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31-521: Medhal is an instrumental form in Turkish makam music or Ottoman classical music . The first piece in Medhal form was composed by Ali Rıfat Çağatay. Most of the Medhal compositions are in short usuls like Sofyan. Two basic forms are used: i) A+B+C+B+D+B+E+B , ii) A+B+C+B, where B refers to the section "Mulazime". This form is similar to Peşrev but is often more free than Peşrev. It is not an old form, but

62-464: A Rast pentachord plus a Rast tetrachord on the note Neva (D); this is labeled (1) below. The tonic is G (Rast), the dominant D (Neva), and the leading tone F-sharp (Irak). However, when descending from the octave towards the tonic, the leading tone is always flattened 4 commas to the note Acem (F), and thus a Bûselik tetrachord replaces the Rast tetrachord; this is labeled (2) below. Additionally, there

93-422: A chord so that it begins on another pitch. The transposition of a set A by n semitones is designated by T n ( A ), representing the addition ( mod 12 ) of an integer n to each of the pitch class integers of the set A . Thus the set ( A ) consisting of 0–1–2 transposed by 5 semitones is 5–6–7 ( T 5 ( A )) since 0 + 5 = 5 , 1 + 5 = 6 , and 2 + 5 = 7 . In scalar transposition, every pitch in

124-454: A tetrachord plus a pentachord (or vice versa), and in terms of this construction, there are three important notes in the makam: Additionally, there are three types of makam as a whole: This makam has two basic forms: in the first basic form (1), it consists of a Bûselik pentachord plus a Kürdî tetrachord on the note Hüseynî (E) and is essentially the same as the Western A minor ; in

155-679: A "descending chromatic passage starting on A" in the target key). Clef transposition is routinely taught (among other places) in Belgium and France. One imagines a different clef and a different key signature than the ones printed. The change of clef is used so that the lines and spaces correspond to different notes than the lines and spaces of the original score. Seven clefs are used for this: treble (2nd line G-clef), bass (4th line F-clef), baritone (3rd line F-clef or 5th line C-clef, although in France and Belgium sight-reading exercises for this clef, as

186-428: A collection is shifted up or down a fixed number of scale steps within some scale. The pitches remain in the same scale before and after the shift. This term covers both chromatic and diatonic transpositions as follows. Chromatic transposition is scalar transposition within the chromatic scale , implying that every pitch in a collection of notes is shifted by the same number of semitones . For instance, transposing

217-443: A constant interval . The shifting of a melody , a harmonic progression or an entire musical piece to another key, while maintaining the same tone structure, i.e. the same succession of whole tones and semitones and remaining melodic intervals. For example, a music transposer might transpose an entire piece of music into another key . Similarly, one might transpose a tone row or an unordered collection of pitches such as

248-582: A different key than the one printed in the music to better fit their vocal range (although many, but not all, songs are printed in editions for high, medium, and low voice). There are three basic techniques for teaching sight transposition: interval, clef, and numbers. First one determines the interval between the written key and the target key. Then one imagines the notes up (or down) by the corresponding interval. A performer using this method may calculate each note individually, or group notes together (e.g. "a descending chromatic passage starting on F" might become

279-489: A major third, or the pitch class interval 4: Although transpositions are usually written out, musicians are occasionally asked to transpose music "at sight", that is, to read the music in one key while playing in another. Musicians who play transposing instruments sometimes have to do this (for example when encountering an unusual transposition, such as clarinet in C), as well as singers' accompanists, since singers sometimes request

310-537: A makam in Turkish music is built of a tetrachord built atop a pentachord , or vice versa. Trichords exist, e.g. Saba , but are rarely used. Additionally, most makams have what is known as a "development" ( genişleme in Turkish), which can occur either above or below (or both) the tonic and/or the highest note. There are six basic tetrachords, named sometimes according to their tonic note and sometimes according to

341-422: A pitch x by n semitones: or For pitch class transposition by a pitch class interval: Milton Babbitt defined the "transformation" of transposition within the twelve-tone technique as follows: By applying the transposition operator ( T ) to a [twelve-tone] set we will mean that every p of the set P is mapped homomorphically (with regard to order) into a T ( p ) of the set T ( P ) according to

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372-407: A preparation for clef transposition practice, are always printed with the 3rd line F-clef), and C-clefs on the four lowest lines; these allow any given staff position to correspond to each of the seven note names A through G. The signature is then adjusted for the actual accidental (natural, sharp or flat) one wants on that note. The octave may also have to be adjusted (this sort of practice ignores

403-449: Is a development ( genişleme ) in the makam's lower register, below the tonic, which consists of a Rast tetrachord on the note D (Yegâh); this is labeled (1A) below. 1) [REDACTED] 1A) [REDACTED] 2) [REDACTED] In Turkey , the particular Muslim call to prayer (or ezan in Turkish) which occurs in the afternoon and is called Ikindi , as well as the day's final call to prayer called Yatsı , are often recited using

434-576: Is mainly used in the 20th century. Below is a list of some compositions in for Medhal. Turkish makam music The Turkish makam system has some corresponding relationships to maqams in Arabic music and echos in Byzantine music . Some theories suggest the origin of the makam to be the city of Mosul in Iraq. "Mula Othman Al-Musili," in reference to his city of origin, is said to have served in

465-516: Is similar to enharmonic equivalence , octave equivalence , and inversional equivalence . In many musical contexts, transpositionally equivalent chords are thought to be similar. Transpositional equivalence is a feature of musical set theory . The terms transposition and transposition equivalence allow the concept to be discussed as both an operation and relation , an activity and a state of being. Compare with modulation and related key . Using integer notation and modulo 12, to transpose

496-458: Is the name of the scale in classical music, while Ayak ( Ayağı ) is the name of the scale in folk music. Makam and Ayak are similar; following are some examples: There are some similarities between the rhythms used in Turkish folk music and Turkish classical music, with respect to their forms, classification, and rhythmic patterns. In Turkish music theory, the octave is divided into 53 equal intervals known as commas ( koma ), specifically

527-525: The Holdrian comma . Each whole tone is an interval equivalent to nine commas. The following figure gives the comma values of Turkish accidentals. In the context of the Arab maqam, this system is not of equal temperament . In fact, in the Western system of temperament, C-sharp and D-flat—which are functionally the same tone—are equivalent to 4.5 commas in the Turkish system; thus, they fall directly in

558-814: The Ottoman Palace in Istanbul and influenced Turkish Ottoman music . More distant modal relatives include those of Central Asian Turkic musics such as Uyghur “ muqam ” and Uzbek shashmakom . North and South Indian classical raga -based music employs similar modal principles. Some scholars find echoes of Turkish makam in former Ottoman provinces of the Balkans. All of these concepts roughly correspond to mode in Western classical music , although their compositional rules vary. Turkish classical music and Turkish folk music are both based on modal systems . Makam

589-419: The tones over two octaves (ordered from highest to lowest), the pitch in commas and cents relative to the lowest note (equivalent to Western middle C), along with the nearest equivalent equal-temperament tone. The tones of the Çârgâh scale are shown in bold. The names and symbols of the different intervals ( şifre ) are shown in the following table: Similar to the construction of maqamat noted above,

620-410: The Rast makam. This makam consists of an Uşşâk tetrachord plus a Bûselik pentachord on the note Neva (D); this is labelled (1) below. The tonic is A (Dügâh), the dominant—here actually a subdominant—is D (Neva), and the leading tone—here actually a subtonic—is G (Rast). Additionally, there is a development in the makam's lower register, which consists of a Rast pentachord on

651-475: The center of the line depicted above. Unlike in Western music, where the note C, for example, is called 'C' regardless of what octave it might be in, in the Turkish system the notes are – for the most part – individually named (although many are variations on a basic name); this can be seen in the following table, which covers the notes from middle C ("Kaba Çârgâh", C 4 ) to the same note two octaves above ("Tîz Çârgâh", C 6 ): The following table gives

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682-432: The conventional octave implication of the clefs), but this is a trivial matter for most musicians. Transposing by numbers means, one determines the scale degree of the written note (e.g. first, fourth, fifth, etc.) in the given key. The performer then plays the corresponding scale degree of the target chord. Two musical objects are transpositionally equivalent if one can be transformed into another by transposition. It

713-547: The following operation: where t o is any integer 0–11 inclusive, where, of course, the t o remains fixed for a given transposition. The + sign indicates ordinary transposition. Here T o is the transposition corresponding to t o (or o , according to Schuijer); p i,j is the pitch of the i th tone in P belong to the pitch class (set number) j . Allen Forte defines transposition so as to apply to unordered sets of other than twelve pitches: thus giving, "12 transposed forms of P ". Joseph Straus created

744-468: The note D (Yegâh); this is labeled (1A) below. 1) [REDACTED] 1A) [REDACTED] In Turkey, the particular call to prayer which occurs around noon and is called Öğle is most often recited using the Uşşak makam. Transposition (music) In music , transposition refers to the process or operation of moving a collection of notes ( pitches or pitch classes ) up or down in pitch by

775-468: The note Hisar (1A). All these alternatives are shown below: 1) [REDACTED] 2) [REDACTED] 1A) [REDACTED] This makam is thought to be identical to the Western C-major scale, but actually it is misleading to conceptualize a makam through Western music scales. Çârgâh makam consists of a Ç ârgâh pentachord and a Ç ârgâh tetrachord starting on the note Gerdâniye (G). Thus,

806-431: The pitches C 4 –E 4 –G 4 upward by four semitones, one obtains the pitches E 4 –G ♯ 4 –B 4 . Diatonic transposition is scalar transposition within a diatonic scale (the most common kind of scale, indicated by one of a few standard key signatures ). For example, transposing the pitches C 4 –E 4 –G 4 up two steps in the familiar C major scale gives the pitches E 4 –G 4 –B 4 . Transposing

837-441: The same pitches up by two steps in the F major scale instead gives E 4 –G 4 –B ♭ 4 . There are two further kinds of transposition, by pitch interval or by pitch interval class, applied to pitches or pitch classes, respectively. Transposition may be applied to pitches or to pitch classes. For example, the pitch A 4 , or 9, transposed by a major third, or the pitch interval 4: while that pitch class, 9, transposed by

868-419: The second (2), it consists of a Bûselik pentachord plus a Hicaz tetrachord on Hüseynî (E) and is identical to A harmonic minor . The tonic is A (Dügâh), the dominant Hüseynî (E), and the leading tone G-sharp (Nim Zirgüle). Additionally, when descending from the octave towards the tonic, the sixth (F, Acem) is sometimes sharpened to become F-sharp (Dik Acem), and the dominant (E, Hüseynî) flattened four commas to

899-503: The tetrachord's most distinctive note: There are also six basic pentachords with the same names with a tone (T) appended. It is worth keeping in mind that these patterns can be transposed to any note in the scale, so that the tonic A (Dügâh) of the Hicaz tetrachord, for example, can be moved up a major second (9 commas) to B (Bûselik), or in fact to any other note. The other notes of the tetrachord, of course, are also transposed along with

930-406: The tonic is C (Çârgâh), the dominant is G (Gerdâniye), and the leading tone is B (Bûselik). [REDACTED] The çârgâh makam has at certain points in history been criticized for being a clumsy and unpleasant makam that can inspire those listening to it to engage in delinquency of various kinds. This much-used makam - which is said to bring happiness and tranquility to the hearerer - consists of

961-405: The tonic, allowing the pattern to preserve its character. A makam, more than simply a selection of notes and intervals, is essentially a guide to compositional structure: any composition in a given makam will move through the notes of that makam in a more or less ordered way. This pattern is known in Turkish as seyir (meaning, "route"), and there are three types of seyir : Makams are built of

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