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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.
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Peşrev or Peshrev is an instrumental form in Ottoman music. It is the name of the first piece of music played during a group performance called a fasıl. It also serves as the penultimate piece of the Mevlevi ayini, a ritual music of the Mevlevi Order, under the name son peşrev, preceding son semai. It usually uses long rhythm cycles, stretching over many measures as opposed to the simpler usul the other major form of instrumental music uses, saz semai.
The fasıl is a suite in Ottoman classical music. It is similar to the Arabic nawba and waslah.
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Yeden, in Turkish makam theory, is the note preceding the tonic note (Durak) as the leading tone within a makam.
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.
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.
Güçlü, in Turkish makam theory, is the dominant, central note used as a temporary tonic in the middle of a piece in a makam. As such, it is the common note of the lower and uper Çeşnis - last note of the first tetrachord or pentachord and first note of the second tetrachord or pentachord.
Seyir, in Turkish makam theory, is a pattern of movement of notes in a certain order (route) within a makam.
Çeşni, in Turkish makam theory, is a set of scales usually seen in tetrachord or pentachord form that make up and give the name for a certain makam. A makam is composed of at least two Çeşnis, the lower and the upper.
Donanım, in Turkish makam theory, is the representation in the notation of "fault marks" in different intervals in the scales, which are unique to that makam and which are used to show the comma sounds with very small sound changes that can be distinguished by ear, called accidentals. These signs are placed immediately after the key in the diatonic scale. The flats are written first, then the sharps in a certain order in the middle of the note line and interval to which they belong.
References
- ↑ "MAKAM". TDV İslâm Ansiklopedisi (in Turkish). Retrieved 2024-10-15.
- ↑ "Türk Sanat Müziğinde Makam Olgusu | Prof. Dr. Hazım GÖKÇEN" (in Turkish). Retrieved 2024-10-16.
- ↑ KAÇAR, Dr. Gülçin YAHYA (2008). "TÜRK MÛSİKÎSİNDE MAKAM". DergiPark (11): 153.