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<blockquote data-quote="efrūḫte" data-source="post: 85576" data-attributes="member: 3556"><p>You are right, that piece being played is this Nihâvend Peşrev, although I would be inclined to play it faster than how Bezmârâ is playing it.</p><p></p><p>On Itrî's Hisar Beste, that piece hadn't been notated until the 19th century, so it's likely that it reflects a mix of 18th and 19th century conventions. That is why it is in 28/4, and has more melodic ornamentation than you would expect.</p><p></p><p>On Devr-i Kebîr, the usûl likely had three different forms throughout the centuries:</p><p>1) A 7-beat form, (3+2+2), equivalent to what we now call 'Devr-i Hindi'. This is found in the earliest of pieces (16th century).</p><p>2) A 14-beat form, (3+2+2+3+2+2) found in most of the Cantemir repertoire.</p><p>3) A 28-beat form, (too long to write here) found in late 18th-19th century repertoire.</p><p></p><p>The slowdown of tempo was an uneven and protracted process; but it likely started in the late 17th century, with the most complex pieces in the Cantemir repertoire. It seems to have continued until the start of the 19th century.</p></blockquote><p></p>
[QUOTE="efrūḫte, post: 85576, member: 3556"] You are right, that piece being played is this Nihâvend Peşrev, although I would be inclined to play it faster than how Bezmârâ is playing it. On Itrî's Hisar Beste, that piece hadn't been notated until the 19th century, so it's likely that it reflects a mix of 18th and 19th century conventions. That is why it is in 28/4, and has more melodic ornamentation than you would expect. On Devr-i Kebîr, the usûl likely had three different forms throughout the centuries: 1) A 7-beat form, (3+2+2), equivalent to what we now call 'Devr-i Hindi'. This is found in the earliest of pieces (16th century). 2) A 14-beat form, (3+2+2+3+2+2) found in most of the Cantemir repertoire. 3) A 28-beat form, (too long to write here) found in late 18th-19th century repertoire. The slowdown of tempo was an uneven and protracted process; but it likely started in the late 17th century, with the most complex pieces in the Cantemir repertoire. It seems to have continued until the start of the 19th century. [/QUOTE]
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