| Durak | Rast |
|---|---|
| Güçlü | Neva |
| Yeden | Irak |
| Seyir | Ascending |
| Lower Çeşni | Rast pentachord |
| Higher Çeşni | Rast tetrachord or Buselik tetrachord |
Nikriz is the implementation of the Nikriz scale in Turkish makam music. It is in 53 Tone Equal Temperament.
| Components | Note | Western Note | Steps to following note | Cents from Durak note | Function | |||||
|---|---|---|---|---|---|---|---|---|---|---|
| Nikriz pentachord | Rast | G | T (9) | 0 | Durak | |||||
| Dügâh | A | S (5) | 203.77 | |||||||
| Dik Kürdî | B  | A (12) | 316.97 | |||||||
| Nim Hicaz | C♯ | S (5) | 588.67 | |||||||
| Neva | D | - | T (9) | 701.89 | Güçlü | |||||
| Rast tetrachord | Buselik tetrachord | - | ||||||||
| Hüseyni/Hisar | E | K (8) | B (4) | 905.66 | ||||||
| Eviç | Acem | F♯ | F | S (5) | T (9) | 1086.79 | 996.23 | |||
| Gerdaniye | G | - | 1200.00 | Tiz Durak | ||||||
Since the makam is based on 53-TET, it is impossible to directly tie it to 12-TET Western scales. However, using the 48-TET model, while worse than many other models in approximation, [2] allows for such comparisons. [note 1]
The approximation of Nikriz within 48-TET would be:
3, ♯7 included along with 7)
An equal temperament is a musical temperament or tuning system that approximates just intervals by dividing an octave into steps such that the ratio of the frequencies of any adjacent pair of notes is the same. This system yields pitch steps perceived as equal in size, due to the logarithmic changes in pitch frequency.
A quarter tone is a pitch halfway between the usual notes of a chromatic scale or an interval about half as wide as a semitone, which itself is half a whole tone. Quarter tones divide the octave by 50 cents each, and have 24 different pitches.
The Turkish makam is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure and melodic development (seyir). Whether a fixed composition or a spontaneous composition, all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul.
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. Each step represents a frequency ratio of 21 ∕ 53 , or 22.6415 cents, an interval sometimes called the Holdrian comma.
In music, 19 equal temperament, called 19 TET, 19 EDO, 19-ED2 or 19 ET, is the tempered scale derived by dividing the octave into 19 equal steps. Each step represents a frequency ratio of 19√2, or 63.16 cents.
In music, the septimal minor third, also called the subminor third or septimal subminor third, is the musical interval exactly or approximately equal to a 7/6 ratio of frequencies. In terms of cents, it is 267 cents, a quartertone of size 36/35 flatter than a just minor third of 6/5. In 24-tone equal temperament five quarter tones approximate the septimal minor third at 250 cents. A septimal minor third is almost exactly two-ninths of an octave, and thus all divisions of the octave into multiples of nine have an almost perfect match to this interval. The septimal major sixth, 12/7, is the inverse of this interval.
A septimal quarter tone is an interval with the ratio of 36:35, which is the difference between the septimal minor third and the Just minor third, or about 48.77 cents wide. The name derives from the interval being the 7-limit approximation of a quarter tone. The septimal quarter tone can be viewed either as a musical interval in its own right, or as a comma; if it is tempered out in a given tuning system, the distinction between the two different types of minor thirds is lost. The septimal quarter tone may be derived from the harmonic series as the interval between the thirty-fifth and thirty-sixth harmonics.
In music, 41 equal temperament, abbreviated 41-TET, 41-EDO, or 41-ET, is the tempered scale derived by dividing the octave into 41 equally sized steps. Each step represents a frequency ratio of 21/41, or 29.27 cents, an interval close in size to the septimal comma. 41-ET can be seen as a tuning of the schismatic, magic and miracle temperaments. It is the second smallest equal temperament, after 29-ET, whose perfect fifth is closer to just intonation than that of 12-ET. In other words, is a better approximation to the ratio than either or .
In music, the Ukrainian Dorian scale is a modified minor scale with raised 4th and 6th, and lowered 7th degrees, often with a variable 4th degree. It has traditionally been common in the music of Eastern Europe, Southeast Europe, and the Mediterranean including Jewish, Greek, Ukrainian, and Romanian music. Because of its widespread use, this scale has been known by a variety of names including Altered Dorian, Hutsul mode and Mi Shebeirach. It is also closely related to the Nikriz pentachord found in Turkish or Arabic maqam systems.
Saba is a kind of musical scale used in both Arabic music and Turkish classical music. This article covers both the Arabic jins and maqam called "Saba" as well as the similar Turkish makam of the same name.
Rast is the implementation of the Rast scale in Turkish makam music. It is in 53 Tone Equal Temperament.
Acemli Rast is the implementation of the descending version of the Rast scale in Turkish makam music. It is in 53 Tone Equal Temperament.
Çârgâh is the implementation of the Chahargah scale in Turkish makam music. It is in 53 Tone Equal Temperament. The makam is the central scale used within analysis in the Arel Ezgi Uzdilek system, this is not because this is a scale that's used a lot or otherwise central, but because it can be written without any accidentals.
Basit Suzinak is a makam in Turkish makam music. It is in 53 Tone Equal Temperament.
In Turkish classical music, the Nikriz pitch class set is a set of scales that are named after the Nikriz makam. For Nikriz, there is only the pentachord, as the 4th is raised. The Nikriz pentachord is the same as putting the 53-TET equivalent of a whole step in the beginning of the Hicaz tetrachord.
Geçki is the usage of a different makam during the performance of another makam, which may or may not lead to a modulation. It is a form of modal interchange, used specifically within Turkish makam music.
In Turkish classical music, the Buselik pitch class set is a set of scales that are named after the Bûselik makam. For Buselik, there is the Buselik tetrachord and the Buselik pentachord.
Uşşak is the implementation of the Bayati scale in Turkish makam music. It is in 53 Tone Equal Temperament.
Kürdî is a scale in Turkish makam music. It is in 53 Tone Equal Temperament.