevi etl mute ten tn ry. igen a Scare Helo fae gels renin iw araions OS Saa cP trams nny "Bnet eas GE gee eat Se 1-2 ages En durelne French Oy 5astugto recording of Seveyt ritunt muste (the gost cor SERIDSTSIIGS paint Romi Ss EA, engi {SSS ee oe) ight by ‘sissy tehapters." me ag: me eal uae ‘He Stent series no. 19. batted Uy hiein'Bantarou lassie, sant-classleal husie MD ef et MaHts enti Cone bene Le aiSe.” noah) 1 songs wth inctraeentalacconpaninent. Made inna ade Gfendls KLdakk Tink wali tacomy. (Ciaestoal Turkle Birecag yo fornia ooe i zane. Gizee)"és Sone. Settee ciavateal performance jen Surk hare ahora.) TRAE aha site mone for anten eee Croom gotten nightclub etyle performances with chorus. sa in ngs Feerded tenga Sy neeye end Ine vocalist (reissy ide Un Turkey see ea eae is kes ese Nostly Foie music} two bands of classical. asBegan, (Uoetvmantah yore.) Dhrosted ty tna ‘hlttereiets foctst Yaar ‘hae. Be'cPuntl" tvoordinee, above. Fade in Turkey. Suge oy aba iy feat bey Sttectas By Bsereat es. “iia (Aree) Fark perfor ate ESE ETE G07. Rates na pi aay, Seg em WU at 3 iat ttt tat, Seber FOUL dances puctoreed by tebe’ Snatronntal nsemae | | F Mabions'ttde pet a directed oy, god color by Kado jane opretion?ef easing ‘eypay ud player Ds groupe ope 20 iv aypay style by landing claribetiste ag, el, Optartal ant ne group. one 12" none era Sra eanoNBE. Eine + Armenian, Turkish folk lca oes eolos by Zakt Niven. One 12" mon LP at. ake Sar ae Bele Bay tn finkey “aap TELS: canton a} Bano OP alae. buanste Su ars us rptatn wth ga acount by Seeing porfotners iit Yopechs” Rade is “Ea See “AEE MBB anthesis nese “Ee sec eee SRR leh ar eat ‘aptopar. Direeteg by Raaeh "4 FoUE and arban nuaie Sypieal of popular taste in turkey.ed in various regions, apparently st naga, Prema eae em ot rs, ee tl acess Et Sy B uge, Recorded in tarkay by Lael Oy Tewsrs SgaenE MAES MEE oce"*Ronnasth Daploret fates icPetso Varsety of aumnancis'riinee masto flee he provinge of aie TECESSSGE NT entohte obese Un otteblafeniay eros -sisponet (rattad jy,8 EERE En 96 oatan HSE, ent ghadatah ss 0 bas monorieed the entire Koran. tn aah fins’ he tranenteed is S nanieat” 5 Apa ts ‘eat 193008, gh 1958-102, ccanbeShGES.NER,A8, 88 © naan foe expanse astse SHAT Sensis OF Tan further inforeasion on the niatory ood activ ‘tne coneereatory ean be founa tn Sdner doggie tt" © 5. Given in Datane 1969. ha een published By the ery tehanilast SHI" vatory (abaidaes 938).rok RD it haan tse gth 2, tangy from vale, 904 a tfer Coranaay 1957232). ona? Sant" fton” tha’ ehallent possible Sraeevaly the Snel AMIE" tonge vanutting in‘an invert gf 6h ogpeast The pre 2s erie teat i 2m ari Se ‘orefoe lade $2 tari Coyne eradicate evens Soon seahctets et "jelnhard 1961721 Eden, SEUELERAnY iden, erochure EStA.0 saroperney™ fp sbrioure ‘Intervala {rekse’ 192112999). 4. _fosr stave ar ehvn by Hels bt te tm oute ortves ‘rarely, If avery used in practicy (aee are) 196912). ‘Tha"tn'the EAStGe at’ shy avs no application in practices 7 io earns wusitonsSagotene est gertans of Sane ardent and Clemelig nused’ ony oy suseute. weitere {hee kStadente" 196513203 ané clrwerig) Ra 9 he reverse of the facte an atateg by Swets (19721108-9). 10 An she system proposed by Karadente; co ong 0 frets of" Rib are sieilar ot iaenitea LL Gee tavlevi Auinlest, no. 8. 12, ober. she only. theoriat to nave noted this Sapor= Aint charactértatie of the makun aysten, tno" taenptldet an the san "althougn Buel Sppetently ooee 2 see Aret 2962010. East anne 4 terms “gilt! for ascend ng and/"4abia" for seecending’ (iz "193)8009 2. An taltan tandnanter for one of the 19th centary tate aeeaptod a gonpgnt tion So" pivtsrite "She tor of due HSER Se Gee ila ashes Poste bsg fateln gmtralny In FeWgaRt (a variant of att Ainaloe toadvepebrtly ints tag’ heactane Eee oe4atatrs’ ah inportart’ colo, "hace ge fet hey takelny else ahtepteg GAPE Stay Lott Bye einen ther makan may, An paoetng, Snelude the eher= rysotertatio note of the others the atatinetion may even to ‘oem artrausie snare de,e'peraitel Gn the srftionl gealiey” peadig SoEEES Sanka Tat See "en an ned Meni Thaw 1+ chanical and aLgdous husks Se fvinhard's Sneiatence that nodulation ony occurs in ich ac peprey oul etthelessy itvcantve 4 variante of REGS Hske-OMAvon, ana aeMbLa, “* “™** Epp Snes ‘Sinemsst Sn Novesber nhs tan caseeieal Wiote Ghorae’at"the fant theater on December sche TU SUE review, pes analy of wana ete Bag Qeh EET ae aaa eh Ba 10 Hear Mache of the Kevlar, side 2 11 the 20h of th 13 notated im masters azimbesh, KEKIE6BS £0 a 1, ones the cinaise Le sounded, ve man could be cone! or the 2aBKraniiys™ Staly BeSHi-MlodRy Gunatiy ate. 2 Kindly provided by kutbay. See OBR Ayint, eyLeut Beintert, 11211850661 aki nope anu Ua enstoR REE E605 sap Ee SR core Bice ELBED Sc ake. 2, fot frelte Uoretionl gant, Dut the repartolre {rantioneg esciier see man ob nee gs cane i omen at es om socbanttt gosto, of tnapton ace 2p Hbartonmn HARD) Oh Telit anette Ehvdd should cite Pit faseLe°(O)inetote"S? BLy garb fo). Penitn Sechepeegtinsooted chase ad BRS summery ‘rat couunieation fran sen'ont Teuge in an sttomoure corkiall Lounge in faronto in Besentart $5787 2 private written comuntoation from Harold fovers, 1972, 75gap comunteation from Ayyangar farganayekt, Dee 3 omar, 1972. and nanigioun Seaditiane® (Sone tn pore v6 1s pltehe £2. maham sinter to BEYATE with tights on 2 papier 2 om GARGRicon-P (deacend= fal in 9/4 oF 9/8 ‘in in 20/8 fbaolete natant 22NGDLE-en Anprovieation betwwen tao coupoaitions fonpound aakans UppAK-oned plue BETATE ech B 2. makams UGGAK-onck (An com= 39 ce 1 ritual miele of Mavlevi order of feevial Sanne’ teligloue pecs compound matans TSPAHAN plus TRAK totrachordarabia seein fame, pittetenat oldest conpoattions in Nevievd repertoire compound mars SAB plus IRAE tetrashore 4 baste mazan (ascanding-desosnding) Compound maken! ADLAN plu BETATE interval of 8 comaay “ened whole tone sine metal inatrunent woud by ayp 4, vison gp 2s tate name 3. akon iba t= tending (anioteetretion) beliy~aance muele; ueyelly improvised over hythais’aeconpaninent foln mode aintiar te HOSEENE vage-ahaped gram in fo1% mush follsetion of notited musio, large cylindrical drum in £01k muste raloed plten, sharpene famous azole of pou by Jelslediin al-huni Ltoh beteon af ind ad ‘onpound aekans HISEEME plus TAK tetetchord sharp (accidental 1, ghenatnte, 2 ueuts aurakevtert(2/4 Rea SER plan sbtlagch™h Mae PRED: mee historical notaticn similar #9 hanpareun natant 2EWCDLE-on-FP (descending) 178 hanpteeun nigdaeie§ ede isk Ae pone £45 26 matams SEORR-On-# Soetalee) “ Soe taken AOBUGLSAN pine Pete ote node resembiing ALCAE foguieting tmorovieation oly nds EEaEaRAY ete e pisoh Pb ection within Bente, pegrer, 42 Si stan’ genDLE-on-3 (descending) ay pitans ofy 2. compound makans AGUL-on-e pind DEAN ao Compound atkans HISAR plus POSELEE kan of RIOKZ fantay kan related to U55AK 19 basteipgt ape aval compound kane NIGEL plas UfgAKeon-2 fencan siniler to SiiMH, Wot with ob descending (needle direction) An tone Ff 2, matane Saxhtoon-P¢ (s abdescensing) ratans t-ovedptue SSCA sitner-iiee dnetrunine in clagsieal muste fusictana’ slang for omanentation (Inpro eae’ ae « eotern clarinet (in 3) Dyhagarean conse, approx: 23 conte nterval of 5 comm 1s pltens BB 25 fundamental satan ampound mekans H{Si20L8 plus RURIL-on-6 makiehe suniyyer iE nevtinn paypttem # stylised fo1e dance in 7/18 Gonpound makans BEIATE plus Souk ep. collection by Rush © Of Kavling, “whirling dervien * eckter of mevitt rayal militery tend (Duropeen etyle) be section of piece which urutly aocur inte frusiclan(s), eapectabty tevievt encenbie kam ain. to MOSEIME (deae.) feakane SooMK with of hymn praising the Prophet rane text by Bevlion train in garts form Sheoretion. neon snecrion ending (natosie atrestion)nigra nus a nigfee co pegrev hymn of the Bektaahs darrian onder cal Tureiah flute made of reed {tie for performer on the rey akan PUSELIX-ot (ases-deess) Compound makes REAVEod pus MRAYEN? sakant Stanek (a-dene.) hymn adiaa to ayis an certain occnstone tyttaed dance place for instruments 1s plten G2. Dale matin (ascending) 4, phtsm between gf and dd_2. kan Lite HiokiSon‘o"plos Bg Sea (ane: -Saet onpount nakans SiBh plus KUMai etrechord duleiner-Like oletaioal instrument 4s any snetranent 2, tadlane ont.) onpter eibghnd = co tensfatt as ptt 94, 2. maken son Bist STER' cote’ Bagte ny one of four voosh movenenta of Mavlert ‘telodte progevaaton anique to e221 maken ‘onpouné makass GEE plu AESAR rans POSE 0 (anacenaing) akan 2ENGUI-on-F (descending) piten ob Seah SPAR otesencg Oo SBE Bi pltom gf 2 aakan ale. to 2DUULE (os ‘ranaporition ssarant itRubtz-on-9 (descending) feayare EtRG012-an-7 plue ACBIASLMAN and/or Head-on ee rank in Tarkieh wuslis blarerchy ‘rurkian hyen with Arable text ‘itle for performer on tanbur ntaryal of approx. 9 sommes, “Lange whole reform pertod of aid-190h century Sutien, ayeticton aangle tare een Yyenigert tain aye derviah lose “tie for performer on the ud rytante node 2 pitch betonen af and 64 2, @ baste nazar ticberdine) nlc reottation tn fo1k muate HUG fants eivity" chapter of Hevlist Ae plans D2, eam HEV plus RASt-on-D 1 wauls 6/8 2, vocal oF inate. piece in ease ‘iret section of « composition, “exposition © tee atm Gervion rituat of comunat dancing end singing 1 pltens of 2. Neate maken of HICAZ family sone a5 2tenthe pee Ee RS, eae ciateaaley Oy Spm tee roving ingiviguaivty of Turkle ausics {pedte:erslany AESDLe Sod iyzaneine funioe fron wri taoh yatta MEA BY ee eee eae len fan the fepereaicy fo eae slaapa ota ugh Art £ taportant Surtdsh Breet Oy ‘weli-itiuetrated revi are aistorieal conten saying, sept caarae otis ee pyr ot Maye (582) ia COSA STi cers etn sig fa Ann Oe ie ts 2 ioe rasauominn tik eo a i Re Sh ivtory of the funte ffon thely TearieLobiten te the foundthe world a a wee 0 oceans eet i, Geter Mag meno oo Yok: He “Panabiy coneta, Cia Shhuysaadn tao} Panan.”“i5 2. teentiens talked (2939) notes Sn nodarn Arable music (2919) a rhythm and for tn modern Arabie muste (1959), niatory ur Fn Me a es rae ea ae eae ea Shani i ie ee te ttt oe OED Gentary,o in oma, HIE C936), ns” tee Seventeen Setar Eleouncion st fnachanants ment ORR Seltaoht becEAPAPERSSEEL MSR LF, UProotted Ryner ny textes elesarr, dnein, MOnioerh” nt by By ings eth: Bef fash rere eee in en ne en Sateen Eee mary ae ‘etna eaten eta a ee RE?) fg ane “hate of te abe am paren as EUR ERCER PERM KRU ty on ane “Gap a at lan, pgm a a eS Pe ono, ent, Sf fupteyis nanmmieaon inthe 40th curs hasta a7"gen, tang sein th ottnan Exize te 278 eS BGs ee ee a ee Retente aur Sie anaes aaa nai HESS BASES Esholaray ettore sn wupport of a lnk bets hamandes Gnd the dete DN order. sa RR ie Sebo an 8s 3p. Aa Otean for the Sultan. Tondons Putnam, iabie ache Lteran/ Enea heen — ormanyoBtetin Ble Melasate ‘ a and gor DCE HS Sill Rt Pat ry uesersgtion, munton (1962). ankarar Eemace, 1966. 143 WTthotgh conteinERs some inaccoractes, a fundamental refer~ ‘HR Se oeeohe Seione eas Teter soabera et PLE anger, Ree ug Lite In Dues. Londons Yosder atnnardy fart, "Tiredeahe Dually” 19 RaGhk in Gaschichte un uzansae’s 130, & on ate eh music, Yoluminass BbLo- Nelnnarg, Kort and troula; urgia. (La teat sion musLeates res i, BBR 2S pers notation, photonsunk ete mat 206, D8 py nation serie rise oat srieal se ~v node” Coneldefabie iatleente on ee Hiatt fatal etrete sic tonar/ancyeopadin eat ugha Ty eet lah spcia, sgnrgaee Y 500) bp he ae sebngt to gesriag Ar mamas aa watt 7 Ipryrlensten technique rial Bp “SE Ig, gop oe ee ae ae cle Mest a ret ga ES See ere 5 Blac bamary of ee aAsn Des evans (cendeser), dyin iste px, 136, 18% at ini stance th neta of, 18-109 Seghies mike (Ar ot players dette form, anuiyete of, 86-89 ier arlpior ot AERA. 319. 2h eapaais on Sonanants‘yor'ts pee 2b ba seat Sistlen'ins”t 101 apin ny 138-1094 ronal phrase’ 3Y Sayan tn vy te preseauiaite for f Clagatea! music 13 ter Iso 11 Regutation to In as roblay i thearath= 7 Belo ane ‘ie si Mlrectfons 50r 515531 38°55, ar 2S Bute 2 seanaposet ALGAE, 148,ublic and private, ceyeie 36 sheen ts sensing at peek Dngconding neiodie direction, aie bebe uate, 12 Re rs sacopnition, 1291 i openings 8 Bore! aft Finaite Bee (ets so Ere, eyien Sane ih” En inet a vit ‘reiates to areas Rh Rs, acre te vf Basia tn Comayee, 062 xppatsion of «akan oF & Bisco, 77 SF aniere Petdthtns De an 57-58 Copp thon a= Sham soma oper a TSISs"ceapares to ayn, ty Pie (gtentelu music), fearanoe Tran clanatents rebar, somes vo s0zit= veoh, 135 me nebiseeret Rete RUE ET thy bears Tosy an tet open: netting EF tn uteazs 125 Folfiaugiet aleterente fon ‘lasnles!, lor stervotrped Bote io! tiene Tngtronentaly 16-174 yor Gepit Tingtet (ogutating ovientiony aah == 33 crpay duster infleanee of, on Febst'styles fit special, tne fgretin oh 3 Retectans phraees of aft Poot, ottonan comporer, vatpcrn nneren, ae) setae nar aan: ficient SE ont aS, aa ‘compared to MICA curapeeitions 1391 im folk bean Ss ian hae one- OBERT 3 shes 574 upper Ln beeksh dying $26," ntaree Epped motives 127s in fale mate, 50) ey 2acteterd® inter: Sith ae we ae ont ES settee Aiy"aylny zor stereotyped retarded Busted pat oneervat ey (istenbel Belsize Koneer~ Sly performing sneer tea cuneate [21 no sant ge me eae ean ee a faraces adhe Kan, aa 1, efrof tyalisoie pitches per Sey algnatste, ‘uae ef, 20 19sXoran resttation, te pct of rasiye (Aeeenelon fosa)s 121 aviv ceresaty, 180 naam atrssture ofr 120 12h ORE "3L-SSr Unit 'com-——_woguatian, 8g) fn forma Sein ease aatansar ‘{01-1031"mistaen In'relation to text, 80, feriherecinagr Hp" aar"sharsceerietiey 12, ee 2) ineying 8 “oan Phrase of yvexte 3 taading topa Cyegen). 48 Seized, 03, 103 EOS SH ph ei Hy Mina rerio aot ‘or KORDELE-iWeAzNARy 189 nagls'pecgung (he Mosle searectyped oth nu a nOstiAgs compared to SBxKK, none FE ° rated telige ae temporary ais ts i; melgdte progzeceion. a82 Se- Nantes waving, 119, 120 Be AL Fe, Anata cetigetMghicluh etre, intonation egg conity he set 7 a TGr aptesdeess "ns fee Lia Upevert en), nevite fiasl¥Eiy Foon), 22 notations Su}1 aagern symbole, Totkan guructue ofr izocen "°S5:25r"raytarg eoupatwa wth mle ne REEL ST SETH Eel, 32; tn oranaay, cahtntg, 165 felatlon fo"fntrshyein” Grattaditione 2” ‘iden tt 196 "sigeepread pared! to vacti” form, 89-94 lanot ureg"im orlentty ene varisoisiere B3ott Each Fay ences Her katte te i ons copia a3) c bide, 0-361 catgne of Pipa, “10h, Caapares to Sete Tn th iL "8 Par practical anit 3? ‘tage Ieterbuty te patron of westefeat ats 8 EASts-bextih 107 Sey 25s" compared with mic iy 33-590 aterstion of Wing. G voctoning oe Trade, Tage neh ter of wevilt, 12is Kirst Gbnglong, Be fausse 4, SESoy" fn edngie altered ‘eae 7ing fem opening Paes, 12st fro ohaies in relation to lation, 82-531°in rel ‘on to eajany uted tke Yar BR gels wees desig or feee ES ee ear te SStgevterl “Gar tye Loteaice tein Bhenees Ene 38390 rane Bosedy 13i2o5s ceiaees to 00 Bigs256r interme of. sitered oy tranmponitone Tppt thardeteriatie interval, aSE (omaren a? baring eovoatied tranaposed ond iy modulatory | Rusantey 105-48 3 aitiighs fpr, eetigiout ate'or, 1331 slog. of, SoR'Fepreyy compared to fret pete 26 ist Uinetrmentnn elif: "pelaary, 20 Burite soften Seise Ett, a9 comnts ‘lontng a nav hotetiony 27 p ry 381 aterectyped ot plicn of, est definedy fotive ing'130:, Compared to B51 Tee te hn Skah ea SeREEE Tan athe, Selplay Male hteetlay bro i soda, 96 "awa, nogutation to 122 sash tattias ier seven tn, 69 ‘Tanburt drone tein’ off 1261 Sted forinearvalte 157 aoe ided E 3 : j i A 91 a ol 651 sont a ‘repentin {eatruin), compared partofy'96t ured for comm "*EZemiar ge Torani Sey ae eapeier of SEEERE Eharedeutne in com ASCH ee on Bo See Rodulation,, S61 of scale Teageenten' 871 Iyer of sah, 135, ‘reupaponnd aarin-2y reeulthne ete vertone of Ro fines ThetaSs"oftnaay's views on, is Genttont, nig views on 1 yoters attituce Soe ee ae, ‘tints a8 ARBRE 31-361 proztanatie tn- ferval ine. 3fo3iieae. exam 21 lowest exsesetan of. 8 2 ier tie ioe fs ae veut (enyznete Bode), 16 aha el it. eit any vnstey Clann, audlo-vieunt ox ee, snlte dervishe age tevers faptler 183s in RRese“astne bento ad agar, Tanburt odes agat iad Free bey. eis fear B85 tatein by, 16 Tip sn gotive recognt itor fe, eB nS Somtns anno 1294" Inforeand for ER, nd 'HIGSOAR seyteens bby ae indermant for in fval‘nsteuenenty 13807) "alaettiny compouer, 6 Meofihoteted geyltves 811"hie Shitte foe Eekervabes 152 nin Coxposition, 8 ones 56 199ad i ha: aa 2B |