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MakamFrom Wikipedia, the free encyclopedia

Makam (pl. makamlar; from the Arabic word "#$) is a system of melody types used in Turkish classicalmusic. It provides a complex set of rules for composing and performance. Each makam specifies a uniqueintervalic structure (cinsler) and melodic development (seyir).[1]

Whether a fixed composition (beste, ark, perev, yin, etc.) or a spontaneous composition (gazel, taksim,recitation of Kuran- Kerim, Mevlid, etc.), all attempt to follow the melody type.

Contents1 Geographic and cultural relations2 Makam building blocks

2.1 Commas and accidentals2.2 Notes2.3 Intervals2.4 Tetrachords (drtller) and pentachords (beliler)

3 Basic makam theory4 Simple makams

4.1 rgh makam4.2 Bselik makam4.3 Rast makam4.4 Uk makam4.5 Acem makam

5 Notes6 Sources7 External links

Geographic and cultural relationsTurkish makam's closest relatives include maqam in Arab music and echos in Byzantine music. The Turkishmakams, the Arab maqams and the Byzantine echos related to the Greek texts and works of music thatArabs translated and developed from the musical theory of the Greeks (i.e. Systema ametabolon,enharmonium, chromatikon, diatonon).[2] Some theories suggest the origin of the makam to be the city ofMosul in Iraq. "Mula Othman Al-Musili," in reference to his city of origin, is said to have served in theOttoman Palace in Istanbul and influenced Turkish Ottoman music. More distant modal relatives includethose of Central Asian Turkic musics such as Uyghur music, muqam and Uzbek music, shashmakom. The



The basic notes named according to the solfege system and thus, forexample, "Do" is C and "Re" is D.

raga of (both North and South) Indian classical music employs similar modal principles. Some scholars findechoes of Turkish makam in former Ottoman provinces of the Balkans.[3] All of these concepts roughlycorrespond to mode in Western music, although their compositional rules vary.

The rhythmic counterpart of makam in Turkish music is usul.

Makam building blocksCommas and accidentalsIn Turkish music theory, one whole toneis divided into nine commas. Thefollowing figure gives the comma valuesof Turkish accidentals. In the context ofthe Arab maqam, this system is not ofequal temperament. In fact, in theWestern system of temperament, C-sharpand D-flatwhich are functionally thesame toneare equivalent to 4.5commas in the Turkish system; thus,they fall directly in the center of the linedepicted above.

NotesUnlike 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 arefor the most partindividually named (although many are variationson a basic name); this can be seen in the following table, which covers the notes from middle C ("Kabargh") to the same note two octaves above ("Tz rgh"):



Tetrachords (drtl) are on the left, pentachords (beli) on the right.The symbols (simge) from the table above are here used to signal theintervals used in these patterns

IntervalsThe names and symbols of the different intervals is shown in the table below:

Interval Name(Araln ad)

Value in terms of commas(Koma olarak deeri)

Symbol(Simge)

koma or fazla 1 Feksik bakiye 3 E

bakiye 4 Bkck mcenneb 5 Sbyk mcenneb 8 K

tanni 9 Tartk ikili 12 - 13 A

Tetrachords (drtller) and pentachords (beliler)Similar to the construction of maqamatnoted above, a makam in Turkish musicis built of a tetrachord built atop apentachord, or vice versa (trichords existbut are little used). Additionally, mostmakams have what is known as a"development" (genileme in Turkish)either above or below, or both, the tonicand/or the highest note.

There are 6 basic tetrachords, namedsometimes according to their tonic noteand sometimes according to thetetrachord's most distinctive note:

rghBselikKrdUkHicaz andRast

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(Dgh) of the Hicaz tetrachord, for example, can be moved up a major second/9 commas to B (Bselik), orin fact to any other note. The other notes of the tetrachord, of course, are also transposed along with thetonic, allowing the pattern to preserve its character.



Basic makam theoryA makam, more than simply a selection of notes and intervals, is essentially a guide to compositionalstructure: any composition in a given makam will move through the notes of that makam in a more or lessordered way (in this, it resembles a tone row la Schoenberg or Webern). This pattern is known in Turkishas seyir (meaning basically, "route"), and there are three types of seyir:

rising (kc);falling (inici);falling-rising (inici-kc)

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

the durak ("tonic"), which is the initial note of the first tetrachord or pentachord and which alwaysconcludes any piece written in the makam;the gl ("dominant"), which is the first note of the second tetrachord or pentachord, and which isused as a temporary tonic in the middle of a piece (in this sense, it is somewhat similar to the axialpitches mentioned above in the context of Arab music). This use of the term "dominant" is not to beconfused with the Western dominant; while the gl is often the fifth scale degree, it can just as oftenbe the fourth, and occasionally the third;the yeden ("leading tone"), which is most often the penultimate note of any piece and which resolvesinto the tonic; this is sometimes an actual Western leading tone and sometimes 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 (grlm makamlar), which as the name implies are the simple makamstransposed to a different tonic;compound makams (bileik/mrekkep makamlar), which are a joining of differing makams andnumber in the hundreds

Simple makamsrgh makamThis makam is thought to be identical to the Western C-major scale, but actually it is misleading toconceptualize a makam through western music scales. argah consists of a rgh pentachord and a rghtetrachord starting on the note Gerdaniye (G). Thus, the tonic is C (rgh), the dominant G (Gerdaniye),and the leading tone B (Bselik). (N.B. In this and all subsequent staves, the tonic is indicated by a wholenote and the dominant by a half note.)



The rgh makam though is very little used in Turkish music, and in fact has at certain points of historybeen attacked for being a clumsy and unpleasant makam that can inspire those hearing it to engage indelinquency of various kinds.

Bselik makamThis makam has two basic forms: in the first basic form (1), it consists of a Bselik pentachord plus a Krdtetrachord on the note Hseyn (E) and is essentially the same as the Western A-minor; in the second (2), itconsists of a Bselik pentachord plus a Hicaz tetrachord on Hseyn and is identical to A-harmonic minor.The tonic is A (Dgh), the dominant Hseyn (E), and the leading tone G-sharp (Nim Zirgle).Additionally, when descending from the octave towards the tonic, the sixth (F, Acem) is sometimessharpened to become F-sharp (Dik Acem), and the dominant (E, Hseyn) flattened four commas to the noteHisar (1A). All these alternatives are shown below:

1)

2)

1A)

Rast makamAlso see Rast (maqam)

This much-used makamwhich is said to bring happiness and tranquility to the hearerconsists of a Rastpentachord plus a Rast tetrachord on the note Neva (D); this is labeled (1) below. The tonic is G (Rast), thedominant D (Neva), and the leading tone F-sharp (Irak). However, when descending from the octavetowards the tonic, the leading tone is always flattened 4 commas to the note Acem (F), and thus a Bselik



tetrachord replaces the Rast tetrachord; this is labeled (2) below. Additionally, there is a development(genileme) in the makam's lower register, below the tonic, which consists of a Rast tetrachord on the note D(Yegh); this is labeled (1A) below.

1)

1A)

2)

In Turkey, the particular Muslim call to prayer (or ezan in Turkish) which occurs generally in earlyafternoon and is called ikindi, as well as the day's final call to prayer called yats, is often recited using theRast makam.

Uk makamAlso see Bayati (maqam).

This makam consists of an Uk tetrachord plus a Bselik pentachord on the note Neva (D); this is labelled(1) below. The tonic is A (Dgh), the dominanthere actually a subdominantis D (Neva), and theleading tonehere actually a subtonicis G (Rast). Additionally, there is a development in the makam'slower register, which consists of a Rast pentachord on the note D (Yegh); this is labeled (1A) below.

1)

1A)



In Turkey, the particular call to prayer which occurs around noon and is called le is most often recitedusing the Uak makam.

Acem makamSee Ajam (maqam).

Notes1. Beken and Signell 20062. Habib Hassan Touma - Review of Das arabische Tonsystem im Mittelalter by Liberty Manik. doi:10.2307/3. Shupo, Sokol, ed., Urban Music in the Balkans. Tirana:ASMUS, 2006

Sourceszkan, smail Hakk. Trk Msksi Nazariyat ve Uslleri. Kudm Velveleleri. (2000). ISBN 975-437-017-6.Beken, Mnir and Karl Signell. "Confirming, delaying, and deceptive elements in Turkishimprovisation," Mqam Traditions of Turkic Peoples, Elsner and Jhnishen, eds. Berlin:trafo, 2006.ISBN 3-89626-657-8 http://www.umbc.edu/eol/makam/2008Kongre/confirming.htmlSignell, Karl L. Makam: Modal Practice in Turkish Art Music. Nokomis FL (USA): Usuleditions/Lulu.com. (1977/2004). ISBN 0-9760455-0-8:--- Makam: Trk Sanat Musikisinde Makam Uygulamas (Turkish translation of above). Istanbul: YapKredi Kltr Sanat Yaynclk, 2006. ISBN 975-08-1080-5.Ylmaz, Zeki. Trk Msksi Dersleri. (2001). ISBN 975-95729-1-5.

External linksKlasik Trk (Tasavvuf) Musikisi lahi Perev Saz semaisi ve Taksim nota ve mp3 kaytlar(http://www.umutrehberi.com/)Cinuen Tanrkorur, "The Ottoman Music", translated by Sava . Barkin,http://www.turkmusikisi.com/osmanli_musikisi/the_ottoman_music.htmMaqam World (http://www.maqamworld.com/)Maqam World: What is a Maqam? (http://www.maqamworld.com/maqamat.html)Arab maqamat and Turkish makamlar (http://www.oud.eclipse.co.uk/theory.html)Sephardic Pizmonim Project- Jewish use of Makam (http://www.pizmonim.org)Shashmakom.com - Shashmakom performed by Bukharian Singers (http://www.Shashmakom.com/)Notahavuzu.com - Serves most of the musical sheet of songs currently, instrumentals not publishedyet (http://www.notahavuzu.com/)



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