MAKAMS IN TURKISH MUSIC

TURKISH MUSIC TONE SYSTEM

Turkish The Turkish music system is composed of the union of nine equal parts known as a complete binary December. Each of these small parts is called a koma. The 1st, 4th, 5th, 8th, and 9th komal intervals are used to form the distinctive structure of Turkish music.

BINARY INTERVALS AND ALTERATION SYMBOLS IN TURKISH MUSIC

Each interval unique to Turkish music has a specific name and a corresponding symbol represented by letters.

TURKISH MUSIC SYSTEM AND BINARY INTERVALS

In Turkish music, any complete tone from pest to tiz contains a sharp on the 1st, 4th, 5th, 8th, and 9th komal intervals; similarly, from tiz to pest, a flat is found on the 1st, 4th, 5th, 8th, and 9th komal intervals. As shown in the table above, such as, each of these sharps and flats has a unique notation.

NOTE NAMES IN TURKISH MUSIC:

As shown in the table below, each tone in Turkish music is named a nota perde and assigned a distinct designation.

QUARTETS AND QUINTETS USED TO FORM SEQUENCES IN TURKISH MUSIC

The foundation of Turkish music is built upon quartets and quintets. Most of these are complete quartets and complete quintets. The various makams of Turkish music arise from the different ways these quartets and quintets are combined.

MAKAM:

In Turkish music, a makam refers to a melodic sequence composed of a set of tones that follow specific intervals and adhere to a defined melodic progression. Makams generally have three key characteristics:

1- Each makam is constructed from quartets, quintets, or octaves. It is formed by the use of tonic, strong, and subsidiary tonic notes within these sequences. (A subsidiary tonic is a brief pause within a composition that evokes another makam. A subsidiary tonic may be any note within the makam’s sequence but is typically one of the shared notes between the invoked makam and the primary makam.)

2- Each makam expands by extending its octave either upward or downward. This is known as the expansion of the makam.

3- Each makam has a melodic direction that is either descending, ascending, or descending-ascending.

It is these vital, unalterable melodic rules—unique to each makam—that give it its individuality, character, and essence. In summary, a makam can be described as the creation of melodic phrases by emphasizing the tonic and strong notes while adhering to specific structural rules.

Turkish Art Music classifies makams into three categories:

-Simple Makams

-Compound (Mürekkeb) Makams

-Transposed (Şed) Makams.

SIMPLE MAKAMS

The sequences of simple makams are formed by the combination of one complete quartet and one complete quintet, or one complete quintet and one complete quartet. In these makams, the strong note is the tone where the quartet and quintet intersect. There are thirteen traditional simple makams in Turkish Art Music. They are:

1) Çargâh Makamı

2) Bûselik Makamı

3) Rast Makamı

4) Kürdi Makamı

5) Uşşak Makamı

6) Hüseyni Makamı

7) Hicaz Makamı

8) Uzzal Makamı

9) Hümayun Makamı

10) Zirgüleli Hicaz Makamı

11) Karcığar Makamı

12) Neva Makamı

13) Basit Sûzinak Makamı.

The descending form of Hüseyni Makamı, Muhayyer; the descending-ascending form of Uşşak Makamı, Bayati; and the descending form of Neva Makamı, Tahir, are also classified as simple makams by structure.

The descending form of Hüseyni Makamı, Muhayyer; the descending-ascending form of Uşşak Makamı, Bayati; and the descending form of Neva Makamı, Tahir, are also classified as simple makams by structure.

COMPOUND (MÜREKKEB) MAKAMS

These are makams that contain more than one makam sequence. Compound makams are analyzed in eight groups according to their tonic note.

1. Those with tonic on Yegâh (Yegâh, Ferahfeza, Dilkeşide, Şivenüma, Car, etc.)

2. Those with tonic on Hüseyni Aşiran (Hüseyni Aşiran, Bûselik Aşiran, Nühüft, etc.)

3. Those with tonic on Acem Aşiran (Şevkefza, Şevk-i Tarab, etc.)

4. Those with tonic on Irak (Iraq, Bestenigâr, Evç, Dilkeşhâveran, Ferahnâk, etc.)

5. Those with tonic on Rast (Rehavi, Sazkar, Pençgâh, Suzi-Dilara, Nikriz, Neveser, Zavil, etc.)

6. Those with tonic on Dügâh (Dügâh, Acem, Saba, Isfahan, Gerdaniye, Arazbar, Gülizar, Fortress, Muhayyer Sümbüle, Beyati Araban, Şehnaz, Acem Kürdi, Muhayyer Kürdi, Hisarbûselik, Tahirbûselik, etc.)

7. Those with tonic on Segâh (Segah, Hüzzam, Fake, Segâh Yeast, Vech-i Arazbar)

8. Those with tonic on Bûselik (Nişâbur)

TRANSPOSED (ŞED) MAKAMS

Transposed makams are formed by shifting the sequence of a simple makam to a different tonic note. These makams retain the original structure of their parent makam but differ in their characteristic melodic movements and progression, distinguishing them from their source makam. There are sixteen transposed makams. They are:

a) Şed of Çargâh Makamı:

1. When transposed to the Acem Aşiran note, it becomes Acem Aşiran Makamı.

2. When transposed to the Rast note, it becomes Mahur Makamı.

b) Şed of Bûselik Makamı:

1. When transposed to the Yegâh note, it becomes Sultan-ı Yegâh Makamı.

2. When transposed to the Hüseyni Aşiran note, it becomes Ruhnüvaz Makamı.

3. When transposed to the Rast note, it becomes Nihavend Makamı.

c) Şed of Kürdi Makamı:

1. When transposed to the Yegâh note, it becomes Ferahnüma Makamı.

2. When transposed to the Hüseyni Aşiran note, it becomes Aşkefza Makamı.

d) Şed of Zirgüleli Hicaz Makamı:

1. When transposed to the Yegâh note, it becomes Şedd-i Araban Makamı.

2. When transposed to the Hüseyni Aşiran note, it becomes Sûzidil Makamı.

3. When transposed to the Irak note, it becomes Evcârâ Makamı.

4. When transposed to the Rast note, it becomes Hicazkâr Makamı and Zirgüleli Sûzinak Makamı.

• Neveser Makamı’s Şed: When transposed to the Acemâşiran note, it becomes Rengidil Makamı.
• Segâh Makamı’s Şed: When transposed to the Nim Hicaz (#Do) note, it becomes Heftgâh Makamı.
• Rast Makamı’s Şed: When transposed to the Dügâh note, it becomes Nişâburek Makamı.