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Basics of Modulation
When modulation takes place from one maqam to another, there are two possible scenarios. In the first case, the new maqam has the same tonic as the original maqam, e.g. modulation from Rast on C to Nahawand on C. In the second case, the new maqam is based on a note from the original maqam other than its tonic, e.g. modulation from Rast on C to Bayati on G (Bayati Nawa). More detailed information on these two possibilities is given below:
Modulation to a maqam with the same tonic as the original maqam
These modulations can either take place between maqamat in the same family (i.e. which share a common lower jins), or between maqamat from different families (i.e. which do not have the same lower jins) that have a common tonic.
(a) Modulation possibilities between maqamat in the same family
Rast family:
Bayati family:
Nawa'athar family:
(b) Modulation possibilities between maqamat in different families
First group (tonic = C):
Second group (tonic = D):
Modulation to a maqam with a different tonic from the original maqam
The most common modulation of this type is to a maqam starting on the base note of the upper jins of the original maqam, which is usually G for maqamat starting on C or D. However, modulations can (theoretically) take place to a maqam that is based on any note of the original scale, although the second and seventh notes are usually avoided. Some examples of common non-tonic modulations from the maqamat Rast and Ajam Ashiran are shown below.
Non-tonic modulations from Rast:
Non-tonic modulations from Ajam Ashiran:
What actually happens in practice?
From the above it is apparent that an almost limitless number of possibilities exists for modulation from a particular maqam. However, the number of modulations regularly encountered in practice is much smaller, and a sample of these is given below for two of the most popular maqamat, Rast and Bayati.
Common modulations from Rast:
Common modulations from Bayati:
A number of 'rules' governing modulation have been formulated by the US ethnomusicologist Prof. Scott Marcus (see below) based on what he has observed in practice:
Modulation between maqamat with the same tonic can happen readily and is very common, e.g. from Rast to Suznak or from Bayati to Saba. These pairs of maqamat share the same lower jins and are therefore intimately related.
Modulations between the two groups of maqamat based on C and D do not generally occur. However, if you wish to modulate from Rast (on C) to Bayati (on D), for example, you can always transpose the Bayati scale to start on G (Bayati Nawa) - modulation from Rast to Bayati Nawa is then possible. The note G is extremely important in modulation.
Modulations between maqamat based on C and those based on E half-flat happen readily, as if they were based on the same tonic. However, to modulate from a maqam based on D to one based on E half-flat, you would either need to transpose the D maqam to start on G or transpose the E half-flat maqam to start on B half-flat.
Modulations between maqamat based on D and those based on B flat also happen readily, as if they were based on the same tonic. However, to modulate from a maqam based on C to one based on B flat, you would need to transpose the B flat maqam to start on E flat (or possibly C).
The maqamat based on F (such as Jahar Kah) need to be considered separately, and there are three different ways that they can be used. Firstly, in modulating from maqamat based on B flat, as F is often the base note of the uppper jins in B flat maqamat. Secondly, in modulating
from C or D maqamat, as F is an important note in these scales. Finally, maqamat based on F (as well as some C maqamat transposed to F) can be the target of modulation from the two maqamat Hijaz Kar and Hijaz Kar Kurd.
[Note: The information on this page is drawn from an excellent and comprehensive article by Scott Marcus: 'Modulation in Arab Music: Documenting Oral Concepts, Performance Rules and Strategies', Ethnomusicology 36(2), 171 (1992).]
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