Turkish makam

Turkish classical music and Turkish folk music are both based on modal systems. Makam is the name of the scale in classical music, while Ayak is the name of the scale in folk music. Makam and Ayak are similar; following are some examples:

• Yahyalı Kerem Ayağı: Hüseyni Makamı
• Garip Ayağı: Hicaz Makamı
• Düz Kerem Ayağı: Karcığar Makamı
• Yanık Kerem Ayağı: Nikriz Makamı
• Muhalif Ayağı: Segâh Makamı
• Tatyan Kerem Ayağı: Hüzzam Makamı
• Misket Ayağı: Eviç Makamı
• Bozlak Ayağı: Kürdî Makamı
• Kalenderi Ayağı: Sabâ Makamı
• Müstezat veya Beşirî Ayağı: Mahur Makamı

There are some similarities between the rhythms used in Turkish folk music and Turkish classical music, with respect to their forms, classification, and rhythmic patterns.^[2]

The Turkish makam system has some corresponding relationships to maqamsinArabic music and echosinByzantine music. Some theories suggest the origin of the makam to be the city of Mosul in Iraq. "Mula Othman Al-Musili," in reference to his city of origin, is said to have served in the Ottoman Palace in Istanbul and influenced Turkish Ottoman music. More distant modal relatives include those of Central Asian Turkic musics such as Uyghur “muqam” and Uzbek shashmakom. North and South Indian classical raga-based music employs similar modal principles. Some scholars find echoes of Turkish makam in former Ottoman provinces of the Balkans.^[3] All of these concepts roughly correspond to mode in Western music, although their compositional rules vary.

In Turkish music theory, the octave is divided into 53 equal intervals known as commas (koma), specifically the Holdrian comma. Each whole tone is an interval equivalent to nine commas. The following figure gives the comma values of Turkish accidentals. In the context of the Arab maqam, this system is not of equal temperament. In fact, in the Western system of temperament, C-sharp and D-flat—which are functionally the same tone—are equivalent to 4.5 commas in the Turkish system; thus, they fall directly in the center of the line depicted above.

Unlike in Western music, where the note C, for example, is called C regardless of what octave it might be in, in the Turkish system the notes are—for the most part—individually named (although many are variations on a basic name); this can be seen in the following table, which covers the notes from middle C ("Kaba Çârgâh", C₄) to the same note two octaves above ("Tîz Çârgâh", C₆):

The following table gives the tones over two octaves (ordered from highest to lowest), the pitch in commas and cents relative to the lowest note (equivalent to Western middle C), along with the nearest equivalent equal-temperament tone. The tones of the çârgâh scale are shown in bold.

Tone name	Commas above middle C	Cents above middle C	Arel-Ezgi-Uzdilek notation of 53-ΤΕΤ tone	Nearest equivalent 12-ΤΕΤ tone
Tîz Çârgâh	106	2400	C6	C6
Tîz Dik Bûselik	105	2377	C 6	C6
Tîz Bûselik	102	2309	B5	B5
Tîz Segâh	101	2287	A 5 / B 5	B5
Dik Sünbüle	98	2219	A 5 / B 5	A♯5 / B♭5
Sünbüle	97	2196	A♯5 / B♭5	A♯5 / B♭5
Muhayyer	93	2106	A5	A5
Dik Şehnâz	92	2083	G 5 / A 5	A5
Şehnâz	89	2015	G 5 / A 5	G♯5 / A♭5
Nim Şehnâz	88	1992	G♯5 / A♭5	G♯5 / A♭5
Gerdâniye	84	1902	G5	G5
Dik Mâhûr	83	1879	F 5 / G 5	G5
Mâhûr	80	1811	F 5 / G 5	F♯5 / G♭5
Eviç	79	1789	F♯5 / G♭5	F♯5 / G♭5
Dik Acem	76	1721	F 5 / G 5	F5
Acem	75	1698	F5	F5
Hüseynî	71	1608	E5	E5
Dik Hisâr	70	1585	D 5 / E 5	E5
Hisâr	67	1517	D 5 / E 5	D♯5 / E♭5
Nim Hisâr	66	1494	D♯5 / E♭5	D♯5 / E♭5
Nevâ	62	1404	D5	D5
Dik Hicâz	61	1381	C 5 / D 5	D5
Hicâz	58	1313	C 5 / D 5	C♯5 / D♭5
Nim Hicâz	57	1291	C♯5 / D♭5	C♯5 / D♭5
Çârgâh	53	1200	C5	C5
Dik Bûselik	52	1177	C 5	C5
Bûselik	49	1109	B4	B4
Segâh	48	1087	A 4 /B 4	B4
Dik Kürdi	45	1019	A 4 / B 4	A♯4 / B♭4
Kürdi	44	996	A♯4 / B♭4	A♯4 / B♭4
Dügâh	40	906	A4	A4
Dik Zirgüle	39	883	G 4 / A 4	A4
Zirgüle	36	815	G 4 / A 4	G♯4 / A♭4
Nim Zirgüle	35	792	G♯4 / A♭4	G♯4 / A♭4
Rast	31	702	G4	G4
Dik Gevest	30	679	F 4 / G 4	G4
Gevest	27	611	F 4 / G 4	F♯4 / G♭4
Irak	26	589	F♯4 / G♭4	F♯4 / G♭4
Dik Acem Aşîrân	23	521	F 4 / G 4	F4
Acem Aşîrân	22	498	F4	F4
Hüseynî Aşîrân	18	408	E4	E4
Kaba Dik Hisâr	17	385	D 4 / E 4	E4
Kaba Hisâr	14	317	D 4 / E 4	D♯4 / E♭4
Kaba Nim Hisâr	13	294	D♯4 / E♭4	D♯4 / E♭4
Yegâh	9	204	D4	D4
Kaba Dik Hicâz	8	181	C 4 / D 4	D4
Kaba Hicâz	5	113	C 4 / D 4	C♯4 / D♭4
Kaba Nim Hicâz	4	91	C♯4 / D♭4	C♯4 / D♭4
Kaba Çârgâh	0	0	C4	C4

The names and symbols of the different intervals are shown in the following table:

Similar to the construction of maqamat noted above, a makam in Turkish music is built of a tetrachord built atop a pentachord, or vice versa (trichords exist but are rarely used). Additionally, most makams have what is known as a "development" (genişleme in Turkish), which can occur either above or below (or both) the tonic and/or the highest note.

There are 6 basic tetrachords, named sometimes according to their tonic note and sometimes according to the tetrachord's most distinctive note:

• Çârgâh
• Bûselik
• Kürdî
• Uşşâk
• Hicaz and
• Rast

There are also 6 basic pentachords with the same names with a tone (T) appended.

It is worth keeping in mind that these patterns can be transposed to any note in the scale, so that the tonic A (Dügâh) of the Hicaz tetrachord, for example, can be moved up a major second (9 commas) to B (Bûselik), or in fact to any other note. The other notes of the tetrachord, of course, are also transposed along with the tonic, allowing the pattern to preserve its character.

A makam, more than simply a selection of notes and intervals, is essentially a guide to compositional structure: any composition in a given makam will move through the notes of that makam in a more or less ordered way. This pattern is known in Turkish as seyir (meaning basically, "route"), and there are three types of seyir:

• rising (çıkıcı);
• falling (inici);
• falling-rising (inici-çıkıcı)

As stated above, makams are built of a tetrachord plus a pentachord (or vice versa), and in terms of this construction, there are three important notes in the makam:

• the durak ("tonic"), which is the initial note of the first tetrachord or pentachord and which always concludes any piece written in the makam;
• the güçlü ("dominant"), which is the first note of the second tetrachord or pentachord, and which is used as a temporary tonic in the middle of a piece (in this sense, it is somewhat similar to the axial pitches mentioned above in the context of Arab music). This use of the term "dominant" is not to be confused with the Western dominant; while the güçlü is often the fifth scale degree, it can just as often be the fourth, and occasionally the third;
• the yeden ("leading tone"), which is most often the penultimate note of any piece and which resolves into the tonic; this is sometimes close to an actual Western leading tone (either slightly sharper or slightly flatter) and sometimes close to a Western subtonic.

Additionally, there are three types of makam as a whole:

• simple makams (basit makamlar), almost all of which have a rising seyir;
• transposed makams (göçürülmüş makamlar), which as the name implies are the simple makams transposed to a different tonic;
• compound makams (bileşik/mürekkep makamlar), which are a joining of differing makams and number in the hundreds

This makam has two basic forms: in the first basic form (1), it consists of a Bûselik pentachord plus a Kürdî tetrachord on the note Hüseynî (E) and is essentially the same as the Western A-minor; in the second (2), it consists of a Bûselik pentachord plus a Hicaz tetrachord on Hüseynî and is identical to A-harmonic minor. The tonic is A (Dügâh), the dominant Hüseynî (E), and the leading tone G-sharp (Nim Zirgüle). Additionally, when descending from the octave towards the tonic, the sixth (F, Acem) is sometimes sharpened to become F-sharp (Dik Acem), and the dominant (E, Hüseynî) flattened four commas to the note Hisar (1A). All these alternatives are shown below:

1)  

2)  

1A)  

This makam is thought to be identical to the Western C-major scale, but actually it is misleading to conceptualize a makam through Western music scales. Çârgâh makam consists of a çârgâh pentachord and a çârgâh tetrachord starting on the note gerdâniye (G). Thus, the tonic is C (note çârgâh), the dominant is G (note gerdâniye), and the leading tone is B (note bûselik).

The çârgâh makam though is very little used in Turkish music, and in fact has at certain points of history been attacked for being a clumsy and unpleasant makam that can inspire those hearing it to engage in delinquency of various kinds.^{[citation needed]}

This much-used makam—which is said to bring happiness and tranquility to the hearer—consists of a Rast pentachord plus a Rast tetrachord on the note Neva (D); this is labeled (1) below. The tonic is G (Rast), the dominant D (Neva), and the leading tone F-sharp (Irak). However, when descending from the octave towards the tonic, the leading tone is always flattened 4 commas to the note Acem (F), and thus a Bûselik tetrachord replaces the Rast tetrachord; this is labeled (2) below. Additionally, there is a development (genişleme) in the makam's lower register, below the tonic, which consists of a Rast tetrachord on the note D (Yegâh); this is labeled (1A) below.

1)  

1A)  

2)  

InTurkey, the particular Muslim call to prayer (orezan in Turkish) which occurs in the afternoon and is called Ikindi, as well as the day's final call to prayer called Yatsı, are often recited using the Rast makam.

This makam consists of an Uşşâk tetrachord plus a Bûselik pentachord on the note Neva (D); this is labelled (1) below. The tonic is A (Dügâh), the dominant—here actually a subdominant—is D (Neva), and the leading tone—here actually a subtonic—is G (Rast). Additionally, there is a development in the makam's lower register, which consists of a Rast pentachord on the note D (Yegâh); this is labeled (1A) below.

1)  

1A)  

In Turkey, the particular call to prayer which occurs around noon and is called Öğle is most often recited using the Uşşak makam.

• List of Turkish makams
• List of notes in Turkish makam theory

• Beken, Münir, and Karl Signell. "Confirming, delaying, and deceptive elements in Turkish improvisation," Maqām Traditions of Turkic Peoples: Proceedings of the Fourth Meeting of the ICTM Study Group "maqām", Istanbul, 18–24 October 1998, edited by Jürgen Elsner and Gisa Jähnishen, in collaboration with Theodor Ogger and Ildar Kharissov, ^{[page needed]} Berlin: trafo verlag Dr. Wolfgang Weist, 2006. ISBN 3-89626-657-8 http://www.umbc.edu/eol/makam/2008Kongre/confirming.html

• Aydemir, Murat. Turkish music makam guide. Pan Yayıncılık, 2010. ISBN 9789944396844.
• Mikosch, Thomas. Makamlar: The Musical Scales of Turkey. S.l.: Lulu.com, 2017. ISBN 978-0244325602.
• Özkan, İsmail Hakkı. Türk Mûsıkîsi Nazariyatı ve Usûlleri. Kudüm Velveleleri. Ötüken, 2000. ISBN 975-437-017-6.
• Signell, Karl L. Makam: Modal Practice in Turkish Art Music. Nokomis FL (USA): Usul editions/Lulu.com., 2004. ISBN 0-9760455-0-8. "Unabridged reprint of the 1986 hard cover edition with updates, corrections, introduction, audio and other supplements". Originally published: Asian Music Publications, Series D: Monographs, no. 4. Seattle: Asian Music Publications, 1977.
• Signell, Karl L. Makam: Türk Sanat Musikisinde Makam Uygulaması (Turkish translation of above). Istanbul: Yapı Kredi Kültür Sanat Yayıncılık, 2006. ISBN 975-08-1080-5.
• Yılmaz, Zeki. Türk Mûsıkîsi Dersleri. Istanbul: Çağlar Yayınları, 2001. ISBN 975-95729-1-5.

• Klasik Türk (Tasavvuf) Musikisi İlahi Peşrev Saz semaisi ve Taksim nota ve mp3 kayıtları
• Cinuçen Tanrıkorur, "The Ottoman Music", translated by Savaş Ş. Barkçin, https://web.archive.org/web/20061215165158/http://www.turkmusikisi.com/osmanli_musikisi/the_ottoman_music.htm
• Maqam World
• Sephardic Pizmonim Project- Jewish use of Makam