Category: Video-animated analyses

Video-Analysis of “Akh tagorye hʾashyrie” (Syriac Orthodox Chant) performed by Evelyne Daoud

(Video-analysis and URL updated 22/01/2019)

This 45th video-analysis of the VIAMAP series features an introduction explaining the basics of video-analyses for maqām music. Note that this analysis is included under “maqām“ and not under “Byzantine” analyses, due to the particular scale of the chant.

Video-analysis of the takhshefto (“supplication”): “Like the Merchants” Akh tagorye hʾachirye 4:50+ trimmed (caudal silence) to 4:48, performed by Evelyne Daoud (Evlīn Dāwūd), recorded in the town of Qamishli (North-east Syria)

Analysis and editing: Amine Beyhom

Special thanks to Hamdi Makhlouf and Saad Saab for their insight for the maqām analysis, and to Aboud Zino who kindly provided additional historical and descriptive material concerning this chant and the performer

A CERMAA production

Notes for the graphic representation

The pitch contour is shown as a black broken line, with the relative intensity shown as a reddish (maroonish) line. Score scales are based on the conventional quarter-tone division (half-flat and half-sharp accidentals). The graphic scales are based on the same intervallic division and feature to the left (and in the intermediate column) the names of the degrees of the scale: these follow Amine Beyhom’s proposed solmization (available as FHT 57 p. 245 in the article “MAT for the VIAMAP” by the author/editor – downloadable here), namely, for the main degrees of the scale of maqām Rāst: rā = RĀST = c, dū = DŪKĀ = d, sī = SĪKĀ = e–, ja = JAHĀRKĀ = f, na = NAWĀ = g, ḥu = ḤUSAYNĪ = a, aw = AWJ = b– and Rā = KIRDĀN = c’ (C). The tonic is relative with note names undergoing a change of the case of the initial letter with the change of octaves. Intermediate notes (ʿarabāt) are likewise given corresponding solmization syllables. The upper stripe features a division of the vertical space based on the tonic and its octave (red horizontal lines, plain for the tonic), the fourth (green dashed line) and the fifth (blue dashed line).
Note also that s_a = “Analysis time”; s_v = “Video time”. The original tonic is dū = DŪKĀ, which corresponds to an unstopped string of the ʿūd.

Further notes

The upper and lower cases lettering differentiates (the scale of) for example maqām Rāst (initial uppercase) from the (pitch) tonic RĀST (uppercase) and the polychord (or jins) rāst (lowercase). In both literal analysis and annotations to the graphical analysis numbers between brackets are additional bordering intervals used (or not used) in performance; for example, a rāst tetrachord on NAWĀ = na will be noted na [3]433[4] if the performer uses one-interval extensions for the original tetrachord rāst 433 on RĀST. The rest note of the tetrachord is always na but the performer may use a lower interval of one tone (“4”) between f and g, and a higher one-tone interval between Rā = upper RĀST = KIRDĀN = c’ or (C) and Dū = upper DŪKĀ = d’ (or D). In a similar way, a ḥijāz tetrachord on DŪKĀ = dū will be noted dū 26[2] if the performer does not use the upper semi-tone of the original tetrachord ḥijāz dū 262 (the [2]) in the described performance.

Preliminary research and analysis

From the CD Syrian Orthodox Church – Antioch Liturgy (1983/1992) D 8039 Auvidis-Unesco (rights of the recording acquired to date by Smithsonian Folkways Recordings).

Track and liner notes courtesy of 
Smithsonian Folkways Recordings

Cover of the liner notes of the CD Syrian Orthodox Church – Antioch Liturgy ‎‎(1983/1992) D 8039 Auvidis-Unesco (retrieved from ‎https://www.allmusic.com/album/syrian-orthodox-church-antioch-liturgy-mw0000069908)‎
Back cover of the CD Syrian Orthodox Church – Antioch Liturgy (1983/1992) D 8039 ‎Auvidis-Unesco (retrieved from https://www.allmusic.com/album/syrian-orthodox-church-‎antioch-liturgy-mw0000069908)‎
Excerpt from the liner notes: [p. 5]

This is another takhshefto (supplication) based on the sixth mode[1] according to the tradition of Tur ʿAbdin [Ṭūr ʿAbdīn, طور عَبْدِين] (the equivalent of the maqām ʿajam)[2] which, due to its melismatic character, does not function at all like a qinto [melodic style], but is rather in the spirit of the maqām.

Like the merchants, the martyrs entered into battle. They shed their blood in order to obtain spiritual wealth, in the manner of skilled merchants. They bartered their lives for death, preferring torment to rest. They chose death rather than a short life. They are in the kingdom, guests of the son of the King and we are invited to participate in the feast, proclaiming: Glory to thee, Ruler of the Universe

Note on the title (incipit): the word hʾachirye is pronounced “kashīrīh” by the singer as can be read in the “Karshuni” (translitteration of Syriac in Arabic) version “Akh tagorye hʾachirye” (below) listed as No. 419 in the book The Bread of Life published in 2002.

“Karshūnī” (transliteration of Syriac in Arabic) version of “Akh tagorye hʾachirye” from the Lahmo Dhayé (The Bread of Life) published in 2002 – Courtesy of Aboud Zino
Cover of the book Lahmo-Dhayé (The Bread of Life)
More about the chant (freely translated from a private communication by Aboud Zino – See also at the end of the post the Arabic translation and the original Syriac version) …

The takhshfotho (pl. of takhshefto) are a melismatic, non-measured type of chants which span a complete octave. This particular type of takhshfotho is attributed to Bishop Rābūlā a-r-Rahāwī (“Bishop Rabola of Raha”) who died 425 CE. These were gathered and classified by one of the fathers of the Syriac Church, Jacob the Rahawite (Yaʿqūb a-r-Rahāwī) who died in 708 CE.

… and about Evelyne Daoud (same source as above)

Malfonito Evelyne Daoud (1935-2002) was a respected Lebanese cantor of the Syriac Orthodox Church who lived in Qamishli in Syria. She was very active in Church life, including teaching and scout movement.

Video Analysis (updated 22/01/2019)

Literal Analysis

On the general ascending scale of what the analyst called maqām Syriac Bayāt (equivalent to the scale of maqām Ḥusaynī dū 3344334) the singer begins with a jump of third from dū to ja slightly lower than the theoretical pitches corresponding to the first (more or less) stabilized tonic measured around 7 s_a rising then to na to complete the jins bayāt 334 on dū and concludes this introductive section of the first part on the tonic [end at 11.5 s_a]. Follow then [14-38 s_a] in a very linear manner a jahārka trichord ja 44 with a brush of the aw, a rāst 433 on na with occasional brushes of the ja and a stop on ja for what may be understood as a transitory (and intricated) jahārka 44 in trichord (skimmed from the usual caudal semi-tone when tetrachordal) then by a conclusive bayāt 334 on dū. This first part is similarly concluded [40-53 s_a] by a jahārka trichord on ja intricated with however a bayāt trichord 33 on dū.

The second part [55-103 s_a] has a similar structure (as with the first part). The third part [105.5-142 s_a] is initiated with a (near) jump of fourth on the (upper) rā and features a jins rāst 433 on na with a rest on this secondary tonic, the whole repeated once, followed after a silence directly by [144.5-193 s_a] a jins bayāt which announces the remake (here by the same performer) of Part 1, 3, and 1 [Parts 4, 5 and 6]. (Note a clear tendency to raise the final na for jin rāst on na.)

Additional info

About the recording

The recording was made ca 1980 (or before – estimated). The original LP was released in 1983, and the CD version in 1992, but the liner notes (by Christian Poché, [p. 3]) say that the first track[3] was recorded in Damascus: the former “Patriarch of Antioch and all the East, who died suddenly on 25 June 1980, celebrates in this track the prayers of consecration”. However, the web page featuring the extract of this song on the Smithsonian Folkway Records website[4] says that the original album was released in 1971 under the title Ritual Chant and Music with the catalog number UNES08103_114, as Track 14 (the caudal number 114 seems to indicate the CD number “1” and track number “14”) with duration 3:58… However,  the web page of the album[5] and the release tab[6] list August 10, 1996 as the first release.

Back cover of the CD Ritual Chant and Music (1996) D 8039 Auvidis-Unesco (retrieved ‎from https://www.allmusic.com/album/ritual-chant-music-smithsonian-mw0000021870)‎

Track 14 in D 8103 was clearly picked up from D 8039 (Track 7), as the CD rank numbers indicate (8039 comes before 8103). The back cover (last line) of D 8103 (above) also states that recording copyrights (℗) for this compilation range from 1971 to 1996, which would explain the confusion on the track page.

[1] The sixth mode in the Greek-Orthodox tradition is a plagal mode the scale of ‎which is equivalent to the scale of maqām Ḥijāz-Kār (d 2 6 2 4 2 6 2 in an ascending scale expressed in approximate multiples of the quarter-tone). ‎

[2] The scale corresponds theoretically to (ascending) 4 4 2 4 4 4 2 on bb for maqām ʿAjam-ʿUshayrān in multiples of the quarter-tone, and to (ascending) 3 3 4 4 4 2 4 on d for maqām ʿAjam as such (without the caudal ʿUshayrān which points to bb as a tonic).

[3] “Sanctus” from the tradition of Mardin, Tagrit, Urfa.

[4] “Smithsonian Folkways.” Smithsonian Folkways Recordings. Accessed December 19, 2018. https://folkways.si.edu/evelyne-daoud/syria-akh-tagorye-hachirye-extract/music/track/smithsonian accessed 18/12/23.

[5] https://www.allmusic.com/album/ritual-chant-music-smithsonian-mw0000021870 (accessed 18/12/23).

[6] https://www.allmusic.com/album/ritual-chant-music-smithsonian-mw0000021870/releases (accessed 18/12/23).

About the Tur ʿAbdin tradition and the Syriac oktoechos (liner notes p. 3)

The tradition of Tur ʿAbdin, tenaciously upheld in the Syrian border town of El qamishli (Syria), is a reflection of the remarkable golden age of Syriac, from which it has assimilated the various tendencies.

The Syrian Church, as is the case for all the eastern Christian communities, groups its melodic styles (qinti) within an overall unit (oktoechos, or set of eight modes), also known as ikhadia, and indicates the mode to be used for each Sunday of the year, rising every week by one scale degree.

The Syriac word ikhadia was formed from the Greek ikhos, meaning “sound” and athos, meaning “chant”. It refers to simple melodic formulae which, by virtue of the historical developments, have begun to relate to the Arabic notion of maqām, without adopting all its aspects, however.

The bet-gazo, or treasure of melodies, also known as shimo, or ferial breviary, is a compilation of non-biblical texts used as reminders for the deacons.

In practice, it is impossible to generalize the use of the eight modes throughout the community. Experience shows that the oktoechos varies in terms of the nomenclature of its scales according to province. It is as though a practice, patterned after the musical dialects stemming from local customs and usage, corresponded […] to a universal theory of oktoechos.

The scale

At first sight (listening) the scale is composed of two sometimes slightly shrunk bayāt tetrachords with central disjunction – sometimes wide – and a steadily changing tonic. This is equivalent to the scale of maqām Ḥusaynī as explained for example under maqām Bayātī (no. 59 p. 118-119) in

Ḥilū (al-), Salīm سليم الحلو. الموسيقى النظرية Al-Mūsīqā a-n-Naẓariyya [La Musique Théorique]. 2nd ed. بيروت – لبنان Beyrouth – Liban: منشورات دار مكتبة الحياة Dār Maktabat al-Ḥayāt, 1972, p. 119

but also in

Erlanger, Rodolphe (d’). La Musique Arabe (5) – Essai de Codification Des Règles Usuelles de La Musique Arabe Moderne. Échelle Générale Des Sons, Système Modal. Vol. 5. 6 vols. Paris, France: Librairie Orientaliste Paul Geuthner, 1949, scale under no. 57, p. 240

and others…

[see Beyhom, Amine. “3. Systématique modale ‎–‎ Volume III.” Thèse de doctorat, Université Paris Sorbonne, 2003 (http://foredofico.org/CERMAA/publications/publications-on-the-site/publications-amine-beyhom) p. 57, scale (0,19,4,4,3344334)].

MaqāmʿAjam is frequently equated today with maqām ʿAjam-ʿUshayrān with the scale bb 4 4 2 4 4 4 2; maqām ʿAjam per se (without the caudalʿUshayrān) may have an equivalent scale to maqām Bayāt (3 3 4 4 2 4 4 – see Erlanger no. 62 p. 250) but would be notably distinguished by the necessary use of aʿajam tetrachord (4 4 2) or trichord (4 4) on bb and of a jahārkā tetrachord (4 4 2) on f. However, the use of NAWĀ = na = g as a secondary (if not first) tonic and the rare use of the upper DŪKĀ (MUḤAYYAR) = Dū = d’ argue in favor of a tetrachord rāst (4 3 3) on na = g instead of a bayāt (3 3 4) on ḥu = a; while a few maqām(s) have such a configuration in the ascending lower octave, maqām Ṭāhir (aforementioned Erlanger, no. 72 p. 270) seems to be another maqām based on the tonic dū which has an identical ascending scale (in the lower octave) composed of tetrachords bayāt on dū and rāst on na=g, with an insistence on the central na. The descending scale contains however a būsalīk tetrachord, which makes it a poor candidate for this performance.

More important however is the inner structuring of the scale in Daoud’s performance, made up of (effectively) a lower bayāt tetrachord 3 3 4 on dū = DŪKĀ = d and of a joint rāst tetrachord 4 4 3 on na = NAWĀ = g, but with an intermediate, and sometimes intricated trichord jahārkā 4 4 on ja = JAHĀRKĀ = f. This seems to indicate that this maqām, that we shall call “Syriac Bayāt” (Bayātī-Siryānī), is specific to this particular tradition, or at least not of common use as I could not find an equivalent in the literature nor could specialists of Arabian music which I consulted do so.

Arabic version of “Akh tagorye hʾachirye” from the Lahmo Dhayé (The Bread of Life) published in 2002 – Courtesy of Aboud Zino
Original Syriac version of “Akh tagorye hʾachirye” from the Lahmo Dhayé (The Bread of Life) published in 2002 – Courtesy of Aboud Zino
A capella choir of deaconesses of the Church of the Virgin (Qamishli) and conductor Malfono Paul ‎Mikhael (detail). Back cover of liner notes SOC Auvidis D 8029 – Photo credit: Jochen Wenzel

Video-analysis of an improvisation on ʿūd in maqām Ṣabā by Hamdi Makhlouf

(Post and video analysis updated 19/11/13)

This 44th video-analysis of the VIAMAP series features a graphic representation of the intensity of the sound in parallel to pitch representation

Video-analysis of an improvisation in maqām Ṣabā by Hamdi Makhlouf on ʿūd, recorded by Amine Beyhom on the 16th of March 2005 in Paris – France.

Analysis and editing: Amine Beyhom
A CERMAA Production

Notes for the graphic representation

The pitch contour is shown as a black broken line, with the relative intensity shown as a reddish (maroonish) line. Score scales are based on the conventional quarter-tone division (half-flat and half-sharp accidentals). The graphic scales are based on the same intervallic division and feature to the left (and in the intermediate column) the names of the degrees of the scale: these follow Amine Beyhom’s proposed solmization (available as FHT 57 p. 245 in the article “MAT for the VIAMAP” by the author/editor – downloadable here), namely, for the main degrees of the scale of maqām Rāst: rā = RĀST = c, dū = DŪKĀ = d, sī = SĪKĀ = e–, ja = JAHĀRKĀ = f, na = NAWĀ = g, ḥu = ḤUSAYNĪ = a, aw = AWJ = b– and Rā = KIRDĀN = c’ (C). The tonic is relative with note names undergoing a change of the case of the initial letter with the change of octaves. Intermediate notes (ʿarabāt) are likewise given corresponding solmization syllables. The upper stripe features a division of the vertical space based on the tonic and its octave (red horizontal lines, plain for the tonic), the fourth (green dashed line) and the fifth (blue dashed line).

Notes for the literal analysis

s_a = “Analysis time”; s_v = “Video time”. The original tonic is dū = DŪKĀ, which corresponds to an unstopped string of the ʿūd. This means that the tonic is stable and that the graphic scale remains still (no vertical displacement). Note names are italicized.

Further notes

In both literal analysis and annotations to the graphical analysis numbers between brackets are additional bordering intervals used (or not used) in performance; for example, a ḥijāz tetrachord on DŪKĀ = dū will be noted dū [2]262[4] if the performer uses one-interval extensions for the original tetrachord ḥijāz dū 262. The rest note of the tetrachord is always dū but the performer may use a lower interval of one half-tone (“2”) between c# and d, and a higher one-tone interval between na = NAWĀ = g and ḥu = ḤUSAYNĪ = a. The same ḥijāz tetrachord on DŪKĀ = dū will be noted dū 26[2] if the performer does not use the upper semi-tone the original tetrachord ḥijāz dū 262 (the [2]) in the described performance. Furthermore, the upper and lower cases lettering differentiates (the scale of) for example maqām Rāst (initial uppercase) from the (pitch) tonic RĀST (uppercase) and the polychord (or jins) rāst (lowercase).

Literal Analysis

1st Part [0-57 s_a]: Development of the lower octave of maqām Ṣabā with ajnās ṣabā 332 on dū and ḥijāz on ja 262

The performer starts [1-7 s_a] with the characteristic formula of maqām Ṣabā on dū – between dū = DŪKĀ = d and ḥij = ḥijāz = gb – and stabilizes on the ja (= JAHĀRKĀ = f), with subsequent variations [9-25 s_a] including a lower part of a ḥijāz tetrachord on ja (ja 26[2] in multiples of the quarter-tone – [2] = missing – hinted – part of the ḥijāz tetrachord in the performance). In the second section of this first part [28-57 s_a] of the taqsīm (instrumental improvisation) jins ḥijāz on ja 262 is fully developed with an extension to the upper rā at 36.5 s_a and to the lower sī at 41 s_a, which marks the return [41-52 s_a] to jins ṣabā on dū extended to the lower Rā (= RĀST) at 47 s_a with an extension [around 53 s_a] to the upper limit (c#) of the non-octavial scale featuring an intricated jins ḥijāz 262 on ḥu = a.

A silence [57-63 s_a] marks the transition to the 2nd part.

2nd Part [63-113 s_a]: Development of the full lower scale of maqām Ṣabā-Nahawand with ajnās ṣabā 332 on dū, and ḥijāz on ja 262 and nahawand 42[4] on ʿaj

Then begins a second part [62-71 s_a] in which the performer uses the note ʿaj = ʿAJAM = bb as a secondary tonic for jins nahawand [2]42[4] (with ḥu = a as a leading note) with a hint of lower jins ḥijāz [around 69 s_a] then a repeated hint [71-75 s_a] of upper jins nahawand 42[4] on ʿaj – it may be that the performer intended to develop either this nahawand or possibly a jins ʿajam bb 442 but this was not the case. Instead, a regular descent of the canonic scale of maqām Ṣabā is used [75-100 s_a] with ḥijāz 262 on ja and ṣabā 332 on dū, with portamento and string lifting techniques notably around 95 s_a for the string stopped on the note sī = e–, followed [101-113 s_a] by a rapid ascent of the Ṣabā-ḥijāz scale dū 33,2,62,4(2[],6[2]), then by a step by step descent of the scale i.e. nahawand on ʿaj, ḥijāz on ja and ṣabā on dū. This last step consolidates maqām Ṣabā and prepares the upcoming modulation.

A short silence [113-116.5 s_a] marks the transition to the 3rd part.

(In short: 1st and 2nd parts performed on the scale of Ṣabā-Nahawand)

3rd Part [116.5-192 s_a]: Development of maqām ʿAjam-ʿUshayrān on ʿaj = ʿAJAM with a modulation to jins ṣabā-zamzama 242 on ḥu ‎then closing with descending Ṣabā-Nahawand

In the third part of this taqsīm, Makhlouf modulates [116-123 s_a] to maqām ʿAjam-ʿUshayrān 4424442 on (lower) ʿaj[am] bb (the maqām changes, the tonic changes too) beginning with the upper section ʿAj [2]44 then descending until the lower ʿaj. He then develops [124-134 s_a] jins ʿajam [2]44 on the (upper) ʿAj followed by a jins ʿajam 442 on ja then by a modulation [134-149 s_a] in jins kurd on dū beginning with its upper section. Continuing developing [151-163 s_a] upper jins ʿajam 442 on ʿaj (with a modulation to jins nahawand 424 on upper rā), Makhlouf proceeds then to a modulation [163-167 s_a] to ṣabā-zamzama 242 on ḥu followed by the return [168-177 s_a] to jins ḥijāz 262 on ja then [177-192 s_a] to a closing jins ṣabā on dū.

Note (figure below) the typically small semi-tone in maqām ʿAjam-ʿUshayrān between ḥu andʿaj [120-135 s_a].

Frame showing the typically small semi-tone in maqāmʿAjam-ʿUshayrānbetween ḥu andʿaj [120-135 s_a]

Release of the video-analysis of “Greis mad pier gali galan” performed (2003) by Jorj Botuha – Sonor and Instrument maker

Greis mad pier gali galan performed by Jorj Botuha

The fourth CERMAA analysis in the Breton series (and no. 43 in the VIAMAP series) features the melody “Greis mad pier gali galan” performed by Jorj Botuha on the 13th of September 2003 in Auray – France (Brittany). Botuha was interviewed and recorded by Amine Beyhom, and performed on three different bombards[1]. The particular bombard used for this song is tuned to a ≈ 448 hz: it was measured in situ, back in 2003 and with the help of an EM-50 “Oriental” (Roland) keyboard (below), as 445.4 hz.

The EM-50 “Oriental” (Roland) keyboard used by Amine Beyhom for pitch measuring and melodic contour modeling in Brittany in 2003 in the workshop of Jorj Botuha in Auray. To the left, on top of the keyboard, the notebook of the author with annotations and two double-reeds made by Botuha – Photo credit: Amine Beyhom

It is an original instrument in boxwood – dating back to (approx.) 1850 – from the region of Aradon (Gulf of the Morbihan) in Brittany. The original missing reed was replaced by one of the making of Botuha[2].

Original bombard in boxwood from approx. 1850 from the region of Aradon (Gulf of the Morbihan) in Brittany owned by Jorj Botuha in 2003 – Photo credit: Amine Beyhom

The scale and parts of the melody are analyzed in details in the article “Dossier : Mesures d’intervalles – Méthodologie et Pratique.” Revue Des Traditions Musicales Des Mondes Arabe et Méditerranéen 1, no. 1 (June 2007): 181–235. http://foredofico.org/CERMAA/wp-content/uploads/2017/11/Beyhom_2007_Mesures_d_intervalles_RTMMAM_n11.pdf by Amine Beyhom (notably p. 211-215), and follow the approximate progression a 4 b 3 c+ 3 d 5 e+ 3 f#+ 4 g#+ 1 A (numbers correspond to intervals in multiples of the quarter-tone, + and – signs to alterations of one quarter tone with “#+” meaning that the degree of the scale is raised by 3 quarter-tones). This does not correspond, to our knowledge, to any other known scale.

The melody spans one octave to the most, with a stable tonic measured around 34 s_a (for 34 seconds of the analysis as shown on the graphic output below – to differentiate this time from video time in seconds or “s_v”) equivalent to 42 s_v.

Tonic was measured around 34 s_a (seconds of analysis), 42 s_v (seconds of video time)

The third and fifth to seventh (sub-tonic) degrees are clearly raised when compared to a Western minor scale on a, but the scale features a just fourth and a stable tonic.

The graphic (with Praat), video-Analysis and editing are by Amine Beyhom and feature an intensity curve (relative) in maroonish color.

The video-analysis was uploaded 17/12/2018 and is also available at 
https://youtu.be/y-jvnN1blyM.


[1] The bombard is a conical-bore double-reed instrument with a powerful sound played by sonors for traditional dances in Brittany. It is usually played with the Breton bagpipe, the binioù, in the binioù khoz (“old bagpipe”) version. The melodic range of the binioù lies one octave above the range of the bombard. Most bombards are tuned to a ≈ 440 hz.

[2] The form and material of the reeds impact the resulting notes – and consequently the scale.

Release of the video-analysis of “Paotred er gueù à bleuigner” performed (2003) by Jorj Botuha – Sonor and Instrument maker

Paotred er gueù à bleuigner performed by Jorj Botuha

This is the third CERMAA analysis in the Breton series, and features the song “Paotred er gueù à bleuigner” performed by Jorj Botuha on the 13th of September 2003 in Auray – France (Brittany). Botuha was interviewed and recorded by Amine Beyhom, and performed on three different bombards[1]. The particular bombard used for this song is tuned to a ≈ 438 hz. It is a copy – made by Botuha – of an original from the region of Karnak in Brittany, performed here with a wide double-reed in boxwood[2].

The scale is analyzed in details in the article “Dossier : Mesures d’intervalles – Méthodologie et Pratique.” Revue Des Traditions Musicales Des Mondes Arabe et Méditerranéen 1, no. 1 (June 2007): 181–235. http://foredofico.org/CERMAA/wp-content/uploads/2017/11/Beyhom_2007_Mesures_d_intervalles_RTMMAM_n11.pdf by Amine Beyhom (notably p. 195-202), and follows the approximate progression a 3 b 3 c 4 d 4 e 4 f# 2 g 4 A (numbers correspond to intervals in multiples of the quarter-tone). This corresponds, in the lower part from a to d, to the scale of maqām Ḥusaynī in Arabian music[3]. Subsequently, the Graphic scale features a b- instead of a b.

The whole song spans one octave to the most, with the initial tonic slightly rising; the base tonic was measured around 31 s_a (for 31 seconds of the analysis as shown on the graphic output – to differentiate this time from video time in seconds or “s_v”) equivalent to 39 s_v. The second degree is clearly zalzalian (with bordering three-quarter-tones intervals) and the fourth and the fifth degrees are slightly raised[4].

The graphic and video-Analysis (with Praat) and editing are by Amine Beyhom and feature an intensity curve (relative) in maroonish color.

The video-analysis was uploaded 14/12/2018 and is also available at https://youtu.be/_q_xHXAPTxc.


[1] The bombard is a conical-bore double-reed instrument with a powerful sound played by sonors for traditional dances in Brittany. It is usually played with the Breton bagpipe, the binioù, in the binioù khoz (“old bagpipe”) version. The melodic range of the binioù lies one octave above the range of the bombard. Most bombards are tuned to a ≈ 440 hz.

[2] The form and material of the reeds impact the resulting notes – and consequently the scale.

[3] The “mode” used is however – and clearly – neither Ḥusaynī nor any other Arabian maqām.

[4] Note that while the third degree (c) seems raised by a near quarter-tone in the performance of the scale analyzed in the aforementioned article by Amine Beyhom (see Figure 5b p. 202), the performance as such shows no such difference with plain c – performed either plain or slightly raised.