Maqamat in maqamic temperament - Revision history

VectorGraphics: pages don't need an "introduction" header

2025-05-25T22:39:44Z

pages don't need an "introduction" header

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	~~=Introduction=~~
	Maqamat (singular "maqam") are scale-like abstractions in [[Arabic,_Turkish,_Persian\|Arabic, Turkish, and Persian]] music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the "central" or "canonical" pitches for each note of a maqam. See [http://launch.groups.yahoo.com/group/tuning/message/101523 http://launch.groups.yahoo.com/group/tuning/message/101523] for an explanation of the level of abstraction being used here.		Maqamat (singular "maqam") are scale-like abstractions in [[Arabic,_Turkish,_Persian\|Arabic, Turkish, and Persian]] music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the "central" or "canonical" pitches for each note of a maqam. See [http://launch.groups.yahoo.com/group/tuning/message/101523 http://launch.groups.yahoo.com/group/tuning/message/101523] for an explanation of the level of abstraction being used here.

Lériendil: chromatic pairs link

2024-12-20T05:04:13Z

chromatic pairs link

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	Maqamat (singular "maqam") are scale-like abstractions in [[Arabic,_Turkish,_Persian\|Arabic, Turkish, and Persian]] music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the "central" or "canonical" pitches for each note of a maqam. See [http://launch.groups.yahoo.com/group/tuning/message/101523 http://launch.groups.yahoo.com/group/tuning/message/101523] for an explanation of the level of abstraction being used here.		Maqamat (singular "maqam") are scale-like abstractions in [[Arabic,_Turkish,_Persian\|Arabic, Turkish, and Persian]] music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the "central" or "canonical" pitches for each note of a maqam. See [http://launch.groups.yahoo.com/group/tuning/message/101523 http://launch.groups.yahoo.com/group/tuning/message/101523] for an explanation of the level of abstraction being used here.

	Other theorists have developed completely different and often very complicated regular temperament structures to accomodate maqamat. This article is based on a simple rank-2 temperament known variously as "2.3.5.11 [[maqamic\|maqamic]]", or "2.3.5.11 [[Meantone_family#Mohajira\|mohajira]]", or "[[~~Chromatic_pairs~~#Mohaha\|mohaha]]". Whatever its name, it is the 2.3.5.11 temperament that tempers out 81/80, 121/120, and 243/242. This means that every other note in the generator chain is meantone, and the fifth generator is split into two equal "neutral thirds" that represent 11/9. An interval is 5-limit if and only if the number of generators needed to reach it is even. Therefore "quarter tones" (i.e. intervals outside meantone) and "intervals outside the 5 limit" are identified in this temperament. See [[Neutral_third_scales\|Neutral third scales]] for more information.		Other theorists have developed completely different and often very complicated regular temperament structures to accomodate maqamat. This article is based on a simple rank-2 temperament known variously as "2.3.5.11 [[maqamic\|maqamic]]", or "2.3.5.11 [[Meantone_family#Mohajira\|mohajira]]", or "[[Rastmic clan#Mohaha\|mohaha]]". Whatever its name, it is the 2.3.5.11 temperament that tempers out 81/80, 121/120, and 243/242. This means that every other note in the generator chain is meantone, and the fifth generator is split into two equal "neutral thirds" that represent 11/9. An interval is 5-limit if and only if the number of generators needed to reach it is even. Therefore "quarter tones" (i.e. intervals outside meantone) and "intervals outside the 5 limit" are identified in this temperament. See [[Neutral_third_scales\|Neutral third scales]] for more information.

	Note that, because the fifth is divided into two equal parts, the chromatic semitone (aka apotome, the interval by which sharps and flats alter pitches) is also divided into two equal parts. Therefore, although "quarter tone" is a misnomer because 9/8 is not divided into four equal parts (except in the particular tuning of [[24edo\|24edo]]), "half flat" and "half sharp" are perfectly accurate. This is helpful in notating maqamic temperament because two new accidentals can be introduced (this article uses ^ and v) that obey the equations ^^ = # and vv = b.		Note that, because the fifth is divided into two equal parts, the chromatic semitone (aka apotome, the interval by which sharps and flats alter pitches) is also divided into two equal parts. Therefore, although "quarter tone" is a misnomer because 9/8 is not divided into four equal parts (except in the particular tuning of [[24edo\|24edo]]), "half flat" and "half sharp" are perfectly accurate. This is helpful in notating maqamic temperament because two new accidentals can be introduced (this article uses ^ and v) that obey the equations ^^ = # and vv = b.

FloraC: Recategorize

2023-08-29T08:52:10Z

Recategorize

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	Lss rast		Lss rast
	[[Category:Arabic]]
	[[Category:Turkish]]		[[Category:Arabic music]]
	[[Category:Persian]]		[[Category:Turkish music]]
			[[Category:Persian music]]
	[[Category:Maqam]]		[[Category:Maqam]]
	[[Category:Neutrominant]]		[[Category:Neutrominant]]
	[[Category:Lists of scales]]		[[Category:Lists of scales]]

			{{Todo\| cleanup }}

BudjarnLambeth: Categorised this uncategorised page

2023-04-23T21:16:50Z

Categorised this uncategorised page

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	Lss rast		Lss rast
			[[Category:Arabic]]
			[[Category:Turkish]]
			[[Category:Persian]]
			[[Category:Maqam]]
			[[Category:Neutrominant]]
			[[Category:Lists of scales]]

Wikispaces>FREEZE at 00:00, 17 July 2018

2018-07-17T00:00:00Z

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Wikispaces>keenanpepper: Imported revision 392652492 - Original comment:

2012-12-16T01:35:32Z

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	===Weird form of Saba===		===Weird form of Saba===
	D Ev F Gb A Bb C Db E F		D Ev F Gb A Bb C Db E F
	This alternate form of Saba "doesn't include the octave of the tonic", and includes another non-octave as well (Ev-E). It could possibly be thought of as a scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.		This alternate form of Saba "doesn't include the octave of the tonic", and includes another non-octave as well (Ev-E). It could possibly be thought of as an octave-repeating scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.
	===Potential for harmony beyond 5-limit===		===Potential for harmony beyond 5-limit===

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	<!-- ws:start:WikiTextHeadingRule:54:&lt;h3&gt; --><h3 id="toc27"><a name="Maqamat-Saba-Weird form of Saba"></a><!-- ws:end:WikiTextHeadingRule:54 -->Weird form of Saba</h3>		<!-- ws:start:WikiTextHeadingRule:54:&lt;h3&gt; --><h3 id="toc27"><a name="Maqamat-Saba-Weird form of Saba"></a><!-- ws:end:WikiTextHeadingRule:54 -->Weird form of Saba</h3>
	D Ev F Gb A Bb C Db E F<br />		D Ev F Gb A Bb C Db E F<br />
	This alternate form of Saba &quot;doesn't include the octave of the tonic&quot;, and includes another non-octave as well (Ev-E). It could possibly be thought of as a scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.<br />		This alternate form of Saba &quot;doesn't include the octave of the tonic&quot;, and includes another non-octave as well (Ev-E). It could possibly be thought of as an octave-repeating scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.<br />
	<!-- ws:start:WikiTextHeadingRule:56:&lt;h3&gt; --><h3 id="toc28"><a name="Maqamat-Saba-Potential for harmony beyond 5-limit"></a><!-- ws:end:WikiTextHeadingRule:56 -->Potential for harmony beyond 5-limit</h3>		<!-- ws:start:WikiTextHeadingRule:56:&lt;h3&gt; --><h3 id="toc28"><a name="Maqamat-Saba-Potential for harmony beyond 5-limit"></a><!-- ws:end:WikiTextHeadingRule:56 -->Potential for harmony beyond 5-limit</h3>
	<br />		<br />

Wikispaces>keenanpepper: Imported revision 392652378 - Original comment:

2012-12-16T01:33:20Z

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2012-12-15T16:37:22Z

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2012-12-15T11:18:43Z

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Wikispaces>keenanpepper: Imported revision 392459872 - Original comment:

2012-12-14T18:23:27Z

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	Maqam Bayati and Makam Uşşak can both be identified with maqamic[7] 2\|4 b3 b6 (ssLLdLL).		Maqam Bayati and Makam Uşşak can both be identified with maqamic[7] 2\|4 b3 b6 (ssLLdLL).

	==Hijaz==		==Hijaz==
	D Eb F# G A Bv C D		D Eb F# G A Bv C D
	D Eb F# G A Bb C D		D Eb F# G A Bb C D
	Maqam Hijaz has two forms, one which can be identified with meantone[7] 1\|5 #3 (meantone phrygian dominant), and another which differs by having a neutral sixth degree instead of a minor sixth.		Maqam Hijaz has two forms, one which can be identified with meantone[7] 1\|5 #3 (meantone phrygian dominant), and another which differs by having a neutral sixth degree instead of a minor sixth.

	==Hijaz Kar===		==Hijaz Kar==
	C Db E F G Ab B C		C Db E F G Ab B C
	Maqam Hijaz Kar can be identified with meantone[7] 5\|1 b2 b6 (equivalently meantone[7] 1\|5 #3 #7). This is also known as the meantone "double harmonic scale" or simply "Arabic scale".		Maqam Hijaz Kar can be identified with meantone[7] 5\|1 b2 b6 (equivalently meantone[7] 1\|5 #3 #7). This is also known as the meantone "double harmonic scale" or simply "Arabic scale".

	==Kurd==		==Kurd==
	D Eb F G A Bb C D		D Eb F G A Bb C D
	Maqam Kurd can be identified with the meantone Phrygian scale, meantone[7] 1\|5.		Maqam Kurd can be identified with the meantone Phrygian scale, meantone[7] 1\|5.

	==Nahawand==		==Nahawand==
	C D Eb F G Ab B C		C D Eb F G Ab B C
	C D Eb F G Ab Bb C		C D Eb F G Ab Bb C
	Almost exactly like the meantone natural minor / harmonic minor scale pair, Maqam Nahawand has two forms, meantone aeolian (meantone[7] 4\|2) and meantone harmonic minor (meantone[7] 4\|2 #7). In other words Maqam Nahawand is the same as meantone natural minor with a major seventh as an alternate.		Almost exactly like the meantone natural minor / harmonic minor scale pair, Maqam Nahawand has two forms, meantone aeolian (meantone[7] 4\|2) and meantone harmonic minor (meantone[7] 4\|2 #7). In other words Maqam Nahawand is the same as meantone natural minor with a major seventh as an alternate.

	==Rast==		==Rast==
	C D Ev F G A Bv C		C D Ev F G A Bv C
	C D Ev F G A Bb C		C D Ev F G A Bb C
	Maqam Rast has two forms, one that can be identified with maqamic[7] 2\|4 #6 (equivalently maqamic[7] 0\|6 b4), and another form with a minor seventh degree rather than a neutral seventh.		Maqam Rast has two forms, one that can be identified with maqamic[7] 2\|4 #6 (equivalently maqamic[7] 0\|6 b4), and another form with a minor seventh degree rather than a neutral seventh.

	==Saba==		==Saba==
	D Ev F Gb A Bb C D		D Ev F Gb A Bb C D
	Maqam Saba can be identified with maqamic[7] 0\|6 bb4 #5 b6, or equivalently maqamic[7] 2\|4 b3 bb4 b6. This is a rather complex MODMOS (but it sounds awesome).		Maqam Saba can be identified with maqamic[7] 0\|6 bb4 #5 b6, or equivalently maqamic[7] 2\|4 b3 bb4 b6. This is a rather complex MODMOS (but it sounds awesome).

	===Weird form of Saba===		===Weird form of Saba===
	D Ev F Gb A Bb C Db E F		D Ev F Gb A Bb C Db E F
	This alternate form of Saba "doesn't include the octave of the tonic", and includes another non-octave as well (Ev-E). It could possibly be thought of as a scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.		This alternate form of Saba "doesn't include the octave of the tonic", and includes another non-octave as well (Ev-E). It could possibly be thought of as a scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.

	==Sikah==		==Sikah==
	Ev F G A Bv C D Ev		Ev F G A Bv C D Ev
	Ev F G A Bb C D Ev		Ev F G A Bb C D Ev
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	<br />		<br />
	<!-- ws:start:WikiTextHeadingRule:36:&lt;h2&gt; --><h2 id="toc18"><a name="Maqamat-Hijaz"></a><!-- ws:end:WikiTextHeadingRule:36 -->Hijaz</h2>		<!-- ws:start:WikiTextHeadingRule:36:&lt;h2&gt; --><h2 id="toc18"><a name="Maqamat-Hijaz"></a><!-- ws:end:WikiTextHeadingRule:36 -->Hijaz</h2>
	D Eb F# G A Bv C D<br />		D Eb F# G A Bv C D<br />
	D Eb F# G A Bb C D<br />		D Eb F# G A Bb C D<br />
	Maqam Hijaz has two forms, one which can be identified with meantone[7] 1\|5 #3 (meantone phrygian dominant), and another which differs by having a neutral sixth degree instead of a minor sixth.<br />		Maqam Hijaz has two forms, one which can be identified with meantone[7] 1\|5 #3 (meantone phrygian dominant), and another which differs by having a neutral sixth degree instead of a minor sixth.<br />
	<br />		<br />
	<!-- ws:start:WikiTextHeadingRule:38:&lt;h2&gt; --><h2 id="toc19"><a name="Maqamat-Hijaz Kar="></a><!-- ws:end:WikiTextHeadingRule:38 -->Hijaz Kar=</h2>		<!-- ws:start:WikiTextHeadingRule:38:&lt;h2&gt; --><h2 id="toc19"><a name="Maqamat-Hijaz Kar"></a><!-- ws:end:WikiTextHeadingRule:38 -->Hijaz Kar</h2>
	C Db E F G Ab B C<br />		C Db E F G Ab B C<br />
	Maqam Hijaz Kar can be identified with meantone[7] 5\|1 b2 b6 (equivalently meantone[7] 1\|5 #3 #7). This is also known as the meantone &quot;double harmonic scale&quot; or simply &quot;Arabic scale&quot;.<br />		Maqam Hijaz Kar can be identified with meantone[7] 5\|1 b2 b6 (equivalently meantone[7] 1\|5 #3 #7). This is also known as the meantone &quot;double harmonic scale&quot; or simply &quot;Arabic scale&quot;.<br />
	<br />		<br />
	<!-- ws:start:WikiTextHeadingRule:40:&lt;h2&gt; --><h2 id="toc20"><a name="Maqamat-Kurd"></a><!-- ws:end:WikiTextHeadingRule:40 -->Kurd</h2>		<!-- ws:start:WikiTextHeadingRule:40:&lt;h2&gt; --><h2 id="toc20"><a name="Maqamat-Kurd"></a><!-- ws:end:WikiTextHeadingRule:40 -->Kurd</h2>
	D Eb F G A Bb C D<br />		D Eb F G A Bb C D<br />
	Maqam Kurd can be identified with the meantone Phrygian scale, meantone[7] 1\|5.<br />		Maqam Kurd can be identified with the meantone Phrygian scale, meantone[7] 1\|5.<br />
	<br />		<br />
	<!-- ws:start:WikiTextHeadingRule:42:&lt;h2&gt; --><h2 id="toc21"><a name="Maqamat-Nahawand"></a><!-- ws:end:WikiTextHeadingRule:42 -->Nahawand</h2>		<!-- ws:start:WikiTextHeadingRule:42:&lt;h2&gt; --><h2 id="toc21"><a name="Maqamat-Nahawand"></a><!-- ws:end:WikiTextHeadingRule:42 -->Nahawand</h2>
	C D Eb F G Ab B C<br />		C D Eb F G Ab B C<br />
	C D Eb F G Ab Bb C<br />		C D Eb F G Ab Bb C<br />
	Almost exactly like the meantone natural minor / harmonic minor scale pair, Maqam Nahawand has two forms, meantone aeolian (meantone[7] 4\|2) and meantone harmonic minor (meantone[7] 4\|2 #7). In other words Maqam Nahawand is the same as meantone natural minor with a major seventh as an alternate.<br />		Almost exactly like the meantone natural minor / harmonic minor scale pair, Maqam Nahawand has two forms, meantone aeolian (meantone[7] 4\|2) and meantone harmonic minor (meantone[7] 4\|2 #7). In other words Maqam Nahawand is the same as meantone natural minor with a major seventh as an alternate.<br />
	<br />		<br />
	<!-- ws:start:WikiTextHeadingRule:44:&lt;h2&gt; --><h2 id="toc22"><a name="Maqamat-Rast"></a><!-- ws:end:WikiTextHeadingRule:44 -->Rast</h2>		<!-- ws:start:WikiTextHeadingRule:44:&lt;h2&gt; --><h2 id="toc22"><a name="Maqamat-Rast"></a><!-- ws:end:WikiTextHeadingRule:44 -->Rast</h2>
	C D Ev F G A Bv C<br />		C D Ev F G A Bv C<br />
	C D Ev F G A Bb C<br />		C D Ev F G A Bb C<br />
	Maqam Rast has two forms, one that can be identified with maqamic[7] 2\|4 #6 (equivalently maqamic[7] 0\|6 b4), and another form with a minor seventh degree rather than a neutral seventh.<br />		Maqam Rast has two forms, one that can be identified with maqamic[7] 2\|4 #6 (equivalently maqamic[7] 0\|6 b4), and another form with a minor seventh degree rather than a neutral seventh.<br />
	<br />		<br />
	<!-- ws:start:WikiTextHeadingRule:46:&lt;h2&gt; --><h2 id="toc23"><a name="Maqamat-Saba"></a><!-- ws:end:WikiTextHeadingRule:46 -->Saba</h2>		<!-- ws:start:WikiTextHeadingRule:46:&lt;h2&gt; --><h2 id="toc23"><a name="Maqamat-Saba"></a><!-- ws:end:WikiTextHeadingRule:46 -->Saba</h2>
	D Ev F Gb A Bb C D<br />		D Ev F Gb A Bb C D<br />
	Maqam Saba can be identified with maqamic[7] 0\|6 bb4 #5 b6, or equivalently maqamic[7] 2\|4 b3 bb4 b6. This is a rather complex MODMOS (but it sounds awesome).<br />		Maqam Saba can be identified with maqamic[7] 0\|6 bb4 #5 b6, or equivalently maqamic[7] 2\|4 b3 bb4 b6. This is a rather complex MODMOS (but it sounds awesome).<br />
	<br />		<br />
	<!-- ws:start:WikiTextHeadingRule:48:&lt;h3&gt; --><h3 id="toc24"><a name="Maqamat-Saba-Weird form of Saba"></a><!-- ws:end:WikiTextHeadingRule:48 -->Weird form of Saba</h3>		<!-- ws:start:WikiTextHeadingRule:48:&lt;h3&gt; --><h3 id="toc24"><a name="Maqamat-Saba-Weird form of Saba"></a><!-- ws:end:WikiTextHeadingRule:48 -->Weird form of Saba</h3>
	D Ev F Gb A Bb C Db E F<br />		D Ev F Gb A Bb C Db E F<br />
	This alternate form of Saba &quot;doesn't include the octave of the tonic&quot;, and includes another non-octave as well (Ev-E). It could possibly be thought of as a scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.<br />		This alternate form of Saba &quot;doesn't include the octave of the tonic&quot;, and includes another non-octave as well (Ev-E). It could possibly be thought of as a scale with more than 7 notes, but it's unclear to what extent it's used this way in traditional music.<br />
	<br />		<br />
	<!-- ws:start:WikiTextHeadingRule:50:&lt;h2&gt; --><h2 id="toc25"><a name="Maqamat-Sikah"></a><!-- ws:end:WikiTextHeadingRule:50 -->Sikah</h2>		<!-- ws:start:WikiTextHeadingRule:50:&lt;h2&gt; --><h2 id="toc25"><a name="Maqamat-Sikah"></a><!-- ws:end:WikiTextHeadingRule:50 -->Sikah</h2>
	Ev F G A Bv C D Ev<br />		Ev F G A Bv C D Ev<br />
	Ev F G A Bb C D Ev<br />		Ev F G A Bb C D Ev<br />
	Maqam Sikah has two forms, one which can be identified as maqamic[7] 5\|1 b2 (equivalently maqamic[7] 3\|3 #4), and another which has a half-diminished fifth degree instead of a perfect fifth (maqamic[7] 5\|1 b2 b5).<br />		Maqam Sikah has two forms, one which can be identified as maqamic[7] 5\|1 b2 (equivalently maqamic[7] 3\|3 #4), and another which has a half-diminished fifth degree instead of a perfect fifth (maqamic[7] 5\|1 b2 b5).<br />

← Older revision		Revision as of 05:04, 20 December 2024
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	Maqamat (singular "maqam") are scale-like abstractions in [[Arabic,_Turkish,_Persian\|Arabic, Turkish, and Persian]] music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the "central" or "canonical" pitches for each note of a maqam. See [http://launch.groups.yahoo.com/group/tuning/message/101523 http://launch.groups.yahoo.com/group/tuning/message/101523] for an explanation of the level of abstraction being used here.		Maqamat (singular "maqam") are scale-like abstractions in [[Arabic,_Turkish,_Persian\|Arabic, Turkish, and Persian]] music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the "central" or "canonical" pitches for each note of a maqam. See [http://launch.groups.yahoo.com/group/tuning/message/101523 http://launch.groups.yahoo.com/group/tuning/message/101523] for an explanation of the level of abstraction being used here.

	Other theorists have developed completely different and often very complicated regular temperament structures to accomodate maqamat. This article is based on a simple rank-2 temperament known variously as "2.3.5.11 [[maqamic\|maqamic]]", or "2.3.5.11 [[Meantone_family#Mohajira\|mohajira]]", or "[[~~Chromatic_pairs~~#Mohaha\|mohaha]]". Whatever its name, it is the 2.3.5.11 temperament that tempers out 81/80, 121/120, and 243/242. This means that every other note in the generator chain is meantone, and the fifth generator is split into two equal "neutral thirds" that represent 11/9. An interval is 5-limit if and only if the number of generators needed to reach it is even. Therefore "quarter tones" (i.e. intervals outside meantone) and "intervals outside the 5 limit" are identified in this temperament. See [[Neutral_third_scales\|Neutral third scales]] for more information.		Other theorists have developed completely different and often very complicated regular temperament structures to accomodate maqamat. This article is based on a simple rank-2 temperament known variously as "2.3.5.11 [[maqamic\|maqamic]]", or "2.3.5.11 [[Meantone_family#Mohajira\|mohajira]]", or "[[Rastmic clan#Mohaha\|mohaha]]". Whatever its name, it is the 2.3.5.11 temperament that tempers out 81/80, 121/120, and 243/242. This means that every other note in the generator chain is meantone, and the fifth generator is split into two equal "neutral thirds" that represent 11/9. An interval is 5-limit if and only if the number of generators needed to reach it is even. Therefore "quarter tones" (i.e. intervals outside meantone) and "intervals outside the 5 limit" are identified in this temperament. See [[Neutral_third_scales\|Neutral third scales]] for more information.

	Note that, because the fifth is divided into two equal parts, the chromatic semitone (aka apotome, the interval by which sharps and flats alter pitches) is also divided into two equal parts. Therefore, although "quarter tone" is a misnomer because 9/8 is not divided into four equal parts (except in the particular tuning of [[24edo\|24edo]]), "half flat" and "half sharp" are perfectly accurate. This is helpful in notating maqamic temperament because two new accidentals can be introduced (this article uses ^ and v) that obey the equations ^^ = # and vv = b.		Note that, because the fifth is divided into two equal parts, the chromatic semitone (aka apotome, the interval by which sharps and flats alter pitches) is also divided into two equal parts. Therefore, although "quarter tone" is a misnomer because 9/8 is not divided into four equal parts (except in the particular tuning of [[24edo\|24edo]]), "half flat" and "half sharp" are perfectly accurate. This is helpful in notating maqamic temperament because two new accidentals can be introduced (this article uses ^ and v) that obey the equations ^^ = # and vv = b.

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	: This revision was by author [[User:~~keenanpepper~~\|~~keenanpepper~~]] and made on <tt>2012-12-14 18:~~23:27~~ UTC</tt>.<br>		: This revision was by author [[User:genewardsmith\|genewardsmith]] and made on <tt>2012-12-15 11:18:43 UTC</tt>.<br>
	: The original revision id was <tt>~~392459872~~</tt>.<br>		: The original revision id was <tt>392560624</tt>.<br>
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	The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>		The revision contents are below, presented both in the original Wikispaces Wikitext format, and in HTML exactly as Wikispaces rendered it.<br>
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	Maqamat (singular "maqam") are scale-like abstractions in [[Arabic, Turkish, Persian\|Arabic, Turkish, and Persian]] music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the "central" or "canonical" pitches for each note of a maqam. See http://launch.groups.yahoo.com/group/tuning/message/101523 for an explanation of the level of abstraction being used here.		Maqamat (singular "maqam") are scale-like abstractions in [[Arabic, Turkish, Persian\|Arabic, Turkish, and Persian]] music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the "central" or "canonical" pitches for each note of a maqam. See http://launch.groups.yahoo.com/group/tuning/message/101523 for an explanation of the level of abstraction being used here.

	Other theorists have developed completely different and often very complicated regular temperament structures to accomodate maqamat. This article is based on a simple rank-2 temperament known variously as "2.3.5.11 maqamic", or "2.3.5.11 mohajira", or "[[Chromatic pairs#Mohaha\|mohaha]]". Whatever its name, it is the 2.3.5.11 temperament that tempers out 81/80, 121/120, and 243/242. This means that every other note in the generator chain is meantone, and the fifth generator is split into two equal "neutral thirds" that represent 11/9. An interval is 5-limit if and only if the number of generators needed to reach it is even. Therefore "quarter tones" (i.e. intervals outside meantone) and "intervals outside the 5 limit" are identified in this temperament. See [[Neutral third scales]] for more information.		Other theorists have developed completely different and often very complicated regular temperament structures to accomodate maqamat. This article is based on a simple rank-2 temperament known variously as "2.3.5.11 [[maqamic]]", or "2.3.5.11 [[Meantone family#Mohajira\|mohajira]]", or "[[Chromatic pairs#Mohaha\|mohaha]]". Whatever its name, it is the 2.3.5.11 temperament that tempers out 81/80, 121/120, and 243/242. This means that every other note in the generator chain is meantone, and the fifth generator is split into two equal "neutral thirds" that represent 11/9. An interval is 5-limit if and only if the number of generators needed to reach it is even. Therefore "quarter tones" (i.e. intervals outside meantone) and "intervals outside the 5 limit" are identified in this temperament. See [[Neutral third scales]] for more information.

	Note that, because the fifth is divided into two equal parts, the chromatic semitone (aka apotome, the interval by which sharps and flats alter pitches) is also divided into two equal parts. Therefore, although "quarter tone" is a misnomer because 9/8 is not divided into four equal parts (except in the particular tuning of [[24edo]]), "half flat" and "half sharp" are perfectly accurate. This is helpful in notating maqamic temperament because two new accidentals can be introduced (this article uses ^ and v) that obey the equations ^^ = # and vv = b.		Note that, because the fifth is divided into two equal parts, the chromatic semitone (aka apotome, the interval by which sharps and flats alter pitches) is also divided into two equal parts. Therefore, although "quarter tone" is a misnomer because 9/8 is not divided into four equal parts (except in the particular tuning of [[24edo]]), "half flat" and "half sharp" are perfectly accurate. This is helpful in notating maqamic temperament because two new accidentals can be introduced (this article uses ^ and v) that obey the equations ^^ = # and vv = b.
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	<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Maqamat in maqamic temperament</title></head><body><!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Introduction"></a><!-- ws:end:WikiTextHeadingRule:0 -->Introduction</h1>		<div style="width:100%; max-height:400pt; overflow:auto; background-color:#f8f9fa; border: 1px solid #eaecf0; padding:0em"><pre style="margin:0px;border:none;background:none;word-wrap:break-word;width:200%;white-space: pre-wrap ! important" class="old-revision-html"><html><head><title>Maqamat in maqamic temperament</title></head><body><!-- ws:start:WikiTextHeadingRule:0:&lt;h1&gt; --><h1 id="toc0"><a name="Introduction"></a><!-- ws:end:WikiTextHeadingRule:0 -->Introduction</h1>
	Maqamat (singular &quot;maqam&quot;) are scale-like abstractions in <a class="wiki_link" href="/Arabic%2C%20Turkish%2C%20Persian">Arabic, Turkish, and Persian</a> music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the &quot;central&quot; or &quot;canonical&quot; pitches for each note of a maqam. See <!-- ws:start:WikiTextUrlRule:~~172~~:http://launch.groups.yahoo.com/group/tuning/message/101523 --><a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/101523" rel="nofollow">http://launch.groups.yahoo.com/group/tuning/message/101523</a><!-- ws:end:WikiTextUrlRule:~~172~~ --> for an explanation of the level of abstraction being used here.<br />		Maqamat (singular &quot;maqam&quot;) are scale-like abstractions in <a class="wiki_link" href="/Arabic%2C%20Turkish%2C%20Persian">Arabic, Turkish, and Persian</a> music. This article, for the most part, treats maqamat simply as scales and disregards everything else about them (emotional connotation, melodic idioms, emphasized pitches...). Also note that in performance, depending on the instrument, a wide variety of subtle microtonal inflections may be used, rather than sticking rigidly to the pitches of a scale. This article deals with only the &quot;central&quot; or &quot;canonical&quot; pitches for each note of a maqam. See <!-- ws:start:WikiTextUrlRule:174:http://launch.groups.yahoo.com/group/tuning/message/101523 --><a class="wiki_link_ext" href="http://launch.groups.yahoo.com/group/tuning/message/101523" rel="nofollow">http://launch.groups.yahoo.com/group/tuning/message/101523</a><!-- ws:end:WikiTextUrlRule:174 --> for an explanation of the level of abstraction being used here.<br />
	<br />		<br />
	Other theorists have developed completely different and often very complicated regular temperament structures to accomodate maqamat. This article is based on a simple rank-2 temperament known variously as &quot;2.3.5.11 maqamic&quot;, or &quot;2.3.5.11 mohajira&quot;, or &quot;<a class="wiki_link" href="/Chromatic%20pairs#Mohaha">mohaha</a>&quot;. Whatever its name, it is the 2.3.5.11 temperament that tempers out 81/80, 121/120, and 243/242. This means that every other note in the generator chain is meantone, and the fifth generator is split into two equal &quot;neutral thirds&quot; that represent 11/9. An interval is 5-limit if and only if the number of generators needed to reach it is even. Therefore &quot;quarter tones&quot; (i.e. intervals outside meantone) and &quot;intervals outside the 5 limit&quot; are identified in this temperament. See <a class="wiki_link" href="/Neutral%20third%20scales">Neutral third scales</a> for more information.<br />		Other theorists have developed completely different and often very complicated regular temperament structures to accomodate maqamat. This article is based on a simple rank-2 temperament known variously as &quot;2.3.5.11 <a class="wiki_link" href="/maqamic">maqamic</a>&quot;, or &quot;2.3.5.11 <a class="wiki_link" href="/Meantone%20family#Mohajira">mohajira</a>&quot;, or &quot;<a class="wiki_link" href="/Chromatic%20pairs#Mohaha">mohaha</a>&quot;. Whatever its name, it is the 2.3.5.11 temperament that tempers out 81/80, 121/120, and 243/242. This means that every other note in the generator chain is meantone, and the fifth generator is split into two equal &quot;neutral thirds&quot; that represent 11/9. An interval is 5-limit if and only if the number of generators needed to reach it is even. Therefore &quot;quarter tones&quot; (i.e. intervals outside meantone) and &quot;intervals outside the 5 limit&quot; are identified in this temperament. See <a class="wiki_link" href="/Neutral%20third%20scales">Neutral third scales</a> for more information.<br />
	<br />		<br />
	Note that, because the fifth is divided into two equal parts, the chromatic semitone (aka apotome, the interval by which sharps and flats alter pitches) is also divided into two equal parts. Therefore, although &quot;quarter tone&quot; is a misnomer because 9/8 is not divided into four equal parts (except in the particular tuning of <a class="wiki_link" href="/24edo">24edo</a>), &quot;half flat&quot; and &quot;half sharp&quot; are perfectly accurate. This is helpful in notating maqamic temperament because two new accidentals can be introduced (this article uses ^ and v) that obey the equations ^^ = # and vv = b.<br />		Note that, because the fifth is divided into two equal parts, the chromatic semitone (aka apotome, the interval by which sharps and flats alter pitches) is also divided into two equal parts. Therefore, although &quot;quarter tone&quot; is a misnomer because 9/8 is not divided into four equal parts (except in the particular tuning of <a class="wiki_link" href="/24edo">24edo</a>), &quot;half flat&quot; and &quot;half sharp&quot; are perfectly accurate. This is helpful in notating maqamic temperament because two new accidentals can be introduced (this article uses ^ and v) that obey the equations ^^ = # and vv = b.<br />

Maqamat in maqamic temperament - Revision history

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