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I would like to share with you my harmonization of Hüzzam seyir.
Audio and score at www.justintonation.com
The original seyir melody is by Rauf Yekta Bey, published in Encyclopedie de la Musique over 100 years ago.
I've transcribed seyir, which was written in Yekta notation, to western notation according to the Pythagorean system.
I've then harmonized this seyir according to harmony and counterpoint rules which I've developed personally after more than 15 years of original research.
What I've found is that there are not two different systems. Western music and makam music. They are the same system.
Makam music in my interpretation makes use of highly chromatic melodies.
For instance where western major mode is G, A, B, C, D, E, F#, G, makam Rast instead expresses G, A, Cb, C, D, E, Gb, G.
A functional difference. So the "low major third" of Rast is not a major third but a diminished fourth above the tonic. To harmonize it as a major third is then an error and leads to the result so many others have had where the distinct expression of Rast is lost and instead it sounds more like "out-of-tune" western music.
My approach instead identifies the true functional distinction of the intervals of the makams and retains this unique identity under harmonization.
This is how I also approached the Hüzzam harmonization. One of the melodic steps is for instance identified as a doubly diminished fourth (instead of a minor third or augmented second, which are enharmonically equivalent). And it is harmonized as such.
I believe this will finally lead to true polyphonic makam music. A long sought thing.
And many new colors to use for composers.
In the future I will share (for free of course) more harmonized makams and theory on how to harmonize them (as it goes beyond western chromatic theory, my further development of this is needed in order to do the harmonization).
For now, enjoy.
Audio and score at www.justintonation.com
The original seyir melody is by Rauf Yekta Bey, published in Encyclopedie de la Musique over 100 years ago.
I've transcribed seyir, which was written in Yekta notation, to western notation according to the Pythagorean system.
I've then harmonized this seyir according to harmony and counterpoint rules which I've developed personally after more than 15 years of original research.
What I've found is that there are not two different systems. Western music and makam music. They are the same system.
Makam music in my interpretation makes use of highly chromatic melodies.
For instance where western major mode is G, A, B, C, D, E, F#, G, makam Rast instead expresses G, A, Cb, C, D, E, Gb, G.
A functional difference. So the "low major third" of Rast is not a major third but a diminished fourth above the tonic. To harmonize it as a major third is then an error and leads to the result so many others have had where the distinct expression of Rast is lost and instead it sounds more like "out-of-tune" western music.
My approach instead identifies the true functional distinction of the intervals of the makams and retains this unique identity under harmonization.
This is how I also approached the Hüzzam harmonization. One of the melodic steps is for instance identified as a doubly diminished fourth (instead of a minor third or augmented second, which are enharmonically equivalent). And it is harmonized as such.
I believe this will finally lead to true polyphonic makam music. A long sought thing.
And many new colors to use for composers.
In the future I will share (for free of course) more harmonized makams and theory on how to harmonize them (as it goes beyond western chromatic theory, my further development of this is needed in order to do the harmonization).
For now, enjoy.