Turkish Makam example: Difference between revisions
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\time 10/8 | \time 10/8 | ||
a'4 g'16 [fb] e8. [d16] d [c d e] c [d c8] bfc | | a'4 g'16[ fb] e8.[ d16] d[ c d e] c[ d c8] bfc | | ||
a16 [bfc a8] bfc c16 [d c8] d16 [e d8] e4 fb8 | | a16[ bfc a8] bfc c16[ d c8] d16[ e d8] e4 fb8 | | ||
d4 a'8 a16 [g fb e] fb8 [g] a8. [b16] a16 [g] | | d4 a'8 a16[ g fb e] fb8[ g] a8.[ b16] a16[ g] | | ||
g4 g16 [fb] fb8. [e16] e [g fb e] e4 r8 | | g4 g16[ fb] fb8.[ e16] e[ g fb e] e4 r8 | | ||
} | } | ||
</lilypond> | </lilypond> | ||
Revision as of 16:39, 6 December 2025
This template uses the start of a well-known Turkish Saz Semai that is familiar in the repertoire in order to illustrate some of the elements of Turkish music notation.
\version "2.24"
\include "turkish-makam.ly"
\header {
title = "Hüseyni Saz Semaisi"
composer = "Lavtacı Andon"
}
\relative {
\set Staff.extraNatural = ##f
\set Staff.autoBeaming = ##f
\key a \huseyni
\time 10/8
a'4 g'16[ fb] e8.[ d16] d[ c d e] c[ d c8] bfc |
a16[ bfc a8] bfc c16[ d c8] d16[ e d8] e4 fb8 |
d4 a'8 a16[ g fb e] fb8[ g] a8.[ b16] a16[ g] |
g4 g16[ fb] fb8.[ e16] e[ g fb e] e4 r8 |
}
