The Course

 

The purpose is to experience in the modal music field, which doesn’t use any harmony, and bases its structure in certain scales, rules and aesthetics movements and very specific and well-defined ornamentations. From here, you will analyze pieces where those systems have been used for: Greek, Turkish, Iranian, Arabic, Azeri, Indian, Afghan music and many more, both melodic/intervallic and rhythmic aspects. From the analysis of all the knowledge we can create our own compositions, arrangements and improvisations with the intervals, the asimetric rhythms and other unusual elements in the European traditions.

 

 

The basic elements we will work with:

 

 

Introduction to Turkish Makam, closely related to the Arabic Makam, the Persian Dastgah and the Byzantine Ihoi, studying some aspects: Uşşak, Beyati, Hüseyni, Karciğar, Muhayyer, Muhayyer Kürdi, Isfahan, Buselik, Hicaz, Hümayün, Uzzal, Şehnaz, Şedd-i Araban, Kürdi, Dügâh, Bestenigar, Sabâ, Sabâ Zemzeme, Segah, Müstear, Hüzzam, Evç, Evçara, Acem Aşiran, Acem Kürdi, Sultâniyegâh, Ferahfeza, Rast, Pençgâh, Mahur, Nihavend, Neveser, Nikriz, Hicazkar, Kürdilihicazkâr, Suz-i Dil…

 

 

Introduction to Raga, modal system used mainly in the India, Afghanistan and Pakistan. Raga(s): Yaman, Meg, Chandrakauns, Malkauns, Marwa, Bhairavi, Khamaj, Ahir Bhairav, Bhopali, Basan Mukhari, Jog, Puriya Kalian, Darbari Kanada, Piloo, Pahari, Teelang, Kirwani, Puriya Kalian, Bhimpalasi, Todi, Madhuvanti...

 

Rhythmology: basic knowledge of the Ottoman Usul and Aksak’s rhythm structures or the asymmetric rhythms from the Balkans, Turkey and Greece (5/8, 7/8, 9/8, 10/8, 11/16, 13/16, 15/16...).

 

Introduction to the Indian rhythm Tala.

 

The course is oriented to musicians with a basic level of any melodic or percussion instrument.

Singers can join the course playing another instrument. Is not essential but recommended know how to read scores.

It’s allowed to record audio and video during all the course.

As an advice, bring a percussion instrument.