Use of motif melodic idea, phrasing and overall structure In this piece I used simple motifs and melodic ideas that follow the underlying metric entity. In developing the ideas, I used mainly the question-answer device (for motifs and complete phrases), variation and transposition of the motifs. The upbeat beginning of the phrases is a tool often used in metric improvisations on curcuna. The phrases mostly extend over two bars, with the ornament of the sixteenth note landing on the first beat of the next bar. All parts have an eight-bar structure, a common length of bars in these forms. The piece closely follows the seyir of makam Uşşak/Beyati. In Part A, the melody moves around the first degree (Dügâh) establishing the xxxxx. The innovation here is that in the second part there is an early climax facilitated by modulation to xxxxx Xxxxxxxx, whereas, in general, modulations in this kind normally come in the third part. In the third part, the melody moves to the fifth degree (Hüseynî) and falls to the third degree (Çargâh) – a common fall for xxxxx Xxxxxxx – and then it resolves with a fall on the tonic (Dügâh). Figure 186: Movements in Xxxxxx Sokak The feeling of the piece resembles the feeling of the early recordings or even some folk Anatolian songs, which suggests the influences of the early stages of this research. Figure 187: Xxxxxx Sokak
Use of motif melodic idea, phrasing and overall structure In terms of motif and phrasing, Part1 is approached as a traditional aptaliko; motifs are created that closely follow the underlying rhythmic structure, and phrases conclude inside the bar, thereby creating one-bar and rarely two-bar phrases. The question-answer tool is employed for phrases; i.e., a phrase serves as a question and the following one as an answer. Finally, the reduction tool is used (bar. 11): Figure 190: Variating the motif Part2 is based on a 12/8 time signature. The 12/8 time signature could also be perceived as a 4/4 creating a rhythmic illusion, a tool that is often used by percussionists and is a direct influence of my work with percussionists. I chose to notate the piece in 12/8 to give emphasis to how the phrases are accented and conclude their gestures. The underlying rhythmic structure is shown below: Figure 191: 12/8 time signature of Part B The overall rhythmic flow is in eighth and sixteenth notes, with thirty-second notes for ornamentation. As Part2 is based on the idea of rhythmic modulation (from a 9/4 time signature to a 12/8 time signature) it is used as a climax in the overall structure of Vertigo. Consequently, more intricate rhythmic tools are employed to support this purpose, such as the off-beat displacement of the motif and the overall rhythmic illusion explained previously. In terms of motif and phrasing, motifs closely follow the underlying metric entity, with the exception of some off-beat displacements of the motifs. The Variation tool is the one more often employed for motifs and phrases, as in bar 17: Figure 192: Variation tool for motifs Figure 193: Variation tool for phrases In the figure above, we can see the use of the melodic development tool for Motif 3 as well as the use of a question-answer tool, in terms of phrasing for consequent phrases (bars 23-24). Vertigo is a two-part composition. Each part has its own distinctive structure that follows the seyir of xxxxx Xxxxx. In particular, the first part explores the version of Hicaz that enters on the fifth degree (Xxxxx). In Part1 we can discern the following parts:
Use of motif melodic idea, phrasing and overall structure In J emphasis is given to the simplicity of the motifs and to the types of variation inspired by the old recordings analysed in Part A. The same applies to the creation of phrasing. The most important tools used in the development of the melodic ideas and phrasing are shown below: 166 When perceived as a 6/8 time signature the underlying rhythmic pattern resembles the style of the 6/8 rhythms of Azerbaijan. A sound example can be found here: xxxxx://xxxxxxxxx.xxxx.xx/files/index.php/s/tlMjo9h6y0L0OT9. For more information on the styles of rhythm in Azerbaijan see Cemı̇ loğlu Imamverdı̇ yev I. &Alı̇ Imamverdı̇, 2020 azerbaycan raks havalari atlasi, xxxxx://xxxxxxxxxxxxx.xxx/wp–content/uploads/2020/12/azerbaycan–raks–havalari–atlasi–1.–cilt–1.pdf, accessed June 26, 2022.
Use of motif melodic idea, phrasing and overall structure As far as phrasing is concerned, the effect of research is made evident from the length of phrases and from the over-the-bar phrasing. The majority of the phrases are two bars long. The tool of question-answer is used here in the following manner: a two-bar phrase serves as a question, and the answer is also a two-bar phrase (with over-the-bar phrasing) extended by an eighth note landing on the first beat of the third bar as shown below: Figure 206: Question-answer tool through two-bar phrasing In addition, this kind of four-bar phrases are repeated many times, serving as a source for variation and creating eight-bar sentences; for instance, where a four-bar phrase is varied in a repetition, as shown below: Figure 207: Additive way of structuring sentences Structurally, Karma consists of four distinct parts with repetitions of Part A & B:
