| After
telling the harmonious arrangements of tanînî,
mujannab, and bakiyya intervals
Safi al-Dîn starts to form maqam scales with these intervals. He indicates
that the performers of his age have given the following names to the ranges
he mentioned above and he gives the intervals: |
| 1 Ushshâq
T-T-B A-D-Z-H |
| 2 Nawâ
T-B-T A-D-h-H |
| 3 Abûsalik
B-T-T A-B-h-H |
| 4 Râst
T-C-C A-D-V-H |
| 5 Nawrûz
C-C-T A-C-h-H |
| 6 Irâq
C-T-C A-C-V-H |
| 7 Isfehân
C-C-C-B A-C-h-Z-H |
| 8 Buzurg
C-T-C-C-B A-C-V-H-Y-YA |
| 9 Zîrâfkand
C-C-B A-C-h-V |
| 10
Râhawî C-C-C A-C-h-Z |
| |
| Safi
al-Dîn points out that seven out of ten kinds are of 4/3 value, one
is 3/2, one is 5/4 and another one is 6/5. |
| |
| We
can count the intervals given in the table like this. In this case we will
remember which ratios Safi al-Dîn used for tanînî,
mujannab and bakiyya intervals: |
| |
| Ushshâq
: 9/8x9/8x256/243=4/3 |
| Nawâ
: 9/8x256/243x9/8=4/3 |
| Abûsalik
: 256/243x9/8x9/8=4/3 |
| Râst
: 9/8x65536/59049x2187/2048=4/3 |
| Nawrûz
: 65536/59049x2187/2048x9/8=4/3 |
| Irâq
: 65536/59049x9/8x2187/2048=4/3 |
| Isfehân
: 65536/59049x2187/2048x2187/2048x256/243=4/3 |
| Buzurg
: 65536/59049x9/8x2187/2048x65536/59049x256/243=3/2 |
| Zîrâfkand
: 65536/59049x2187/2048x256/243=8192/6561 (23) |
| Râhawî
: 65536/59049x2187/2048x2187/2048=81/64 (24) |
| |
| Safi
al-Dîn arranges the first seven of the kinds above having the value
of full tetrachord with their equals and one tanînî, that is
to say, he does it by adding the penthachords of the same ranges into these
tetrachords. While doing this he arranges them by leaving interval (tanînî-9/8)
at the hign pitch side (munfasýl al-ahad), at the low pitch side
(munfasýl al-athkal) and at the middle (munfasýl al-awsat)
and he points out the most used ones of the ranges. |
| |
| The
first kind (Ushshâq) is arranged with the first and second tetrachords
with the arrangement of munfasil al-ahad, munfasil al-athkal and munfasil
al-awsat like this. |
| |
| Munfasil
al-ahad : A-D-Z-H-YA-YD-Yh-YH: 4/3x4/3x9/8=2/1 |
| Munfasil
al-athkal: A-D-Z-Y-YA-YD-YZ-YH: 9/8x4/3x4/3=2/1 |
| Munfasil
al-awsat: A-D-Z-H-YA-YD-YZ-YH: 4/3x9/8x4/3=2/1 |
| |
| He
says that of the three, the range arranged as munfasil al-ahad is the most
used one. We should remind that as this is the range of Ushshâq arranged
as tetrachord-tetrachord-tanînî, its tetrachords are also arranged
as T-T-B: 9/8x9/8x256/243x9/8=4/3. |
| |
| As
the interval ratios of the ranges above were mentioned before, we will not
mention them again here. So, a range of Ushshâq is composed of ratio
values of 9/8x9/8x256/243x 9/8x9/8x256/243x9/8=2/1 in one octave. This is
the following topic and maqam ranges are composed of the ranges arranged
here. As same as above Nawâ, Abûselik, Râst, Nawrûz,
Irâk, Isfehân kinds are arranged, there occurs totally 63 scales.
|
| |
| Safi
al-Dîn determined the ones well known among the musical artists and
mostly used in these ranges and showed them in a table like this: |
| |
| Ushshâq
: A-D-Z-H-YA-YD-Yh-YH |
| Nawâ
: A-D-h-H-YA-YB-Yh-YH |
| Abûsalik
: A-B-h-H-T-YB-Yh-YH |
| Râst
: A-D-V-H-YA-YC-Yh-YH |
| Hijâz
: A-C-V-H-Y-YC-Yh-YH |
| Nawrûz
: A-C-h-H-Y-YB-Yh-YH |
| Isfehân
: A-D-V-H-YA-YC-Yh-YH |
| Zanqula
: A-D-V-H-Y-YC-Yh-YH |
| Râhawî
: A-C-V-H-Y-YB-Yh-T |
| Zîrâfkand
: A-C-h-H-Y-YB-YC-YV-YH |
| Buzurg
: A-C-V-H-Y-YA-YD-YV-YH |
| Muhayyer
Husaynî : A-C-h-H-YA-YC-Yh-YH |
| Nihuft
: A-C-V-H-Y-YA-YC-Yh-YH |
| Hijâz(its
another scale): A-C-h-H-Y-YC-Yh-YH |
| Kawasht
: A-C-V-H-Y-YB-YC-YV-YH |
| Kardâniye
: A-D-V-H-Y-YA-YD-YV-YH |
| Husaynî
: A-C-h-H-YA-YB-Yh-YH |
| Irâk
: A-C-V-H-Y-YC-Yh-YZ-YH |
| |
| Safi
al-Dîn showed the one (Rast) he chose among these scales with its
17 tones and indicated that the ones knowing the arrangements of the intervals
would be able to show each period with the same method. |
| |
| Safi
al-Dîn didn't show all the maqams he named and gave the intervals
in the table. The ones he showed in the table are: Ushshâq, Abusalik,
Nawâ, Râst, Husaynî, Râhawî, Zanqüla,
Irâk, Isfehân, Zîrâfkand, Hijazi/Hijaz, Buzurg.
He showed these maqam scales by adapting on each tone as 17 layers. However,
he started from the starting sound of the second tetrachord of the former
layer at each layer. (25) |
| |
| Safi
al-Dîn completes his work by mentioning several accords of the ûd,
the subject of transforming tones (nagme), in the fifth discourse the subject
of îkâ and composing. |