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Example 3 Research, Part 2: Arabic Maqamat

The previous post introduced the Middle Eastern traditions and their modes with some basic notion. Here I will concentrate on and write specifically about the Arabic system.

I will first start with the building blocks of the modes – jins or ajnas in plural, which I also mentioned in the previous part of my research. The Arabic modes, which are heptatonic, are made of two sets – upper and lower. These can be joined on the same note – conjunct, be separated – disjunct, or overlap. It is based on the lower jins that maqamat are classified into families or branches. (Gu, 2014: 105) While jins are usually defined by tetrachords, there are some reasons to use trichords.

In case of Ajam and Jiharkah, this is because the three of their notes may be enough to convey the mood of maqam. Both of these are similar to the first three notes of the Western major scale. (Fig. 1)

Fig. 1. Ajam and Jiharkah trichords Continue reading “Example 3 Research, Part 2: Arabic Maqamat”