Structure and Modal Progression
External Structure and Modal Progression of Shashmaqam
Shashmaqam is the classical music of the Tajiks and Uzbeks. The word Shashmaqam is composed of 2 words: Shash (which means six) and Maqam (which means mode) (Karomatov, Radjaboy and Levin 1981; Levin 1996; Sultanova 2005). The six traditional modes of Shashmaqam are Buzruk, Rast, Nawa, Dugah, Segah, and Iraq (Matâkubov 1992). Shashmaqam includes 250 individual pieces divided into 6 suites, which are also called song cycles. Each of the suites is named after one of the traditional melodic modes of Maqam (Academy of Maqâm 2005).
In Western music, each major key is paired with a minor key; similiarly, in Shashmaqam, each of the six Maqam modes has its own secondary and subsidiary melodic modes. Therefore, each of the six suites also includes pieces in its secondary melodic mode and subsidiary mode as well as modulations from one mode to another mode (Academy of Maqam 2005; Matâkubov 1992). Maqam modes can also be differentiated based on the rhythmic characteristics and important pitches. As in Western music, a Maqam mode includes important tones, such as the tonic-like pitch. For example, the melody tends to go back to the tonic-like pitch “do” in Maqam Rast.
This article focuses on Maqam Rast, its secondary melodic mode, Ushshaq, and its subsidiary mode, Sabo. Also, the external structure of the suite of Maqam Rast, including its modal structure and its melodic progression, will be demonstrated. This article only focuses on the structure and modal progression of the suite of Rast, using the suite of Maqam Rast from the CD entitled Invisible Face of the Beloved, Classical Music of the Tajiks and Uzbeks (Academy of Maqam 2005) as an example. The songs are listed in their original order on the CD as follows:
Shashmaqam is the classical music of the Tajiks and Uzbeks. The word Shashmaqam is composed of 2 words: Shash (which means six) and Maqam (which means mode) (Karomatov, Radjaboy and Levin 1981; Levin 1996; Sultanova 2005). The six traditional modes of Shashmaqam are Buzruk, Rast, Nawa, Dugah, Segah, and Iraq (Matâkubov 1992). Shashmaqam includes 250 individual pieces divided into 6 suites, which are also called song cycles. Each of the suites is named after one of the traditional melodic modes of Maqam (Academy of Maqâm 2005).
In Western music, each major key is paired with a minor key; similiarly, in Shashmaqam, each of the six Maqam modes has its own secondary and subsidiary melodic modes. Therefore, each of the six suites also includes pieces in its secondary melodic mode and subsidiary mode as well as modulations from one mode to another mode (Academy of Maqam 2005; Matâkubov 1992). Maqam modes can also be differentiated based on the rhythmic characteristics and important pitches. As in Western music, a Maqam mode includes important tones, such as the tonic-like pitch. For example, the melody tends to go back to the tonic-like pitch “do” in Maqam Rast.
This article focuses on Maqam Rast, its secondary melodic mode, Ushshaq, and its subsidiary mode, Sabo. Also, the external structure of the suite of Maqam Rast, including its modal structure and its melodic progression, will be demonstrated. This article only focuses on the structure and modal progression of the suite of Rast, using the suite of Maqam Rast from the CD entitled Invisible Face of the Beloved, Classical Music of the Tajiks and Uzbeks (Academy of Maqam 2005) as an example. The songs are listed in their original order on the CD as follows:
The modes of Rast, Ushshaq, and Sabo are marked in red, green, and blue respectively, making it easier to note the mode modulating from one mode to another in the suite or song cycle.
The initial piece of the suite or song cycle is in Maqam mode Rast; then the mode modulates to its secondary melodic mode Ushshaq and its subsidiary mode Sabo. It then modulates back to Ushshaq and finally to home mode Rast. As shown above, the suite of Maqam Rast starts and ends with its home mode Rast, not its secondary mode or its subsidiary mode.
The suite begins with the piece “Solo on the Sato,” which is in the home mode Rast. This piece functions like a prelude in Western music. It helps establish the mode, tune the singers, and sets the mood, spiritually. The first principle vocal piece follows the solo section. There are four principle vocal pieces in the suite: Sarakhbor, Nasr, Talqin, and Nawroz, each of which is italicized and underlined in the list of songs above. The four principle vocal pieces are divided by Taronas, which are in bolded in the list of song above. Taronas are unattributed short songs that provide a melodic and rhythmic transition between principal vocal pieces. Meanwhile, the principle vocal pieces are long major characteristic pieces that stay in only one fixed mode. For example, the piece of the first principle vocal piece, Sarakhbor, stays in Rast mode the entire time.
At the beginning of the first set of the five taronas, the mode is still in Rast, but it modulates through the five taronas and reaches the secondary melodic mode before Talqin begins. It stays in Ushshaq mode throughout Talqin. Like the tonic in Western music, each Maqam mode has a modal center, which is the most important tone of the mode. For example, Maqam Rast’s modal center is do (that is, the first scale degree in the Western music system). However, its secondary mode Ushashaq has its modal center on re (the second scale degree in the Western music system), which creates a contrast feeling to the Rast mode.
The name of the second principle vocal piece “Talqin” is a meter name itself. Talqin is typically 3/4 and 3/8 time. The subsequent piece is called “Suporish Talqin.” The word Suporish means “handing over.” Thus, Suporish Talqin means to transit from the meter of Talqin to another meter; in this case, from 3/4 and 3/8 time to 6/4 time of Nasr. Nasr is also the name of the next principle vocal piece. Traditional Western composers often name their pieces after the key; similarly, in Shashmaqam, many pieces are named after their modes as well as meters.
After the third principle vocal piece Nasr come two Taronas. Through the two Taronas, the mode modulates from Ushshaq to Sabo, which is the subsidiary mode of Rast. Thus, before the next principle vocal piece Nawroz beings, the mode has already modulated to Sabo; it stays in Sabo throughout the Nawroz piece. The short song after Nawroz is still in mode Sabo. It does not help to modulate but rather transforms the meter of the preceding principle vocal piece.
Talqincha is followed by another short piece called First Suporish, which means “first ending” to the suite. In this piece, the melodic mode modulates from the subsidiary mode back to the secondary mode of Rast, which is a process of returning to home mode. The next short piece is Ufor, which is a dance piece. For this song, a dancer normally joins the musicians. At the song of Ufor, the entire song cycle of Maqam Rast has completed. Also, the mode modulates from the secondary mode of Rast to home mode Rast.
The Final Suporish returns to the home mode, and brings the suite back to the beginning of the song cycle by borrowing the last couplet of the text from the first principle vocal piece, Sarakhbor.
Feature of “Gradual Ascending”
Tones of Maqam Rast
References
The initial piece of the suite or song cycle is in Maqam mode Rast; then the mode modulates to its secondary melodic mode Ushshaq and its subsidiary mode Sabo. It then modulates back to Ushshaq and finally to home mode Rast. As shown above, the suite of Maqam Rast starts and ends with its home mode Rast, not its secondary mode or its subsidiary mode.
The suite begins with the piece “Solo on the Sato,” which is in the home mode Rast. This piece functions like a prelude in Western music. It helps establish the mode, tune the singers, and sets the mood, spiritually. The first principle vocal piece follows the solo section. There are four principle vocal pieces in the suite: Sarakhbor, Nasr, Talqin, and Nawroz, each of which is italicized and underlined in the list of songs above. The four principle vocal pieces are divided by Taronas, which are in bolded in the list of song above. Taronas are unattributed short songs that provide a melodic and rhythmic transition between principal vocal pieces. Meanwhile, the principle vocal pieces are long major characteristic pieces that stay in only one fixed mode. For example, the piece of the first principle vocal piece, Sarakhbor, stays in Rast mode the entire time.
At the beginning of the first set of the five taronas, the mode is still in Rast, but it modulates through the five taronas and reaches the secondary melodic mode before Talqin begins. It stays in Ushshaq mode throughout Talqin. Like the tonic in Western music, each Maqam mode has a modal center, which is the most important tone of the mode. For example, Maqam Rast’s modal center is do (that is, the first scale degree in the Western music system). However, its secondary mode Ushashaq has its modal center on re (the second scale degree in the Western music system), which creates a contrast feeling to the Rast mode.
The name of the second principle vocal piece “Talqin” is a meter name itself. Talqin is typically 3/4 and 3/8 time. The subsequent piece is called “Suporish Talqin.” The word Suporish means “handing over.” Thus, Suporish Talqin means to transit from the meter of Talqin to another meter; in this case, from 3/4 and 3/8 time to 6/4 time of Nasr. Nasr is also the name of the next principle vocal piece. Traditional Western composers often name their pieces after the key; similarly, in Shashmaqam, many pieces are named after their modes as well as meters.
After the third principle vocal piece Nasr come two Taronas. Through the two Taronas, the mode modulates from Ushshaq to Sabo, which is the subsidiary mode of Rast. Thus, before the next principle vocal piece Nawroz beings, the mode has already modulated to Sabo; it stays in Sabo throughout the Nawroz piece. The short song after Nawroz is still in mode Sabo. It does not help to modulate but rather transforms the meter of the preceding principle vocal piece.
Talqincha is followed by another short piece called First Suporish, which means “first ending” to the suite. In this piece, the melodic mode modulates from the subsidiary mode back to the secondary mode of Rast, which is a process of returning to home mode. The next short piece is Ufor, which is a dance piece. For this song, a dancer normally joins the musicians. At the song of Ufor, the entire song cycle of Maqam Rast has completed. Also, the mode modulates from the secondary mode of Rast to home mode Rast.
The Final Suporish returns to the home mode, and brings the suite back to the beginning of the song cycle by borrowing the last couplet of the text from the first principle vocal piece, Sarakhbor.
Feature of “Gradual Ascending”
Tones of Maqam Rast
References