The phrasing of Makam and unlocking modal creativity
April 17 to 21, 2025
DESCRIPTION
The subject of Makam is a much misunderstood one especially in the Western world where it is frequently presented as a system merely of scale structures. In reality, makams have little to do with scales per se and are primarily a repertoire of very specific yet highly flexible phrasing units which integrate with one another according to the expanse and the limits of the imagination of each individual musician.
In each makam there is a number of what we might refer to as “hallmark” compositions which expose the behavior and the nature of the makam in full. It is from these compositions that an aspiring musician in this genre should begin in order to build up a rich and coherent repertoire of phrase material which, in turn, will serve as the “springboard” for their creative endeavors (improvisations and composition). In this seminar scores in the modified staff notation commonly used in Turkish music (Ezgi/Arel/Yekta system) will be used, in this case in the Mansur tuning (without transposition).
OBJECTIVE
The concept and practice of makam can be found throughout a vast area of the world. This geographical expanse extends from Northwest Africa right up until the western regions of China (Xinjiang) encompassing almost the entire intermediate space. In the myriad of specific regional traditions one encounters a vast array of deviations, variations and unique idiomatic practices, but the basic concept of the primary importance of phrasing units is central to all. This seminar will focus primarily on the makam system as it is encountered in Ottoman and contemporary Turkish music.
Beyond the study of phrase material as it is encountered in specific historical compositions, we will also focus on how musicians today can work with Makams to enhance their own creative activities and to enrich their improvisational and compositional skills.
CONTENT
THEORY
Depending on the level of the students, Ross DALY will be able to cover a larger or smaller number of Makams. He will focus on the basic Makams initially (such as Hicaz, Rast, Uşşak, etc) but he will also give examples of how compound makams are constructed and used.
RHYTHM
In this seminar will be mentionned the importance of usul in the construction of melody (especially in peşrevs), and some examples will be given (devri kebir, muhammes, aksak semai etc), but the main focus will be on makam
REPERTOIRE
Compositions from various composers from various different eras of Ottoman music will be given as examples. Abdul Qadir Meraghi, Gazi Giray Han, Neyzen Salih Dede, Neyzen Yusuf Paşa, Kemani Tatyos ef., Lavtaci Anton, Tanburi Cemil Bey, Neyzen Aziz Dede, İsmail Dede ef. Etc…
şehirsel, which Ross DALY himself have composed specifically to demonstrate the characteristics of certain makams, will also be used.
Between two and one month prior to the masterclass will be sent scores of pieces which Ross DALY considers to be essential.
IMPROVISATION
Improvisation in makams is very much a process of coaching one on one, it’s not a “one size fits all” process so it’s very difficult to specify exactly what will be done in terms of coaching students in Taksim – which is the type of improvisation primarily found in this music. It will depend on the number and respective levels of the students themselves. Coaching improvisation is very much an interactive process. Without knowing the students involved, it will not be possible to predict the exact approach which the teacher would find to be suitable for each.
As such, the contact details of the students will be given to Ross DALY prior to the masterclass. A letter of motivation or CV, in english, is also asked of the students and need to be sent to contact@iimm.fr prior to the masterclass.
CONDITION OF PARTICIPATION
Students should have at least a medium level of proficiency on a suitable instrument (capable of rendering the microtonal intervals inherent in the Turkish makam), as well as a basic level of sight-reading single line scores. The seminar will be conducted in English.
REGISTER NOW
>> ON-LINE REGISTRATION <<
>> RATES & REGISTRATION PROCESS <<
BIOGRAPHY
Many years before what we call “World Music” appeared on the scene, certain individuals had already understood the enormous value and vast variety of the world’s various musical traditions and had dedicated their lives to their study. One such person is Ross Daly.
Although of Irish descent, Ross Daly does not really fit into any particular ethnic stereotype given that his life has been spend in many different parts of the world and his home for the last 35 years is the island of Crete in Greece. Ross Daly, at a very early age, discovered that music was, in his own words, “the language of my dialogue with that which I perceive to be sacred”.
This dialogue eventually led him to the great modal traditions of the Middle East, Central Asia, and the Indian Subcontinent where he finally found the musical archetypes that he had been searching for all his life. In these traditions he encountered music which was not merely a vehicle of selfexpression, but which was able to take one beyond what one normally perceived to be the boundaries of one’s self into other transpersonal realms of experience.
This discovery changed everything in Ross Daly’s life and he subsequently gave up all other activities and dedicated his life to the study of the innermost secrets of these musical traditions as well as to the art of composition. He subsequently travelled extensively, studying under many of the world’s greatest masters of modal traditions. Since 1975 he has been based on the island of Crete where he is universally recognized as one of the foremost experts on the island’s rich musical tradition.
He is also especially well known and respected for his ability to bring artists of different and seemingly unrelated traditions together in collaborations of unique quality and depth. In 1982 he established the Labyrinth Musical Workshop which is today situated in the village of Houdetsi 20 kms south of the capital city of Herakleion.
After many years of intensive training in a variety of musical traditions, Ross Daly turned his attention largely to composition drawing heavily on all of the knowledge which he acquired during his long apprenticeships. Today he has released more than thirty eight albums of his own compositions as well as of his own arrangements of traditional melodies that he collected during his travels. The island of Crete in Greece still provides a base for his personal and musical research as he continues travelling around the world performing his music.
Ross Daly has performed in many important venues and festivals such as: Carnegie Hall (2015), Migration Festival, Taipei, Taiwan (2006), International Lute Festival, Tetouan, Morocco (2006), Madrid Summer Festival, Sabatini Gardens, Spain (2006), International Festival, Warsaw, Poland (2006), Manresa Festival , Barcelona,Spain (2006), Athens Concert Hall (1993, 2006), National Concert Hall, Dublin,and many others.
In Summer 2004 he was the artistic director of the cultural program of the Olympic Games for the Olympic city of Heraklion on the island of Crete, titled “Crete, Music Crossroads”. He organized and artistically supervised 15 concerts with the participation of 300 musicians from all over the world. Amongst others there were musicians of international fame as : Jordi Savall, Eduardo Niebla, Huun Huur Tu, Habil Aliev, Dhoad Gypsies of Rajasthan, Mohammad Rahim Khushnawaz, Trio Chemirani, Adel Salameh and many others. Today, Ross Daly continues travelling and performing in Greece and abroad whilst simultaneously directing the Musical Workshop “Labyrinth” in the village of Houdetsi on Crete.
VIDEO EXTRACT