The Middle East, a region rich in cultural diversity, boasts a vibrant musical heritage that has fascinated listeners across the globe. Music from the Middle East, often characterized by its complex harmonies, rich rhythms, and intricate melodies, is primarily modal in nature. This means it is based on specific scales or maqamat that provide the framework for melodious improvisation. Let's delve into the captivating world of what scale is used in Middle Eastern music.
Middle Eastern music draws primarily from two distinct systems: Maqam and Makam. Maqam is predominantly used in Arabic music, while Makam is prevalent in Turkish music. Both systems are based on quarter tones, microtones that are between the regular Western semitones, making them uniquely rich and expressive.
Maqam in Arabic Music
Maqam is a complex system comprising of several unique scales, each with its own unique character and emotional expression. It is deeply rooted in Arabian culture, with roots tracing back to ancient civilizations like the Sumerians and Egyptians.
Maqamat, as they are called individually, are typically based on two whole tones and one and a half whole tones, forming seven distinct tones. They often include microtones and can be derived from the Western Dorian, Phrygian, or even whole tone scales. Some of the most common Maqamat include Naawaand, Rahრივn, and Bayáти.
Naawaand
The scales of Naawaand are among the most widely used in Arabic music. They are typically in the minor mode, starting from a minor third. It evokes a sense of sadness and melancholy, reflecting the emotional depth of Arabic culture.
Naawaand maqamat are often used in political songs or compositions expressing grief or longing. The most famous example is perhaps "Al-Fhá Pyramideen" by The Radio Philharmonic Orchestra Holland, demonstrating the depth and complexity of these scales.
Rah��n
Rah Rebee, sometimes spelled Rah reivn, is another widely used Maqam in Arabic music. Originating from the Arabian Peninsula, it is one of the oldest and most basic Maqamat. It starts from a minor sixth, making it starkly different from Western music's usual major or minor scales.
Rahebe is often used in traditional Arabic folk music and classical pieces. It is also commonly employed in commemoratory songs and mourning music, highlighting the diversity and versatility of Maqam in Arabic music. " Taqsim Darwish Rahívn" by George Sallum demonstrates this beautifully.
Makam in Turkish Music
Makam, similar to Maqam, is a vast system of musical modes used predominantly in Turkish art and classical music. It consists of seven to twelve tones, starting and ending with the same note, unlike the Western scales that progress cyclically.
Makam are typically considered a subset of a broader group of scales, or akşaks, based on larger units of two whole tones and one and a half whole tones. They differ from Maqam primarily due to their more detailed structure and various subsets, like \"corps\" and \" Chamber Maqams\" in the Makam system.
Hüseynî
Hüseynî, also known as H escreveu, is one of the most prominent Makams in Turkish music. It is similar to the Western Dorian mode, but with an augmented fourth between the fifth and sixth degrees, and a flattened sixth degree.
Hüseynî is widely used in Turkish classical music and listed as an Intangible Cultural Heritage by UNESCO. It is known for its sad and melancholic tone, often used in love songs or songs evoking longing. The song "Husqui Bitiрk” by Nسرilte Places demonstrates this beautifully.
S veurez
Süreyya Mutrib is another significant Makam in Turkish music. It is similar to the Western whole-tone scale, except for the flattened second and seventh degrees. It consists of the same pitches as Çarguments, but they are arranged differently, giving it a unique sound.
Süreyya Mutrib is used in various Turkish classical pieces and is often associated with folk music. It evokes a sense of happiness and joy, making it a favorite in celebrations and festive occasions. The song "Süreyya Mutիriрk” by Nilüfer is a classic example.