ORAL TRADITION OF PYTHAGOREAN

MUSICAL INTERVAL STRUCTURES

ORAL TRADITIONS
By their very nature oral traditions involve mainly the spoken word. The teacher
may refer the student to authoritative texts but in many cases he will provide the
student with a means to interpret the written works. The ancient tradition in the
Middle East put the spoken word above the written word in authority :-
“Thus, person-to-person transmission was at the heart of authoritative
transmission of knowledge. The best way of getting at the truth was
to listen to the author himself. So Muslim scholars constantly
travelled throughout the Islamic world so that they could receive
authoritative transmission of knowledge. And, when a scholar could
not get knowledge from the author in person, he strove to get it from a
scholar whose isnad, or chain of transmission from the original author,
was thought to be the most reliable. The preference for the oral over
the written text may be explained by the central concern for the
transmission of the author’s meaning – for the transmission of the
most authoritative understanding of the text.” Robinson, F, “Crisis of
Authority” in JRAS., 17 (London 2009), pp. 339-354
There is no doubt, from the many wall paintings which have survived, that the
Egyptians had music as a part of their culture. It is also a fact that little or nothing has
been found written about their music system. This would appear to be in some way
evidence that the above principle relating to accurate transmission of knowledge was
employed by the Egyptians, to the extent that only oral tradition in music was
deployed without any written sources. This could also be part of an older
understanding about how music can be learned, viz. :- In relation to the introduction
of new notations for playing the Japanese flute :-
“One flautist wondered about the extent to which one could learn the
music ‘through the eyes’ ” Iguchi, K, “Reading music/Playing music”
in EF., 17 (London 2008) pp. 249-266
Today we live in a world where the use of music for fame, commerce and pleasure
dominates the scene. This may make it difficult for us to transpose our current
mentality relating to music into the distant world of the Egyptian Temples where the
dominant use of music may have been for human spiritual development.
If this were the case then it is not difficult for us to understand that such music and
the use to which it was put may have been only known within the confines of the
select few. Also we would not expect to find very much information in a written or
published form. So an ancient oral tradition may be the only source which we can
rely on to find something interesting about music used in this way.

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 THE USE OF MICROTONES
Small variations in music tones arise naturally from the use of intervals which are
derived from the natural overtone series or Just Intonation series. Most music
systems use at least the first three basic intervals from this series. These three
intervals being the octave, the perfect fifth and the perfect fourth. These can be
shown mathematically as the ratios 2:1, 3:2, and 4:3 respectively. Pythagoras knew
that these intervals could be played on the strings of a lute or a monochord where the
two different lengths of the string are in the same ratio shown by the interval. The
Just Intonation series continues from this sequence as 5:4, 6:5, 7:6 etc. (see footnote
12). This gives rise to a series of intervals some of which are very close to each
other. Hence microtones are a natural product of this series.
The system of 53 Equal Temperament is where the octave is divided into 53 equal
intervals. Each of these small intervals is known as one comma. The use of this
way of describing intervals avoids the complex use of mathematical ratios and sound
frequencies. With this system the perfect fifth is 31 commas, the perfect fourth is
22 commas and the Pythagorean whole tone is nine commas (i.e. the difference
between the perfect fifth and the perfect fourth). This creates a language using
commas which teachers have used in the oral tradition for many centuries and
enables them to describe and demonstrate the finer differences in the various
musical intervals in a way that the student can easily follow. We note here that the
whole tone may have at least nine smaller tones within it.
The easiest way to obtain melody which can differentiate between tones that are very
close to each other is to create a monochord long enough for the purpose such as is
still used in Turkey on the long necked lute called the Tanbur.

Figure 1 Tanbur showing whole tone1

On the Tanbur shown in Fig. 1, the space of the whole tone (shown as T) is in the
region of 105mm long. This allows space for one ninth of a whole tone (one
comma) to be between 10mm and 12mm. Therefore it is relatively easy to play
tones which are small fractions of a whole tone. This kind of instrument was used
by the Ancient Egyptians in their temple music system as shown on the wall painting
(see Fig. 2.)

1 Taken from the book "The Music of Rumi" ISBN 978 0957 1665 09, All frets are not shown on this diagram.

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Figure 2 Egyptian Wall Painting

The shape of the Egyptian instrument is similar to the modern day instrument and
shows clearly the use of microtones.

PYTHAGORAS - MUSIC AND THE EGYPTIANS

The spiritual use of music is most likely that which Pythagoras learned during his
many years within the Egyptian temples. This is evidenced by the way in which he
used music as a central part of the spiritual training of his followers. Iamblichus
states :-
“Conceiving that the first attention which should be paid to men, is
that which takes place through the senses; as when someone perceives
beautiful figures and forms, or hears beautiful rhythms and melodies,
Pythagoras established that to be the first erudition which subsists
through music, and also through certain melodies and rhythms, from
which the remedies of human manners and passions are obtained,
together with those harmonies of the powers of the soul which it
possessed from the first. ---- above all these particulars is this, that he
arranged and adapted for his disciples what are called apparatus and
contrectations, divinely contriving mixtures of certain diatonic,
chromatic, and enharmonic melodies through which he easily
transferred and circularly led the passions of the soul into a contrary
direction --- ” Godwin, J., Music, Mysticism and Magic, (London 1986), p.
26

2 Egyptian wall painting in British Museum

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 THE TRADITION OF THE SUFIS
The area of the Middle East including Afghanistan is where communities of
spiritually minded people have always existed :-
“Sufism is an ancient yet timeless Teaching, which, according to its
custodians, has always been with us in one form or another. Its origin
can either be regarded as lost in the mist of antiquity, operating in
forgotten cultures we know not of, or, more truly, always above and
always within, emerging from eternity, from the timeless, from time to
time into time. – --- Sufism, therefore, is not ‘Islamic Mysticism’ it
existed before the coming and outside the confines of Islam. It would
be more correct to say that Islamic Mysticism is a particular,
culturally-orientated, projection of Sufism.” Gorman, M. Stairway to the
Stars, (London 2010), p. 79.
In pre-Christian centuries, soon after the time of Pythagoras, the Greek empire
spread throughout the middle east including present day Egypt, Syria and Turkey.
During this period and during the early Christian centuries, Greek knowledge was
disseminated amongst all the nations of the area. There were many Sufi-like groups
who were either secretive or semi-secretive, such as the Therapeutians, the
Nestorians, the Essens, the Ikhwan Al Safa and the Sarmoung. Pythagorean
philosophy has never really died out, instead it has been a central influencing factor
in many traditions that have followed on since the times of Pythagoras,3 even used
as recently as the Italian Renaissance by Marcilio Ficino.4 The Jewish, Christian and
Muslim traditions have all been influenced by Pythagorean thinking. Knowledge of
Pythagorean music theory and practice was brought to the nations of the Middle
East through translations made by Al Kindi and later systematised by Al Farabi, Safi
al Din and Qutub al Din.5 This knowledge was carried forward into more recent
centuries and used by the musicians of the Ottoman court.6
Table 1 shows some of the intervals which have been used by the Pythagorean music
tradition.7
Pythagoras experimented to make various groups of these intervals which would fit
within the ambit of the perfect fourth. Thus he developed a set of prime colours,
for melody, called tetrachords 8 , which could be combined to make the various
musical modes . These are not ‘chords’ in the sense used in European music but are
a set of notes to be played sequentially to create a melodic line.

3 see – Guthrie, K. The Pythagorean Sourcebook and Library, (Michigan USA 1988)
4 see – Godwin, J. Music, Mysticism and Magic, (London 1987)
5 see – Wright, O. The Modal System of Arab and Persian Music , (Oxford 1978)
6 see – Feldman, W. Music of the Ottoman Court , (Berlin 1996)
7 see - Yekta Bey, R. La Musique Turk in Lavignac Encyclopaedia, (Paris 1921)
8 The last seven intervals from Table 1 can be used in various groups to form three intervals making a perfect fourth.

Eight such groups, called tetrachords, were found suitable for musical composition and thus formed the building
blocks of Pythagorean melody. See the book "The Music of Rumi" ISBN 978 0957 1665 09 for full details.

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 Interval Name Mathematical Number of
Ratio Commas.
Perfect fifth 3:2 31
Perfect fourth 4:3 22
Natural third 5:4 17
Pythagorean third 6:5 14
Augmented second 7:6 12
Whole tone 9:8 9
Minor whole tone 10:9 8
Large semi-tone 16:15 5
Small semi-tone 20:19 4
Table 1

OTTOMAN ART MUSIC

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The basic Makam of Ottoman Art music uses some of the Pythagorean intervals in
the form of one pentachord (a tetrachord plus a whole tone) and one tetrachord:-

Figure 3

As can be readily seen in Fig. 3 most of the intervals in table 1 can be played within
this Makam. As well as the intervals between adjacent notes we also note that
combinations of the intervals can make the perfect fifth or 31 commas (occurs three
times) ; the perfect fourth or 22 commas (occurs three times); and two different
thirds 17 commas (occurs twice) and 14 commas.
This provides an abundant source and range of intervals for composition of melody
which is rich in consonance.
There are more than one hundred Ottoman Makams each having its own character
and with a wide ranging use of many other Pythagorean intervals. In addition to the
perfect fourth and the perfect fifth, there are at least 18 other intervals used by the
Pythagorean system, some of which are very close to each other.10 (see footnote 12)
This provides melody rich in colour, which can lift the soul of the player and
listener:-

9 Makams can be described as a matrix for music composition. As well as tetrachords and pentachords forming a scale
of notes they also have characteristic direction within them and include dominant notes and resting notes. There are
also characteristic melodic motifs and a final cadence leading to the tonic note. It can take years for a musician to
become fully familiar with a Makam. Also Makams are described as a way of being.
10 This compares to only four intervals used by the European equal tempered system of music.

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 “ --- The dominant Western tuning system – equal temperament11 – is
merely a 200-year-old compromise that made it easier to build
mechanical keyboards. Equal temperament is a lot easier to use than
Just Intonation 12 . But I find it (the equal tempered system) lacks
expressiveness. It sounds dead and lifeless to me. As soon as I
began working micro-tonally, I felt like I moved from black and white
into colour. I found that certain combinations of intervals moved me
in a deep physical way. Everything became clear for me, more visceral
and expressive. --- ” Rich, R . 20th century US composer who uses
synthesisers. (Internet source).

Over several centuries during the Ottoman times the Mevlevi Sufis13 were a very
influential force in the development and teaching of the Pythagorean music system.14
Through this contact which they had with the Ottoman Courts they were able to
introduce musical forms and Makams which had an uplifting influence on those who
were exposed to them. Thus the secular art music of the Ottomans included mostly
the normal Just Intonation range of intervals with a small use of other special
intervals which the Sufis have used more extensively.

SUFI USE OF PYTHAGOREAN INTERVALS

Pythagoras either discovered or was taught that certain special intervals could arouse
deeper emotions from within the human being. This arousal comes from the fact
that aspects of the intervals and their proximity to other intervals is so close that they
waver in and out of the range where the human sense of hearing can detect the
difference. They are however, discernible to the higher emotional centre in man
(i.e. they can be felt) as explained by Gurdjieff :-
“In the legend of Orpheus there are hints of objective music, for
Orpheus used to impart knowledge by music. ---Very often it is
simply one note which is long drawn-out, rising and falling only very
little; but in this single note inner octaves (micro-tones) are going on all
the time and melodies of inner octaves which are inaudible to the ears
but felt by the (higher) emotional centre. —” Ouspensky, O. In Search of
the Miraculous, (London 1950) p. 297.
According to my own observations and research the crossing point of inaudibility is
in the region of ¼ of a comma or slightly less.
It is known that Pythagoras was a follower of the Orphic line of thought and so
would have been associated with this aspect of music which uses these special
intervals.
11 Equal temperament is the European tuning system which suits large numbers of different instruments playing
together, especially where several notes are played simultaneously (known as harmony). It consists of 12 semitones of
equal size to create an octave. It is not in tune with the Just Intonation tuning system.
12 Just Intonation is a tuning system based on a series of intervals beginning with the ratio 2:1. The series is generated

by increasing the numbers in the ratio by one each time thus producing 2:1, 3:2, 4:3, 5:4, 6:5 etc. etc. It is a naturally
occurring series of intervals which also occurs within the natural overtone series.
13 The Mevlevi took their name from the founder of the Whirling Dervish Order, Mevlana Jalal ud Din Rumi.
14 see – Feldman, W. Music of the Ottoman Court.

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The Sufis too are connected with this ancient tradition and have therefore naturally
included aspects of it in their use of music. If we examine the full table of Just
Intonation intervals15 we get the following, in addition to those already shown above
(in commas):- 10.2, 7.3, 6.7, 6.1, 3.3 & 3.1. From combinations within
the whole table of Just Intonation intervals special intervals used by Sufis are
derived, some of which are (in commas) 19.2, 15.34, 12.77 and 6.38. These are made
by addition of adjacent intervals in the Just Intonation series.
A musician has to be trained to gain the ability to discern fractions of one comma.
This can take many years. The use of the equal tempered system of tuning meant
that the 19th and 20th century westernised musical ear has generally lost this ability.
However its continued existence in the training of oriental musicians came to notice
when Necdet Yaşar (Turkish tanbur master) was tested in Washington University in
the 1970s.16
When various intervals were tested at many different pitch levels using a
stroboconn, his ability to play the intervals requested was rarely more than 1/6th of a
comma from the required pitch 17. This is smaller than 1/50th part of a whole tone
or 0.18 of a comma and this ability had never previously been recorded on the
university database.
One example of a Makam which uses some of the special intervals is Karcığar.
Which uses Uşşak tetrachord followed by Hicaz pentachord.

Figure 4

The second, fifth and sixth degrees of this Makam can vary up to 1.5 commas and so
the sequence of intervals would become (6.5 + 6.5 + 9) + (6.5 + 9 + 6.5 + 9). How
and when this is done during the course of the melodic line, is handed down through
oral tradition and will not be found documented. However the combined effect
would give rise to the following range of intervals in addition to those shown in the
diagram (in commas):- 13, 14, 15.5, 17, 22 & 31. As can be readily seen, three of
the special intervals (viz. 15.34, 12.77 and 6.38) will be heard within 1/6th of a
comma during the transition of the notes when the variations are applied.

15 Beginning with the perfect fifth (ratio 3:2) the Just Intonation series up to and including ratio 25:24 is as follows (in
commas) :- 31, 22, 17.06, 13.94, 11.78, 10.21, 9.00, 8.05, 7.29, 6.65, 6.12, 5.57, 5.27, 4.93, 4.64, 4.37, 4.13, 3.92, 3.73,
3.56, 3.40, 3.25, 3.12
16 See page 99 of "The Music of Rumi" ISBN 978 0957 1665 09.
17 see – Signell, K. Makam –Modal Practice in Turkish Art Music – (Washington 1977), Appendix A

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Many Sufi hymns use Makams which employ this approach to intervals but they do
not use the art of modulation between Makams or transposition of Makams in
combination with each other as much as the Mevlevi do.

THE MEVLEVI USE OF PYTHAGOREAN INTERVALS

In addition to all the above aspects of this art music, the music of the Mevlevi
develops the melodic line to a very high degree. This is done by the skilful use of
frequent modulation from one Makam to another and sometimes the combined use
of a Makam transposed to an unusual pitch level. This can give rise to a wide range
of notes required to be played and sung within a few minutes. Many of these notes
are not used in Ottoman secular music or in the Sufi hymns. So the Mevlevi were
musicians with a very high degree of skill in composition and ability in singing and
playing art music.
Fig. 5 is part of the third selam of Suzidil Ayin18 by Zekai Dede (19th century) and is
an example of the frequent modulation which often occurs in the music:-

EXTRACT FROM 3rd SELAM OF SUZİDİL AYİN BY ZEKAİ DEDE

Figure 5

Within this short section of 16 bars of music there are six different tetrachords to be
modulated to and from.19

Fig. 6 is an extract from Dugah Ayin by Celaleddin Çelebi (19th century) and shows
both unusual transposition and frequent modulation:-

18 Although a familiar form of notation is used here, the note pitches and intervals between notes on adjacent lines and
spaces are not equivalent to those found on the Western musical staff, which uses the treble clef. Therefore a new clef
has been introduced to indicate this fact. In addition there are alteration signs used (sharps and flats) which relate to
the 34 notes found within one octave span in this music system. These characteristics of the notation make it
unplayable on Western tempered instruments which can generally only play the 12 fixed tones to be found within the
octave used in modern music.
19 The five line staff system of notation does not clearly show where the tetrachords are in the melody.

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There are seven different tetrachords within these 12 bars of music, and the unusual
transposition of the Segah Tetrachord in bars 1, 8 and 11 gives rise to notes not
normally found within the music system. It is partly for this reason20, at the practical
level, that the melodic part of Mevlevi music is only played on the ney (reed flute)
which is one of the few instruments which can quickly produce almost any required
pitch of note.

EXTRACT FROM 1st SELAM OF DUGAH AYIN BY CELALEDDİN ÇELEBİ

Figure 6
This music is traditionally only played during the Mevlevi whirling ceremony, known
as the Sema. The effect on the psyche, during the ceremony, by the constant
movement of the melody from one mode to another and the exposure to many
notes which are very close – combined with the sounds of the poetry, can give rise to
deeper emotions. The purpose of this is to engender the love of God within the
company of those who are gathered together.
Thus the original purpose of the use of music for the uplift of the human spirit,
introduced to Europe by Pythagoras around 2,500 years ago, is still to be found used
wherever the traditional Sufi music is played within the setting of a Sufi ceremony.
To learn it and play it correctly can only be truly done through the oral tradition.

Dr. Alan Wenham-Prosser DProf., MA

Abbreviations :- JRAS = Journal of the Royal Asiatic Society

EF = Ethnomusicology Forum

20 Other reasons are related to the symbolism of the ney

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 List of quotation references:-
Author Title and Publisher Place of publication ISBN or ISSN
Feldman W Music of the Ottoman Court - Verlag fur Wissenshaft und Bildung Berlin 1996 3-86135-641-4
Godwin J Music, Mysticism and Magic - Penguin Group London UK 1986 0-14-019040-6
Gorman M Stairway to the Stars – Aeon Books London UK 2010 13 978 1 90465 832 0
Guthrie K- Fideler D The Pythagorean Sourcebook and Library- Phane Press Michigan USA 1988 0-933999-51-8
Iguchi K Reading music/Playing music– EF - Routledge London UK 2008 1741 1912
Ouspensky O In Search of the Miraculous - Routledge and Kegan Paul London UK 1950 none
Robert Rich 20th century US composer who uses synthesisers
Robinson F Crisis of Authority - Journal of the Royal Asiatic Society London UK 2009 1356-1683
Signell K Makam –Modal Practice in Turkish Art Music - – Asian Music Publications Washington USA 1977 0-913360-07-4
Wenham-Prosser, Dr. The Music of Rumi -A Music Tradition of Pythagoras Sutton, London UK 2102 978 0957 1665 09
Wright O The Modal System of Arab and Persian Music - Oxford Universtiy Press Oxford UK 1978 0 19 713575 7
Yekta Bey R La Musique Turk - Lavignac Encyclopaedia Paris, France 1921 none

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