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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.
Ottoman music or Turkish classical music is the tradition of classical music originating in the Ottoman Empire. Developed in the palace, major Ottoman cities, and Sufi lodges, it traditionally features a solo singer with a small to medium-sized instrumental ensemble.
The fasıl is a suite in Ottoman classical music. It is similar to the Arabic nawba and waslah.
In traditional Arabic music theory, a jins is a set of three, four, or five stepwise pitches used to build an Arabic maqam, or melodic mode. They correspond to the English terms trichord, tetrachord, and pentachord. A maqam is made up of two or more ajnas.
The fire of Skopje started on 26 October 1689 and lasted for two days, burning much of the city; only some stone-built structures, such as the fortress and some churches and mosques, were relatively undamaged. The fire had a disastrous effect on the city: its population declined from around 60,000 to around 10,000, and it lost its regional importance as a trading centre. Many of them settled in the imperial capital of Istanbul, creating the Üsküp mahallesi.
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.
Nikriz is the a scale in Turkish makam music. It is in 53 Tone Equal Temperament.
In Turkish music, the hicaz pitch class set is a set of scales that are named after the Hicaz Turkish makam. For Hicaz, there is the Hicaz tetrachord and Hicaz pentachord.
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 Buselik makam. For Buselik, there is the Buselik tetrachord and the Buselik pentachord.
In Turkish classical music, the Uşşak pitch class set is a set of scales that are named after the Uşşak or Hüseynî makams. For Uşşak, there is the Uşşak tetrachord and the Hüseynî pentachord. While in Arabic maqam music, maqam Bayati is taken as a basic tetrachord, in Turkish makam music, Uşşak is taken as a basic tetrachord instead.
In Turkish classical music, the Çârgâh pitch class set is a set of scales that are named after Çârgâh, a Turkish makam. For Çârgâh, there is the Çârgâh tetrachord and the Çârgâh pentachord.
In Turkish classical music, the Kürdî pitch class set is a set of scales that are named after the Kürdî makam. For Kürdî, there is the Kürdî tetrachord and the Kürdî 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.