External Structure and Modal Progression of Shashmaqam
Feature of “Gradual Ascending”
One of the most important features of Maqam Rast is “gradual ascending” (Aoyagi 2001). Gradual ascending is the melodic progression of Maqam Rast. The performer starts playing pitches in the lower registers around the tonic and then gradually introduces pitches in higher registers in the performance. Three examples of gradual ascending melodic progression will be shown later: the first one will be in Maqam mode Rast, the second one will be in its secondary mode Ushshaq, and third one will be in its subsidiary mode Sabo.
The first example is the first principle vocal piece Sarakhbor on the CD of Invisible Face of the Beloved, Classical Music of the Tajiks and Uzbeks (Academy of Maqam 2005). As shown in the example, the piece starts with do, followed by re, mi, and fa; sol and higher pitches are then gradually introduced one after another. According to my observations of this piece, fa starts to appear at the 0:10 mark, sol starts to appear at the 0:38 mark, la starts to appear at the 0:57 mark, ti starts to appear at the 1:15 mark, and—after the 2:00 mark—higher do, re, mi, and fa are introduced one after another. Another example of gradual ascending is evident in this performance of “Ushshaq” by the tar player Sevda Nureliyeva. The piece is in the secondary mode Ushshaq. This video also includes an instrumental solo section, which functions like a prelude in Western music. In this piece, after 5:30, you’ll find higher tones of higher registers.
Feature of “Gradual Ascending”
One of the most important features of Maqam Rast is “gradual ascending” (Aoyagi 2001). Gradual ascending is the melodic progression of Maqam Rast. The performer starts playing pitches in the lower registers around the tonic and then gradually introduces pitches in higher registers in the performance. Three examples of gradual ascending melodic progression will be shown later: the first one will be in Maqam mode Rast, the second one will be in its secondary mode Ushshaq, and third one will be in its subsidiary mode Sabo.
The first example is the first principle vocal piece Sarakhbor on the CD of Invisible Face of the Beloved, Classical Music of the Tajiks and Uzbeks (Academy of Maqam 2005). As shown in the example, the piece starts with do, followed by re, mi, and fa; sol and higher pitches are then gradually introduced one after another. According to my observations of this piece, fa starts to appear at the 0:10 mark, sol starts to appear at the 0:38 mark, la starts to appear at the 0:57 mark, ti starts to appear at the 1:15 mark, and—after the 2:00 mark—higher do, re, mi, and fa are introduced one after another. Another example of gradual ascending is evident in this performance of “Ushshaq” by the tar player Sevda Nureliyeva. The piece is in the secondary mode Ushshaq. This video also includes an instrumental solo section, which functions like a prelude in Western music. In this piece, after 5:30, you’ll find higher tones of higher registers.
The third example occurs in the subsidiary mode Sabo. Within the first 30 seconds, the pitch does not go higher than sol; after 30 seconds, la is introduced, followed by ti. (Please listen to track 114, at the website Nawroz-i Sabo)
We do not normally find a wide range of pitches or very high pitches at the beginning section of a principle vocal piece of Shashmaqam. However, this feature only applies to principle vocal pieces, such as the four principle pieces in this suite.
Being curious about what gradual ascending progression would sound like in Western music, I searched for any example of a piece in traditional Western music that has the feature of gradual ascending, but I could not find any.
Tones of Maqam Rast
References
We do not normally find a wide range of pitches or very high pitches at the beginning section of a principle vocal piece of Shashmaqam. However, this feature only applies to principle vocal pieces, such as the four principle pieces in this suite.
Being curious about what gradual ascending progression would sound like in Western music, I searched for any example of a piece in traditional Western music that has the feature of gradual ascending, but I could not find any.
Tones of Maqam Rast
References