Ney Lessons
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Ney Lessons - 10 -
Introduction to Makams, Basic Makams and Their Explanations
In this lesson, we will focus on the concept of Makam.
We will learn basic makams and perform various pieces.
However, before these performances, we need to learn some theoretical knowledge.
Let us begin with the definition of Makam.
What is Makam
In Turkish Music, a Makam is a sequence formed by musical phrases
within a scale consisting of compatible intervals
that follow a specific melodic progression (seyir).
Makams determine the tonality of instrumental and vocal works.
Generally, makams share three common characteristics:
1-) Each makam consists of tetrachords, pentachords, or octave structures.
A makam is formed through the use of resting tones, dominant tones, and final tones within these structures.
For example;
Some contemporary composers influenced by Western music
used scales such as Mahur or Hicazkar in their compositions
but could not properly apply the makam itself.
Because they did not consider the resting tones, final tones, and dominant tones of the makam.
2-) Each makam expands its octave either towards higher (tiz) or lower (pest) registers.
This is called the expansion of the makam.
3-) Each makam has a melodic direction (seyir): ascending, descending-ascending, or descending.
Finally, Makam in meaning;
is to create melodies by moving within a scale,
emphasizing the final and dominant tones while following specific rules.
Turkish Music Theory and Rhythms and Kudüm Patterns: İsmail Hakkı Özkan p.94
Regarding makams, M. Ekrem Karadeniz states in his book
"The Theory and Principles of Turkish Music":
Today, the number of makams that we can identify through notated works is approximately 150.
Some of these are compound makams.
Others differ slightly in flavor from the main makams.
The number of main fundamental makams
does not exceed 100.
This richness of makams in our music
clearly reflects the deep cultural heritage of Turkish Music.
In Western Music, there are 24 scales (24 tonal systems).
Such as G Major, D Major, A Major, E Major, B Major,
F# Major, C# Major, F Major,
Bb Major, Eb Major, Db Major,
Gb Major, Cb Major, Ab Major, A Minor, E Minor... etc.
In order not to complicate our lesson, we will not go into detail about Major and Minor concepts.
To better understand makams, we should also know the following concepts:
Final Cadence (Karar):
It is the note performed at the end of a piece,
sometimes at the end of a musical phrase,
and always on the first degree of the makam scale.
A complete final cadence gives the feeling of a full ending.
It is like the end of a sentence. We may say that it corresponds to a period ( . ).
Leading Tone
The note that lies one whole tone or one semitone below the final note is called the leading tone.
For example, the leading tone of Hüseyni makam is the Rast note.
That is, like the G note on the 2nd line...
The final note is the most important note of a makam.
Half Cadence
In simple makams, the strong note is the note at the junction of the tetrachords or pentachords that form the scale of the makam.
In some compound makams, the 3rd degree assumes the role of the strong note.
In descending makams, except for certain exceptions, the 8th degree is generally the strong note.
Half cadences are made on the strong note of each makam.
Its function is close in importance to the final note.
Half cadences do not give as strong a feeling of closure as the final cadence.
They are like incomplete sentences in spoken language.
They express that part of the statement has ended, but that there is still more to be said.
In punctuation, we may compare them to accents such as the comma ( , ) and semicolon ( ; ).
A half cadence is generally made at the end of the zemin section of a piece..
Melodic Progression (Seyir)
It is the ascending from low registers to high registers, or descending from high registers to low registers, in the performance of a makam.
For example, Rast makam is ascending.
This means the following:
Rast makam moves around the G note on the 2nd line and then ascends to higher notes.
Therefore, in terms of melodic progression, this makam is ascending.
Makams have three types of melodic progression: ascending, descending, and ascending-descending.
Every makam has its own melodic progression.
The Dominant Note of the Makam;
The dominant note of a makam is the note most frequently used within the piece.
In simple makams, this is generally the note where the 4th or 5th degree within the octave is joined.
For example, if we consider Rast makam again, we may say that the Re (Neva) note in the pentachord of the makam is its dominant.
Likewise, if we consider Hüseyni makam, we may say that the Mi (Hüseyni) note in the pentachord of the makam is its dominant.
Suspended Cadence
The exact note on which it is made is not fixed.
It changes according to each makam.
Since in descending makams the high final note is the strong note, the junction note of the main scale becomes one of the suspended cadence notes.
It becomes one of the suspended cadence notes.
Other suspended cadences are generally more than one in each makam and differ from makam to makam.
The feeling of closure given by suspended cadences is weaker than that of a half cadence.
It gives the feeling of being left hanging.
It is suitable for musical phrases such as question, exclamation, address, etc., and is found at the end of such musical phrases.
In terms of structure, makams are divided into three groups:
1-) Simple makams.
2-) Transposed makams (Göçürülmüş makams).
3-) Compound makams.
Simple Makams:
There are thirteen:
1-) Çargah Makamı,
2-) Buselik Makamı,
3-) Kürdi Makamı,
4-) Rast Makamı,
5-) Uşşak Makamı,
6-) Hüseyni Makamı,
7-) Neva Makamı,
8-) Hicaz Makamı,
9-) Hümayun Makamı,
10-) Uzzal Makamı,
11-) Zirgüleli Hicaz Makamı,
12-) Karcığar Makamı,
13-) Basit Sûzinak makams.
Transposed Makams:
There are fourteen:
1-) Mahur Makamı,
2-) Acemaşiran Makamı,
3-) Nihavent Makamı,
4-) Ruhnüvaz Makamı,
5-) Sultanî Yegâh Makamı,
6-) Kürdili Hicazkâr Makamı,
7-) Aşk’efzâ Makamı,
8-) Ferhnuma Makamı,
9-) Zîrgûleli Sûzinâk Makamı,
10-) Hicazkâr Makamı,
11-) Evcârâ Makamı,
12-) Suz-i Dil Makamı,
13-) Şedarabân Makamı,
14-) Reng-i Dil makams.
Compound Makams:
There are seventy-two:
1)Nişabur, 2)Segâh, 3)Segah Mâye, 4-)Müstear, 5-)Hüzzâm, 6-)Vech-i Arazbar, 7-)Bileşik Gülizâr,
8-)Bileşik Isfahan, 9-)Isfahânek,
10-)Beyati Arabân, 11-)Acem 12-)Acem Kürdî, 13-)Hisâr, 14-)Hisâr Buselik, 15-)Şehnâz,
16-)Arazbâr, 17-)Sâba, 18-)Dügâh,
19-)Kûçek, 20-)Sipihr, (Eski Sipihr, Yeni Sipihr) 21-)Gerdâniye, 22-)Muhayyer Sünbüle, 23-)Dügâh Mâye,
24-)Sultân-ı Irâk, 25-)Nişâbûrek, 26-)Nikriz, 27-)Nev’eser,
28-)Pesendîde, 29-)Güldeste, 30-)Tarz-ı Nevin, 31-)Nihâvend-i Kebir, 32-)Zâvil,
33-)Pençgâh, 34-)Sûz-i Dilârâ, 35-)Büzürk, 36-)Sâzkâr,
37-)Rehâvî, 38-)Şevk-i Dil, 39-)Irâk, 40-)Eviç, 41-)Bestenigâr, 42-)Beste-Isfahan, 43-)Râhatü’l-Ervâh,
44-)Dikleş-Hâverân, 45-)Rûy-i Irâk,
46-)Revnâk-Nûma, 47-)Hüzzâm-ı Cedîd, 48-)Ferahnâk, 49-)Şevk-u Tarab, 50-)Şevk’efzâ,
51-)Şevk-âver, 52-)Tarz-ı Cedid,
53-)Hüseynî Aşirân, 54-)Bûselik Aşîrân, 55-)Aşiran Zemzeme, 56-)Nühüft, 57-)Can-feza,
58-)Sâba Aşiran, 59-)Hicaz Aşiran,
60-)Zirefkend, 61-)Ferahfeza, 62-)Dilkeşîde, 63-)Lâlegül, 64-)Sultânî Segâh,
65-)Şive-Nümâ, 66-)Şeref-Nûmâ, 67-)Yegâh, 68-)Acem’li Yegâh,
69-)Anber-efşan, 70-)Feyz-i Yekta, 71-)Hicaz-ı Muhalif, 72-)Dil-efza,
makams.
Dear Neyzens, among these makams,
we will focus on those most commonly used today and the most suitable for the ney.
Buselik Makamı
Final Note : Dügah (La in the 2nd space).
Melodic Progression : Ascending.
Scale : It is a makam formed by adding a Kürdi tetrachord or a Hicaz tetrachord on the Hüseyni note to the Buselik pentachord in its original place.
Dominant : The Hüseyni note in the 4th space.
Its equivalent in Western music is A Minor.
Suspended Cadence Notes : Hüseyni, Neva and Çargah notes.
Expansion : It expands by using the Buselik makam on the Muhayyer note.
Key Signature : This makam does not take an accidental sign.
Leading Tone : The Bakiye-sharp Sol note on the 2nd line.
By the way, let us mention two notes you will see here for the first time:
Natural B Note
In Classical Turkish Music, this note is called Buselik or Puselik.
Memorize the name of this note in this way, that is, as Buselik.
Finger Positions:
RIGHT HAND: Thumb, Index Finger,
Middle Finger and half of the Ring Finger.
LEFT HAND : Middle Finger.
Examine the image below:
Video:
G Sharp Note
In Classical Turkish Music, this note is called NİM ZİRGÜLE.
Memorize the name of this note in this way, that is, as Nim Zirgüle.
Finger Positions:
RIGHT HAND: Thumb, Index Finger, Middle Finger and Ring Finger.
LEFT HAND : Index Finger, Middle Finger and more than half of the Ring Finger.
Examine the image below:
Video:
Melodic Progression : It begins from the final note, that is, from the Dügah note,
makes half cadences on various notes and resolves on the Dügâh note.
The Scale of the Makam :
You can enlarge the notation by clicking on it.
Metronome: 65
Video:
You can enlarge the notation by clicking on it.
Metronome: 100
Video:
You can enlarge the notation by clicking on it.
Metronome: 90
Video:
Bayati (Beyati) Makam
Final Note : Dügah (La in the 2nd space).
Melodic Progression : Ascending-descending.
Scale : It is formed by adding a Buselik pentachord on the Neva note to the Uşşak tetrachord in its original place.
Dominant : As in Uşşak makam,
it is the Neva note at the junction of the Uşşak tetrachord and the Buselik pentachord, and a half cadence with Buselik flavor is made on it.
Suspended Cadence Notes : The Segah note is an important suspended cadence note for this makam.
Instead of this note, the B note in the Uşşak note position is used, and the B note is played lower.
A suspended cadence is made on this note with the Segah and Ferahnak pentachord, or with the Segah triad.
Other suspended cadence notes of Bayati makam are: Neva, Acem, Hüseyni and Çargah notes.
Expansion : Bayati makam almost always expands towards the high register, and in this respect it differs from Uşşak makam.
Key Signature : As in Uşşak makam, only a comma flat is written in the key signature for the B note.
Leading Tone : Rast note.
Melodic Progression : It begins around the Neva note and resolves on the Dügah note.
Scale of the Makam :
A short ney taksim related to Bayati Makam is being prepared:
You can enlarge the notation by clicking on it.
Metronome: 70
Video:
You can enlarge the notation by clicking on it.
Metronome: 110
Video:
You can enlarge the notation by clicking on it.
Metronome: 160
Video:
Uşşak Makam
Final Note : Dügah (La in the 2nd space).
Melodic Progression : Ascending.
Scale : It is formed by adding a Buselik pentachord on Neva to the Uşşak tetrachord in its original place.
Dominant : Neva note.
Suspended Cadence Notes : Segah and Neva notes are important suspended cadence notes for this makam.
Expansion : It begins around the Dügâh note. Then it makes a suspended cadence on the Neva note.
Key Signature : There is a comma flat sign for the B note. In practice this note is played even lower.
Leading Tone : Rast note.
Melodic Progression : It begins around the Dügah note and resolves again on the Dügah note.
Scale of the Makam :
NOTE :
Theoretically, you see the 1-comma B flat note in the key signature.
However, in practice the B note in Uşşak makam is played lower.
It should be approximately 2–3 commas lower.
You can enlarge the notation by clicking on it.
Metronome: 60
Video:
You can enlarge the notation by clicking on it.
Metronome: 60
Video:
You can enlarge the notation by clicking on it.
Metronome: 60
Video:
Hüseyni Makam
Final Note : Dügah (La in the 2nd space).
Melodic Progression : Descending-ascending.
Scale : It is formed by adding a Uşşak tetrachord on Hüseyni to the Hüseyni pentachord in its original place.
Dominant : Hüseyni note.
Suspended Cadence Notes : Hüseyni and Çargah notes.
Expansion : It is a makam suitable for expansion towards the high register.
Key Signature : A comma flat for B and a bakiye sharp for Fa are written in the key signature.
Leading Tone : Rast note.
Melodic Progression : It begins around the Hüseyni note and resolves on the Dügah note.
Scale of the Makam :
Metronome: 100
Video:
You can enlarge the notation by clicking on it.
Metronome: 80
Video:
You can enlarge the notation by clicking on it.
Metronome: 65
Video:
Muhayyer Makam
Final Note : Dügah (La in the 2nd space).
Melodic Progression : Descending.
Scale : It is formed by adding a Uşşak tetrachord on Hüseyni to the Hüseyni pentachord in its original place.
Dominant : Hüseyni and Muhayyer notes.
Suspended Cadence Notes : Muhayyer and Hüseyni notes.
Expansion : It is a makam suitable for expansion towards the high register.
Key Signature : A comma flat for B and a bakiye sharp for Fa are written in the key signature.
Leading Tone : Rast note.
Melodic Progression : It begins from the Muhayyer note and resolves on the Dügah note.
Scale of the Makam :
You can enlarge the notation by clicking on it.
Metronome: 80
Video:
Metronome: 60
Video:
Metronome: 120
Video:
Karcığar Makam
Final Note : Dügah (La in the 2nd space).
Melodic Progression : Descending-ascending.
Scale : It is formed by adding a Hicaz pentachord on the Neva note to the Uşşak tetrachord in its original place.
Dominant : Neva note.
Suspended Cadence Notes : Neva and Çargâh notes.
Expansion : It is a makam suitable for expansion towards the high register.
Key Signature : A comma flat for B, a bakiye flat for Mi, and a bakiye sharp for Fa are written in the key signature.
Leading Tone : Rast note.
Melodic Progression : It begins around the Neva note. It makes Hicaz-flavored phrases on Neva,
and Nikriz-flavored cadences on Çargah, then resolves on the Dügah note.
Scale of the Makam :
Difficult notes used in Karcığar Makam :
Mi flat with 4-comma flat:
In Classical Turkish Music, this note is called Hisar.
Memorize the name of this note as Hisar.
Finger Positions:
RIGHT HAND: Thumb, Index Finger, Middle Finger and Ring Finger.
LEFT HAND: Thumb, Middle Finger, and approximately half of the Ring Finger.
Examine the image below:
Video:
You can enlarge the notation by clicking on it.
Metronome: 75
Video:
A short ney taksim related to Karcığar Makam is being prepared.
You can enlarge the notation by clicking on it.
Metronome: 80
Video:
Metronome: 80
Video:
Hicaz Makam
Final Note : Dügah (La in the 2nd space).
Melodic Progression : Descending-ascending, or it has also been used only as ascending.
Scale : It is formed by adding a Rast pentachord on Neva to the Hicaz tetrachord in its original place.
Dominant : Neva note. A half cadence with Rast flavor is made on it.
Suspended Cadence Notes : Neva, Nim Hicaz and Dik Kürdü notes.
Expansion : The makam can expand toward either the high or low register.
Key Signature : A bakiye flat for B, and bakiye sharps for C and F are written in the key signature.
Leading Tone : Rast note.
Melodic Progression : It begins around the Dügah note and resolves on the same note.
Hicaz makam is divided into four branches:
Humayun makam, Hicaz makam, Uzzal makam and Zirgüleli Hicaz makam.
We will group these makams together under the single title of HİCAZ makam.
Because they all resolve on the same note, namely La, and their intervals are the same.
Only their transitions on the scale are different.
Scale of the Makam :
Difficult notes used in Hicaz Makam :
C SHARP NOTE :
In Classical Turkish Music, this note is called NİM HİCAZ.
As you see on the staff, the C sharp note is in the third space:
Finger Positions :
RIGHT HAND : Thumb and Index Finger.
LEFT HAND : Middle Finger.
Examine the image below :
Video:
B FLAT NOTE :
In Classical Turkish Music, this note is called DİK KÜRDİ.
As you see on the staff, the Dik Kürdi note is on the third line,
Finger Positions :
RIGHT HAND : Thumb, Index Finger, Middle Finger and Ring Finger.
LEFT HAND : Index Finger.
Examine the image below:
Video:
NOTE :
In practice, for Hicaz makam, the B note is played a little sharper.
Therefore, in order to produce that sound, we may open the left index finger slightly.
You can enlarge the notation by clicking on it.
Metronome: 60
Video:
You can enlarge the notation by clicking on it.
Metronome: 60
Video:
You can enlarge the notation by clicking on it.
Metronome: 80
Video:
Rast Makam
Final Note : Rast (Sol on the 2nd line).
Melodic Progression : Ascending.
Scale : It is formed by adding a Rast tetrachord on Neva to a Rast pentachord in its original place.
Dominant : Neva Note.
Suspended Cadence Notes : Neva and Segâh notes.
Expansion : It begins around the Rast note. It expands downward as a Rast pentachord on the Yegah note.
Key Signature : The makam takes a comma flat for the B note and a bakiye sharp for the F note.
Leading Tone : The Irak note in the first space.
Melodic Progression : It begins around the Rast note and resolves on the Rast note.
Scale of the Makam :
You can enlarge the notation by clicking on it.
Metronome: 70
Video:
In this hymn, we will learn the low Re note for the first time:
LOW RE NOTE : In Classical Turkish Music, this note is called YEGÂH.
Memorize the name of the note in this way.
Finger Positions :
RIGHT HAND : Aşiran Note and Middle Finger.
LEFT HAND : Middle Finger.
Examine the image below :
Video:
You can enlarge the notation by clicking on it.
Metronome: 120
Video:
You can enlarge the notation by clicking on it.
Metronome: 80
Video:
You can enlarge the notation by clicking on it.
Metronome: 70
Video:
For now, it is sufficient to learn these simple makams, beginning with Bayati Makam.
In the next lesson, we will examine the Şed (Transposed) Makams.
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