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<blockquote data-quote="ZaphodB" data-source="post: 88055" data-attributes="member: 2777">Yes, I mentioned that the fret is a little on the flatter side, close to Uşşak perdesi, which helps retain the Hicaz feeling. I wrote &quot;Segâh&quot; for the sake of universal clarity, because it's the only term recognized in the Arel-Ezgi system.The point is that Iranian classical music doesn't differentiate between the various shades of the mücennep and tie those shades to different modes (dastgahs). Instead of Dik Kürdi, Uşşak, Segâh, Dik Segâh etc., there is only one note. This one note may be tuned in various ways, but the tuning discrepancies aren't semantically significant. There's no need to retune the note when modulating to a different mode.This was apparently also true of Ottoman music until some point in the 19th century. What I'm curious about is if this new aesthetic direction can be traced back to a specific decade or individual musician(s). I wonder whether the intonation of Selim III and Dede Efendi was closer to the modern one, or to Nasır Dede, whose system prescribes Segâh as the second degree of Hicaz. Perhaps it changed during their lifetimes. In 1864, Hicaz was described as using the Kürdi note (not Dik Kürdi) for the first time.You can see that the same note is being used as in Homayun in this demonstration of dastgah Segah on the setar from the same teacher:[MEDIA=youtube]eDEOozG0_9M[/MEDIA]This is dastgah Segah on the tar:[MEDIA=youtube]l3LrnswcEbE[/MEDIA]</blockquote>

[QUOTE="ZaphodB, post: 88055, member: 2777"] Yes, I mentioned that the fret is a little on the flatter side, close to Uşşak perdesi, which helps retain the Hicaz feeling. I wrote "Segâh" for the sake of universal clarity, because it's the only term recognized in the Arel-Ezgi system. The point is that Iranian classical music doesn't differentiate between the various shades of the mücennep and tie those shades to different modes (dastgahs). Instead of Dik Kürdi, Uşşak, Segâh, Dik Segâh etc., there is only one note. This one note may be tuned in various ways, but the tuning discrepancies aren't semantically significant. There's no need to retune the note when modulating to a different mode. This was apparently also true of Ottoman music until some point in the 19th century. What I'm curious about is if this new aesthetic direction can be traced back to a specific decade or individual musician(s). I wonder whether the intonation of Selim III and Dede Efendi was closer to the modern one, or to Nasır Dede, whose system prescribes Segâh as the second degree of Hicaz. Perhaps it changed during their lifetimes. In 1864, Hicaz was described as using the Kürdi note (not Dik Kürdi) for the first time. You can see that the same note is being used as in Homayun in this demonstration of dastgah Segah on the setar from the same teacher: [MEDIA=youtube]eDEOozG0_9M[/MEDIA] This is dastgah Segah on the tar: [MEDIA=youtube]l3LrnswcEbE[/MEDIA] [/QUOTE]

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