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The Turkish makam ( Turkish: ''makam'' pl. ''makamlar''; from the
Arabic Arabic (, ' ; , ' or ) is a Semitic languages, Semitic language spoken primarily across the Arab world.Semitic languages: an international handbook / edited by Stefan Weninger; in collaboration with Geoffrey Khan, Michael P. Streck, Janet C ...
word ) is a system of
melody type Melody type or type-melody is a set of melodic formulas, figures, and patterns. Term and typical meanings "Melody type" is a fundamental notion for understanding a nature of Western and non-Western musical modes, according to Harold Powers' ...
s used in
Turkish classical music Ottoman music ( tr, Osmanlı müziği) or Turkish classical music ( tr, Türk sanat müziği) is the tradition of classical music originating in the Ottoman Empire. Developed in the palace, major Ottoman cities, and Sufi lodges, it traditionally ...
and
Turkish folk music Turkish folk music (''Türk Halk Müziği'') is the traditional music of Turkish people living in Turkey influenced by the cultures of Anatolia and former territories in Europe and Asia. Its unique structure includes regional differences under ...
. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure (''cinsler'' meaning
genera Genus ( plural genera ) is a taxonomic rank used in the biological classification of living and fossil organisms as well as viruses. In the hierarchy of biological classification, genus comes above species and below family. In binomial nomenclat ...
) and melodic development (''seyir''). Whether a fixed composition (''beste'', ''şarkı'', ''peşrev'', ''âyin'', etc.) or a spontaneous composition (''gazel'', ''taksim'', recitation of ''Kuran-ı Kerim'', ''Mevlid'', etc.), all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul.


Comparison in use in Turkish classical to folk music

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
Rhythms show some similarities in Turkish Folk Music and Turkish Classical Music with respect to their forms, classification and rhythmic patterns.


Geographic and cultural relations

The Turkish makam system has some corresponding relationships to maqams in
Arabic music Arabic music or Arab music ( ar, الموسيقى العربية, al-mūsīqā al-ʿArabīyyah) is the music of the Arab world with all its diverse music styles and genres. Arabic countries have many rich and varied styles of music and also man ...
and ''
echos Echos (Greek: "sound", pl. echoi ; Old Church Slavonic: "voice, sound") is the name in Byzantine music theory for a mode within the eight-mode system ( oktoechos), each of them ruling several melody types, and it is used in the melodic and r ...
'' in
Byzantine music Byzantine music (Greek: Βυζαντινή μουσική) is the music of the Byzantine Empire. Originally it consisted of songs and hymns composed to Greek texts used for courtly ceremonials, during festivals, or as paraliturgical and liturgical ...
. 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 A Muqam ( ug, ئۇيغۇر مۇقامى, ucy=Муқам; zh, s=木卡姆, p=Mùkǎmǔ) is the melody type used in the music of the Uyghurs, that is, a musical mode and set of melodic formulas used to guide improvisation and composition. Twelve ...
” and Uzbek shashmakom. North and South Indian classical
raga A ''raga'' or ''raag'' (; also ''raaga'' or ''ragam''; ) is a melodic framework for improvisation in Indian classical music akin to a musical mode, melodic mode. The ''rāga'' is a unique and central feature of the classical Indian music tradit ...
-based music employs similar modal principles. Some scholars find echoes of Turkish makam in former Ottoman provinces of the Balkans.Shupo, Sokol, ed., ''Urban Music in the Balkans''. Tirana:ASMUS, 2006 All of these concepts roughly correspond to
mode Mode ( la, modus meaning "manner, tune, measure, due measure, rhythm, melody") may refer to: Arts and entertainment * '' MO''D''E (magazine)'', a defunct U.S. women's fashion magazine * ''Mode'' magazine, a fictional fashion magazine which is ...
in Western music, although their compositional rules vary.


Makam building blocks


Commas and accidentals

In Turkish music theory, the octave is divided into 53 equal intervals known as
comma The comma is a punctuation mark that appears in several variants in different languages. It has the same shape as an apostrophe or single closing quotation mark () in many typefaces, but it differs from them in being placed on the baseline ...
s (''koma''), specifically the
Holdrian comma In music, 53 equal temperament, called 53 TET, 53 EDO, or 53 ET, is the tempered scale derived by dividing the octave into 53 equal steps (equal frequency ratios). Each step represents a frequency ratio of 2, or 22.6415& ...
. 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 An equal temperament is a musical temperament or tuning system, which approximates just intervals by dividing an octave (or other interval) into equal steps. This means the ratio of the frequencies of any adjacent pair of notes is the same, wh ...
. 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.


Notes

Unlike in Western music, where the note C, for example, is called C regardless of what
octave In music, an octave ( la, octavus: eighth) or perfect octave (sometimes called the diapason) is the interval between one musical pitch and another with double its frequency. The octave relationship is a natural phenomenon that has been refer ...
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") to the same note two octaves above ("Tîz Çârgâh"): 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 (which is equivalent to Western Middle C), along with the nearest equivalent equal-temperament tone. The tones of the çârgâh scale are shown in upper case.


Intervals

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


Tetrachords (''dörtlüler'') and pentachords (''beşliler'')

Similar to the construction of maqamat noted above, a makam in Turkish music is built of a
tetrachord In music theory, a tetrachord ( el, τετράχορδoν; lat, tetrachordum) is a series of four notes separated by three intervals. In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency propo ...
built atop a
pentachord A pentachord in music theory may be either of two things. In pitch-class set theory, a pentachord is defined as any five pitch classes, regarded as an unordered collection . In other contexts, a pentachord may be any consecutive five-note section ...
, or vice versa (
trichord In music theory, a trichord () is a group of three different pitch classes found within a larger group. A trichord is a contiguous three-note set from a musical scale or a twelve-tone row. In musical set theory there are twelve trichords give ...
s 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 In linear algebra, the transpose of a matrix is an operator which flips a matrix over its diagonal; that is, it switches the row and column indices of the matrix by producing another matrix, often denoted by (among other notations). The tr ...
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.


Basic makam theory

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 an actual Western
leading tone In music theory, a leading-tone (also called a subsemitone, and a leading-note in the UK) is a note or pitch which resolves or "leads" to a note one semitone higher or lower, being a lower and upper leading-tone, respectively. Typically, ''the ...
and sometimes a Western
subtonic In music, the subtonic is the degree of a musical scale which is a whole step below the tonic note. In a major key, it is a lowered, or flattened, seventh scale degree (). It appears as the seventh scale degree in the natural minor and descendin ...
. 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


Simple makams


Çârgâh makam

This makam is thought to be identical to the Western
C-major C major (or the key of C) is a major scale based on C, consisting of the pitches C, D, E, F, G, A, and B. C major is one of the most common keys used in music. Its key signature has no flats or sharps. Its relative minor is A minor and i ...
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.


Bûselik makam

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 A minor is a minor scale based on A, with the pitches A, B, C, D, E, F, and G. Its key signature has no flats and no sharps. Its relative major is C major and its parallel major is A major. The A natural minor scale is: : Changes need ...
; 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)


Rast makam

:''Also see the related maqam in Arabo-Persian music
Rast (maqam) Rast Panjgah (or Rast; fa, راست پنج گاه) is the name of a ''dastgah'' (musical mode) in Iranian music and of a '' maqam'' in Arabic and related systems of music. ''Rast'' () is a Persian word meaning "right" or "direct". Rast is rega ...
'' 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) In
Turkey Turkey ( tr, Türkiye ), officially the Republic of Türkiye ( tr, Türkiye Cumhuriyeti, links=no ), is a list of transcontinental countries, transcontinental country located mainly on the Anatolia, Anatolian Peninsula in Western Asia, with ...
, the particular Muslim call to prayer (or ''
ezan EZAN (russian: ФГУП ЭЗАН) is a Russian company that produces a wide range of equipment for science, industry, telecommunications, transport and energy. History Construction of the Experimental Factory of Scientific Engineering of the U ...
'' in Turkish) which occurs generally in early afternoon and is called '' ikindi'', as well as the day's final call to prayer called '' yatsı'', is often recited using the Rast makam.


Uşşâk makam

:''Also see
Bayati (maqam) Bayātī (Arabic بياتي), also known as Bayat and Uşşâk (Ushaq), is the name of a maqam (musical mode) in Arabic, Turkish, and related systems of music. Bayati is similar to a natural minor scale, with the primary exception of a hal ...
.'' 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.


Acem makam

:''See Ajam (maqam).''


Notes


Sources

*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 Jürgen Elsner (born 22 April 1932) is a German music ethnologist and author. Life Born in Finsterwalde, Elsner studied music theory, musicology and Arabic studies at the Hochschule für Musik "Hanns Eisler" and the Humboldt-Universität zu ...
and Gisa Jähnishen, in collaboration with Theodor Ogger and Ildar Kharissov, Berlin: trafo verlag Dr. Wolfgang Weist, 2006. http://www.umbc.edu/eol/makam/2008Kongre/confirming.html


Further reading

*Aydemir, Murat. ''Turkish music makam guide''. Pan Yayıncılık, 2010. . *Mikosch, Thomas. ''Makamlar: The Musical Scales of Turkey''. S.l.: Lulu.com, 2017. . *Özkan, İsmail Hakkı. ''Türk Mûsıkîsi Nazariyatı ve Usûlleri. Kudüm Velveleleri''. Ötüken, 2000. . *Signell, Karl L. ''Makam: Modal Practice in Turkish Art Music''. Nokomis FL (USA): Usul editions/Lulu.com., 2004. . "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. . *Yılmaz, Zeki. ''Türk Mûsıkîsi Dersleri''. Istanbul: Çağlar Yayınları, 2001. .


External links


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 WorldSephardic Pizmonim Project- Jewish use of Makam
{{Melody types Modes (music) Turkish music Turkish words and phrases Ottoman classical music Turkish makam music Maqam-based music tradition