TURKISH MUSIC MAKAM ie 1 DE MURAT AYDEMIR‘ctw mc 10 “Ce Ter Deoi Toye Web he - Geurney Through th Mdof-Sarhict asic. ln ceri yes race he of ts devepmen nthe henry en canting the reed pow of Tyee Trish sc aot dt ono he pene at orf he Base as wel a a aay Pa is owing ors ving he non pra parr Tish mse rc ah he reah ofthe Oman Ere ha sread over snl heya eh, Te mala fe wd clad veri aati he Oman mee are layed whe mat Aut Tush ste The oar values ak he Goan sew Ind uel ow nace embraced or was ered, a Be me hin lems comping he ages of ara a |W abl ss fc pn chins tal cal nd dele, Tonubutredped nd es rely he ree trata Thevelason ccna cur wh ceded becoming acalre f may vtx andrea san nt rts a aes ie ‘Ads morse eyes sch a cite on can sere de trite degen ces Tks ca is manic wel ee, Mga oan fe masa ere prams ale word Ich oncom ee caring ple frente {Mla cand cower et ah te eres ond to Amc cr e Wee rte a ee Win dn Tuma har pra emer cae. and Ue tao he wd al te monet hu tase sagt Tarik Mise Mahar Gade roc, yn yang oscon wort me he re arta ae ‘nes her treed n Tor icon om ely hore here ‘png pn anh of re sev aoa 0pm cate ae by ‘ham tbea nen Marat Ayden ar ye mn ray i Th Cor cette se ae fe o) ebereds? Beret peers rat ee eee eee ae a "owe albus, Nev ded in 2002 wih ey ye Sl igs and consisting a Rereword a et {Etat ten hrs nr edo feted esr ‘Avout the Maka Guide a eae a 2 ston Th Mae 0 aes aes = Se ee Sean ne eee anes 2 Pes i Basen eee ee AS i: rhe i aap ea ean WOME ce ipso cee C ne isu in Et yer wane dekh VA Hat uh co a Su yt Sah HAF +R chr As Me 1 Ne + er Sera» a Malas Eman rican eee ae oe epee aed ‘Inthe year 2008, he has moved tothe Netherlands wo furber his musical tues, He EAP: ebine ae Eee cene ee ae eer ee ae : ee rae ear pr aera aa vn ” _ongjnal compassion by the Erman Dieikcan Tri. www.theermandirkcamtrio com Glo ieee eae 9 Sa y auout the Makane Guide Son ECWOT¢ aL Maka Gd spel dese to showcate ome of the fvred maha hve Been eachinganbur an efor nearly ten years now. During his {na manner in whch mscons fom varows lines and ackground can le, have gone to music shook taughout the word a worked 19 Arc wig thm, Aiming othe cleares presentation, Be cose dfetions each ars wells the mak of Turkish sittin may 9 © maa are proved, lag wih wenscripions and anal of ane fren walks oF Me ven though my tudes werent sane ‘ak anon compotion fr exh maha, amped by reds. Rath ish sian tery thy would tl become conse. They ond ‘than theory oak, is indie approach wl ere a fist “ideo ico perfor the makams whose theory heya memorized, and “Turok maha mse. en than, wee unable ply the pitches and Tavs corey 401 pan wring simpler, more comprshensbe maka deserpons Master Murat Ayden shares eas experience i tachi nie lee wold be Blather he res ash eoncentatd ‘night no Tarik msn oder tn preset the crete of he maha as lessons gant emer lest by themselves, To the ge wel as the yo tcp so dearth eat. tthe nll CD, he Jy ders, decide to conte wal these nots. The auncing efor tain a compostns whch hs represent the chen maha As book was my accasintance with he dea Eman ik, ofa the dearest understanding is each, profs ace on the subjects which he wised to ea abou, and my deste rusia Eman Dirikan has formated he content drops a ny aka dscns 1 create the Makon Cue een wth tthe wesem radon ein wih sty Turis maka, There no speci reason We bee that side sre a an ea ft ence wth Tah my dsr was spl ost nk and avoid ging us for hse who ae intersted, and sw so ference wo stents of th ey of hams, chose maka which are elaey well ciple, Ma importantly, we hoe tht Mala Gul wl pie and our pete, but oe ones bo chose presen vate musician he world ove favre mans of ine wh ws Pexendde a Suara he prea framework Turhnh sc ce, there are no st ae same new oderys a tn Ling oe; highly ete and wth ang sary of developmen ing several erties, The instewenal dans, wd the veal ga tl Aes, ae ame ie eas hyn. The mse races thee fr, wich ders hs er keel fl a xem the mons, del ela to Ms hog fhe ka Asana ea is wel ae che i oF aon," Tash si ‘pth or sean with ile mal wedge they may pestonn wonder pe sions sows tha secs wo expe split of the shams, andthe tet ey have up us. The es ate he ort erent a ngs the sks oie, 1 esrb the ys omy stents ths way Thnk about spss Every spice sits own prc ae, aor and coor, What we were oe illabout asp, eam its compostion and examine ts colo bu never las 1? We might gun some eas about bat would never eecogize Hs flavor, Only ale earings favor would we be able to decide ose where Lo we Hand in wha quant. Thisis precy theese with he ‘yo Turkish mss nt sie ocala the er mem the temchords a pentachords and ea the content othe cles hort, Only when we her tese ches rom a eal source wll ee ve “use the gs, and nly by sening to and inti heny tnd ne again may we intervie ther, Ae ths proces the musi wile able 1 use dhe gs wherever and however he wants, and ienly the maa of pec hate hears, expan the mahans, begin with the bas bung blocks of Turkish musi the pre pce) an ens The pitches creat the gs and he ep creae te akan, The eachors ani petachord crete the ‘ln of he kar, The neon this selon pce and ey re the pt of he maa, or this yeas have che the tchorupetachords an he eles rae bythe uno ofthese terachordperachords inal of she mala dscrpens. fn oder 0 Dron shes se, lat the ste eae nd ens “he loa outon was the CD scaded nthe append ofthis bok Dt presensing the mala’ pitches cys and Ws so, or ours nh 0 approximately ne-mine dase asi, perma ston lec on the Toresh musa which express he ha in question on sy tabu. Rather han egy explanations, have Wed ocd sytem ase on et einng Hs my hope chi ier lig my rsa desertion he Tseng tothe taki and samp Phe ster wh hs ad no apport oar one-on-one with Ie or wh she bu inal Sar wth the kas, Wil eno ured he maka pin. ho of Sty wd should st ead he tes forthe nan, undead he etrichorperachords and scale, and memorize the eras es of the nse. The er wh als eaures ha give the maa er should be examined and understood This er mover s nwo diferent kas way have the same sale. For example wnchpetaoeds ar sls ofthe maka tty and Muar ‘esa; wh citigushes them are the coors f thee seis. There any uch pai of maka should then sen wo the tals forthe makam o the CD, snd is analysand trascrpton. We potato follow the als jon whl steno the tain. The analyses enable us 0 “our understanding ofthe maa’ so, wh the transcriptions, whi ots the pias fhe akon are payed on provide valable whl act he ean proces the ser shou ise the compton whi elowng estes isthe mls he ee This wl make Waser ould sound ingle pcs, ems a movement nh iss Tn the FW omer oh corpo the rae of emp, in the Alone sth wl net ad i tec thea an hee re ys, he it veined‘ry wea Turis sia ts ans ad aay win predetermined ‘tens, fameorks and uric new ane te teoreeal Knowledge obtained n school, deserts mst go a master musk Weston aha Arn 0 to karn more, espeily about the ots the pis fh maka, the hn em fundamental ofthe forse in the mdi, alow the mast the pas shed ight on modem Tush muse tn lasting heey of Trish msi sus the ist nd the smal step owas ean a he western scans ea the tes out aver Ipand ution, The second eps practice with the master his oh ey appa on she sal an hs can he very config, The ne“ allowed by dhe lng path ow Becoming. maser. Merely stung i rgeryof 440 Le taken as reerence when ting the theory and being csp a2 master’ apprentice snot slice Wil sand ths "ron the sranent raed Nev.” This tbo talent, high tics and scholar though, the appa yt uf nouaon hasbeen se sce the 1930, and we mst aap ‘become a Ken pene but wl ave shine and brighten his sro Mower en all the rosin es of ther weer countrys soa mas hood, dbl names would be contrary to the objective of hs cape ben rhe comparisons with western nin, father han dein inter, hve pear the lowing nk etn based ory lots that se eacking the mc I Ber ne Trish me hss ov sae, When reading hod Foe ths who doo ive the oppor ars i mc th the hae nae ae pronounced ah conn slg yale a ‘maner ths cons deson il be ouch gtr and moe we he ren asf eno (he ame "Da 40 ta compared woreda si Geta terminology ha ane ed when argh Tks alas and ete yt ‘has been used for centuries within the Turkish musical tradition should be } word perde literally means “fre” on an instrument, but i refers Team Tush since det asation neces inves os nha re ad no thr el. Whe unig, mss renin and empbes lay te note "Nev" ote ramen and ne cong pari corponing 1 ech a every oe a comple of sie th 193s, Turk chs been wrten and ued wig west be provided ater when the onl sytem of Turkish mus ‘notation. All notes are written and read with the G-Clef on the stall. ‘Wonder to understand the makams. t's of utmost importance hae these pede feo a tects they re se istruents are generally ted wo Rast (6) once, es own as “Baer “The greatest cheng odes of Tush i wh fave ben rough ‘up in Western musa raed hee et he empred ayter he fence between the noe they al nd hee they es la Me Me Mo Sd aS Dn weThe makams of Turkish usc are perl WAR hin his wove Sapte, Ke Neyland Mansur ate the rot wed ester ritr that comesponds othe Blank Wh Wal the Most we si Mild, Sa and Day ae wed es oe; wl he ersining ‘of ny (ane fae) The maka, sales, "avon" Gey tetachords an sons remain theoreea percha etude nhs i wily be we an pean ‘nthe Bohenk eae, When. a pera wisest spe acon ‘many malam writen in Bole ung he anspnes the ne simultaneous without writing sore, This also atonal practi in Turkish Musi, mening tha alhough ll ots ae writen ola reer, the pevfrmer set wanspos these notes oor reise Jrtfonnan of a compontion any maka, the diference between leo eal ya eysters dans the trnspstion fhe mo, Fhe wore sed wil gun ede orignal write in olen Hn sgt woud probably be more comfontble inthe Bolhenk oe nl eer, while a ema sho singer would prefer the Mansur Neeser. The singer yp ass the ramets peo en assabereginter whet he shes omforsble ‘Transposition: Trish musi eompostons can be transposed oy ly ‘the ower repsters when the orignal key (Baahenk) stake refer For each register that transposed the tone names of feet sss of ney Be ae given, ol ots Turkish musi as compte ass transposon. 1990s he "24.Nowe System devise by Hosein Satin Arel hi as been ugh conservatories and Teksh muse ‘Thisystem sples the aon ing ad eaching of Turkish weer the fic tht tere are actly tore than 24 notes ina the ystems many shortcomings the ares of notation an Heres a chant of the tanspostion names, Makan Rast i transposed the example, ial ey 6) Haste ower (hole tp owe a 1Ssteps oer the es wy to tackle dis notation system would be to study the that ake up the Turkish ems Fst the nots then he tha the notes combine to for, and fly the makams hat ombin o for wil be sed n that nde. a | 2stpsiomer| Ne 4 25 eps tower ans Wabeyn AL | 3stepstoner Manse 6 25 steps ower [sane oe tps oer fo T 45 steps nee Daot n Sstosione ola Mabey 5 steps omic a ete ette = ot eR fof features hat help set othing apa. As sed in Turkish ae Peer Ae wor eles othe fac tha every phasis own character by 4 : oth flecs retes when played, Tobe explain this comorpt A eaphor, we can compute kta spice. Every spc asits own ate, : d {lo este and use, 0 posible to keep asic ia memory Futian smeling frst. Once we become familiar witha pe, hers vor ad we & when required sci wheter ook eo the dish at haa tn Takish ms, dhe concep of ei i ery slr way. The stent should study te eet of ach Mondeo ean to recoguze when cer Learing the cei ll make i considerably eset ear de rss that re combined favors. Ths el lead ease of performance and hen moving around the notes cing improvision. king materi cleultions when raneposing, one will he ested “avo” rm the des ich, ones akan eachord/pertachoed played rom a ej the Ras favor on Neva () ears the Ras oto the nee Neva (). When playing vor, is seal he nots that makeup the erachora or peta the uation, 2 oF 3 notes wil slice achiev he Savor lear why the mesk method of earings muuch more acpi of Turish mus, Axempsing o explain Tarkish dis nouton stern n wring makes aring it mach nl hearing ae seeing it del sa muuch more Lenoyable approach |The cf he tes ei ab Gah coma th ard "Kaba i teste «brsh sre n wring? One would be as ely ame fhe nae Pkt tse rough writen descriptions as to ean the ats 2. hemes of he soe Tc Ne ot ww Th before he andl aw, ha he at of la agra, itm, ieneTHE ELEMENTS: (cee etes TURKISH MAKAMShe Clements of the IB gai pote Wh pth psi Epi) in Twist called Fuboye ter eet: ove Mle Step/tai Fenk Wl stp Tani InhtaMal'step- Baye eso) Wile step Tait 0140 Wile stp Tait ish Mle stp tai Abdo Mal'step_ (Barveau step Chub) dvi ino four aed noes, generally ply higher han writen when ascending ana alle oat the smallest nit of he Th “ower when scenic the ascending descend ato can sense these eras and ferent bt he kas. The dtd ‘Ws characters of Turkish mus why the koma vals used in sows ature ofthis note ptr call for the nest o practice wih meg, a yd he horas hear he verre ofthe compass may not plained the ition, ‘tly be he sae. This ude pots ut whee a how the ascending descending traction sein the alysis of the ecordings provided, ‘he 24 note system uses ue eras, rea that he notes sd ote egy within the ote. Ts means ha ot ll 9 has Modultions (Geck) cn a whole step ae nse, uring Tush muse composons or provision performances ach 1 sis in insruend or gues (with oc), modulations can be “Themes an the koma values ofthe mirtonal tera that are ws + net other makams whic rings forth te addon of various favors In avholestep (unin “Those modulations ae alle gh and they are more of tron ther Oe et le. The ge sao considered oe a great wy forthe composer ow Fan) toma performer spay artsy. Baie bok) tomas igocicennep Sig) Somas Scales of Turkish Music Bayo micenep Keb) Btomas seals in Turkish msi ae constructed by the combination of Tei Titanic) whale step lolowing penacord or a pemachod falling a tetrichord ee son is 22 and pentschord as 31 koma (an octave ba 53, “The acdenal nbs ofthe Turash music notation re nde belo | Heres vw ofthe eachords and pentachords that are sed for “The numbers indeate the disse of he notes tothe "Ante in ms sc mane, vals. \Whenevertwo notes ake an ner igger than 3 whole ste ani the leer asad nnd requety sed ite calle the agent scot, This ner can be 12013 komas depending on the miki, “This is exemple in the chapter onthe Hix lami (pene: 158), Ascending ~ Descending attraction urngthe performance of tbe malas kanaNote that thes ine fhe chat above names the penton a Hosea sinc the Uk pertacho tronllyaown asthe Hse petachor ist Degree ‘The is degree of scale alle he tone (ura, Ths dere ands funtion aes othe ons dee in Westen muse. Every maka What convents sae tt a maka the ws ofthe elements which _ Sea irae gen) const the melodie prggession (al sei for wea tain or Inari. Aligning seen tes would only crete ase. The manner sn which the melodic progression s performed brings the sal to ie a rakes ita maka by the we of tadional Turkish music elements such asthe cadences ae dese. Socond and Third Degrees Spend cadences canbe pliyedon these dees. Fourth and Fifth Degrees “These two degrees are sigfica for he makam. Depending on the point. thot te teracord and the pentachordoveap, wll the oth or he th degree becomes the dominant noc (gic) ofthese Half eadences at played onthe dominant note, during which the notes of hese ay “the same, tbe noses ofthe saa mode by the ation ofa Laver, this indents suspended cadence made on the dominant te cadences In onder to nerpre sale aa akan, cadences are made on cent egies ofthe malas cle The types of adences exis, diferent ‘by tut strength, in other words fr how long the degrees empha Full Cadence (Tam Karan) Fall caenc, also called the al cadence splayed onthe toe (ist th Degree eye). The ral cadence shows da the asim othe composition hs led cadences can be payed on this degree ‘ben concoded nth Deoree seventh degre ofa eae alle the leading tone (eden. The function Jendng toe is to wake the fina eadence more powerline the teadence i played om the st degree, he original lexington the degre in the octave below, more spescally a whole or hal ep the one Hal Cadence (arm Karr) alfcadence is played onthe dominant noe of the scl sl provides a sight sense of conesonaluugh no strong the full dence ‘suspended Cadence (Asma Karan) Saspended cadences a tos played onthe second and dhe td dees “epenng on the srcture ofthe skam. The elng of cons wk “Thiscadence is use to eric the maka, ringing diferent Moe td thy adding diferent noes othe main ele ato types eang tone the kading tone is ouro fe kom ep below the onc ical a hal tp leading tone (arm est fhe eng tone sie komas(a whol step) below he toni, J whole ep lng not (ams ede) the fring reson Degrees hen the seventh degre a al tp leading one. ere are the degrees ofthe sea of akaigith Degree = Ths depeche hho othe le Depesing ane extensor thet tone sped cae tie tide Spend ‘Orth acho othe pentahond an the dominate eansposed ‘elow the one mike leaden the eg deg wen xen the seve ei aaahainvn Sag tannin rcrd aly on oa lor dee an he Bev o (Gaff oa eS toot Ha een i played onthe eight epee when extending the vale ‘rere Big onc using the sate Rav onthe ot. Te igh degre So ued a dominant noe in the mks wih descending beh, Creation of anew scale as an extension ‘The dominant not ofthe sae can be sea the onic rate ofa new sale ‘Behavior rented with an extension over the high on “There ate three typesof chavo fora melo progression of «maka: patted operon Nee Kin end nee Ascending “The alam bers wth the tonic around the on, bees an eed pa below the rot, its posible to tart fom tis ower re as wel Ascending and Descending ‘The makam begins withthe dominant note or rou the dominant noe Classification ofthe Makams ‘Yas ska scales at vor hve been combined inorder to create ‘he maka and this proces sil continses i» our ay. Dene ark Fn theory books casi the maka in difenng ways A notable lasiicaton canbe rade a; bs, complex, wansposed (ed ad he hams which gi atag athe end. The following wo chstiatons ae plane forthe sake ofthis guide Descending “The maa begins wl the high sowie or around de high tonic Extension “Two types extensfons ate pose fr de Tesh malas Symmetric Extension ‘The etachord othe petachor on she tonic iansposed to he igh tonic of he see anspose (ed) makams “When aka’ sale transpose another toni, ings ota tanspsed malar wth Keown characteristic mood and specifications Airing fom he orignal maka, These makams are chased a ed ‘nals in Turkish mse, Beaute of the new favors aed tothe new feale the transposed ska have lost no simartics with dhe akan ‘hey ong rm, cupapenne Sugeest Sees a l=Wakams which get a tag atthe end There ae any makams which a ome by merely changing the favor ofthe inal cadence in cern maka. Some fh riskams get «brand new name For example, the malas Mubayyer and Acem become Muayyer Kod sd Acem Kordi when conde wi the Kard favor: Sealy, Sha nd Hisar become aka Sear Basel and is Buse le wth he Bust avo. Othe ples ince, bot ae no to, dhemaams esti. tavern, ome by ona aka Sa and Hasyn withthe Seth avr on the aswell asthe maka Nab, Haseyn Aran, Bust Asan, for ‘oncung the slams Yeh, Hae and Buse wih the Ups favor on the Hosen Asean ow respectivelyHebe Deeinat adn toe etaldominant Neva (), aspen cadences ae played wth he Sea vor ‘om Sep 1 Kon aan the Day favor Eg A), The exter section is presen andthe fina cadens payewith he Rast wh Ac {© fhtvor onthe toc Rast “The high toe Geran (Ge played lowed by pases descending > Gana ©, 40" A suspended cadence splayed on Gag (C withthe Gaga avo. 136" A suspend cadence played on Sgt (1 Koma la wth he Sega Mayor, The maka descend othe tne 140" Following sor cadence on Dag (A), maar descends to Yoga (ho inden the exerde pat fhe cal, The nal cadence play ‘on the tne Rast G) with he Ras ar. ate In compostions writen forthe mam Ras, Ace (F) replaces the Ey (near he concasion f the maar, Thi Mav scaled the Rast wih ‘cen (@ Dar Its an important favor due os requent use. ‘The st with Acer (Favors a ype ofthe escendng descending ne stration which refers to one of the most mponantcharaceisics of | “orks msi. The ascending descending atracon& basally paying. Rast Saz Semaisi cerain note na Mtr favor when descending or shaper when send 1 the msham asthe hid degree ofthe Rast eachod is Ee (FA), which saya ti when ascending When descending, Ex (9 is plc fx wh Dik Ace FI ara shyp and then wih cen (1). The resin formacon ofthe Basle ezachord on Neva (Dsl the Rast with ‘Acem (P faor. analysis ofthe Rast asin ompoaon begs around he tore ast (6) wth the Ras favor de laws ascending character. Theil cadence played on Rast. 12) Following the melodic pass wih the Ras favor on Neva dence i played onthe dominart Neva (D wing the Rast with (0 flvor ars 3). The melody reaches the hgh tonic Gerdaniye ‘The melo progrsson begins around the tonic Rast () wth he Rast 1G) Amapende cadence is payed wit he Sega Naor on Sepah avr dv tothe akan’ acending characte. la) (ars 5-6, The inal cadence played on the oni Rast. 16" The ital cadence is played on as (G) Te sea played between the ast flavor (Bars 7-4, ‘Yega ow D) an Neva high D). 177-38" hal anc played on the dant New () wth he Rat avo, Ace 8 sedRebavi ioe an tometer ote pn ‘ovat een | inane tose sete | sane kewoe cn inate | str Sone ean to uma coast: namie oan ete aso the ntes rte moka Ran Diya Sept Care, Nev, Msey, Ace, Gerdanys, Muayyer ‘Yep, Hosey Asian, tak, Rast, Dug, Sega, Car, Neva, Hosen, Tv, Geran {tension ‘Sart the waka Rast, eh maka Reha eed wth te Rast Aenhod on Yew low), This extended ps used requey daring ‘he melee progression. Aerio “The meoac proyession beyins wih he maka Beat, Followingthe al nce on the dominant Neva (D), suspended cadences ofthe makams ax! ya ae played. The kar descends to Yep Caw D) and case So pres the extention. Theil cadence layed wth he mam en sing the ast wi Acer Fave, which the comnon aspect -—— = the hams Rasta Bey Maa Boat ofthe eho Toi: ‘ cig ton ——— uli eins with he Ras favor on Yep low), he mos. le phase ofthe ral Reh, The first fil cadence ih he Rast favor on Rast) rele progression continues wih the Rast Mevor on Ras), ul eadence spayed on Neva (0) serphated Suspended deo re ply wi the see Jon Neve (D) an with the Nk favor on Gara). 32 The elo progression consinues with he as sae, The fin ‘splay om Ras (Gi wit te Rae Dvor, with frequent desea (low D).{tension “The mam Peng Aa does not ented because aed bas «wide anys hair: ‘The mele progression bens sound the dominant Neva (D) sing any S ee ‘ol he the scales that construct the alan. Hal cadences are played on oa emo psf ma Pega an Pngh Ald oh | Neva) wth he Rast and Buse flavors. Ale suspended cadences are mee a i congas dy asa eee maton Feng Zale Dyed in conde wth dhe characteris ofthe malas Rasta Peat cTiecoc nna race ag rie ih eet: rowan i Penggat Zaid, Ine stato ‘Dominant —; Neva (D) en Peer aera hs 2 es tte te ‘Sen sa Sa oa ta a 60) rae Sh (0 Roma at) anv Th Penh pena as (comin wih the Rs cal he ast scale th com ints orn tion ot pend es tnd onNna Songaatacgin acne SS Te mn of the ates forte makam Png Al ‘at, Dig, Sey Garth, Neva, Hosey, Aen aE, Geran Mutayyer——_—— ‘The names ofthe nate forthe maka Peng 2a, ac, Dog, Sesh or Baek Carga Ni Hi, Nev, Heya, Aco or Es, Gerdange, Muhayyer wee Pencgih Pesrev tessn: ‘The makam Peng Za doesnot extend ecm it area haa wi range. YP Wenger! Behav: The melodie progression bens around the dominant Neva () with oe of the following vor: Rast on Dag 4, Peng on Rast (Gots ints org locaton (A. Hall eames replayed on Neva D) wie Rist ad the Bs avr, Nim His (Ce played na persse rc ss the scale descends o Ras (G) withthe Penggah pentachord. ter suspended cadens ar played appropriately tothe characters f ihe ‘makams Rast ad Bey thea adence is lye either wath the aso wth he Pena vor oasis the Png asin: ion begins around Nevs(D) withthe Peng vor due to 12" The tsi begins around Rast (G) and Neva (D) with the Pengeah ‘ayo de othe maka’ ascending descending character. [31° The melodic progression cnanues withthe Peng Mavr. al cadence is played on Neva ©). 327-45" The Roe sale payed, “The Pengah vor is presnted, The fia cadence plied on Rast (G3) seth he Peng Naor, sv ascending descending character. A half eden splayed on lar 3). The Ras favo 8. The lode progresion conti Feng favor Bars 412). The eso section begins wth an of he Rast favor. The fal eadence pled on Rast (wth| _Pesendite | “The maha Pesce ma ited by Suton Sn Mlvor on Neva (Dad cadence played with he Nigar wr on Bask 1), Aer the Niabur avo is completed, he final aden is played with ‘he Ras favor on Ra (Gn the tans that Necde Yasar payed inorder 1 define his maar, een with the Rast avo on the dominant Neva (D) lore payng the Buse Mavor on this tote The Nar avons ig cation (andthe Busch avr on Neve (Dae pled, allowed Dy the al eaenee ply with the Rat Mayor on Rast ()- Fete Aver sed by Necde Yasar can also be observe in he Pee Sz Semis of Sian Sh Tonic: at 6) Dominant: Nera) Behavior: Asceningdesendeg Leading tone: ok oF) cheats: Se 1ama at an 2) ‘Contin: Apart of thesabr seins rato and apart ote usef cal on er) acon with Rs salen es locaton. ‘Wp esr o distinguish he makam Pesndide frm the maka Rast, ‘Surkilar and especialy rom the makam Pegg. When playing the Wiaburflavoron Buse, the deszet 0 Rast () sold nt he peat fs equa as ithe maka Peng ial potato play the Ras on Dh (A and then the Ra favoring action (6) ier the Niabur favor the makam Fesndie fel kana o demonstrate and The names ofthe nates forthe akan Psene: Rast, Dog Seg, Carga, Neva, sen vs, Geranipe Buse, Nim Hae, Nea, Hoseyn, Ace, Gerdaniye, Muayyer ‘Neva, Htseyn, Ace, Gerdnie, Mabayye, Sl, Tc Cargth, Ti Ne a bens arora the high tonic Geran (igh G) de tothe is auending descending character. The makam descends to Rat a the Nbr Mavoron Buse (8) presered, The it hf cdence fom Neva (D) wth the Rast favo. "The melodie progression continues wh the Ras favor on Neva ‘The Niue favor on Hawi (Bs erphasized, A shor suspended spayed on Dah (A), Behav: Since ew compesions exis forthe alan Resende would pets ‘be best to analyze its behavior though he ae expe ram maser musicians, Fr example in the Pesca ahs ha Tantei ey recoded with the Reng, the melo: pn“The melodie progeston contnes wih the prewnly we vor. The 2 wddara Pesendide Saz Semaisi The ran Scr ws rte Suan lm ‘ Towle stat uw: eva) andGaeic) ahr: asenng Loan tone: ee ou toma sap ‘The composition bepns around the high tonic Gedanige (high dato the maka’ asceaing-dscending character, The mikm descends oR (Gand the Nishur aor on Basel Bs pressed The re alc ‘splayed on Neva (D) withthe Rast Moe (Bare 1-2) suspended cae ‘splayed on Basel 8) wih the Nigabur avo Ba 3). Aso suspen cadence i played on Dig (A) (Bar 4), The Rast for splayed on Rast 7 Cecetcnnon (G0, the ina eadence is payed on Ras (G) with the Rast favor Bars 5-6) SSS SS othe notes forthe mala Suna: ph, Buse, Grad, Neva, HOseya, Mahar, Gerdanije ee progression ofthe maka Suda begins with the Cah on ast (due tothe maka ascending characte, Dg (A) s ind aha adence splayed on the dominant Gareth (©). A modulation othe Hes worn its ong lacation (A achive singe Basel Morn sora lation (A andthe Hose Mayor seni (The melo progression conte nd the Hina adence 1 ast wth he Gary lorThe Hae favor ns oil lato (A) the mot hare suspended cadence ofthe alae This aor ha en ie ant ll ofthe maka Stadia compstons Alou the mala Sula semble Ro, thee tsp ‘between the to makams. For example nlhe Ras, whic extends wih ‘he as terachord below the tani, the maka Sula des no sly descend below Yep low’). not posible wo dierent the rakams dbz simile do no pea in he peformanc, ‘When performing the makar Suir, Sept (8 1 kom a) mst ‘played and Mahur (5 koma sharp) shod be payed correct n one vo properly ie the Carga favor on Neva (D). The lading tone Gevs {low F5komas sharp shouldbe used in persisting manner Ahovgh Neva (D)is he dominant in theory, Garg () is emphasized during he reac progesion of te maka. © 10" The tbsin ‘begins around the tonkc Rast (G) due to the makam's tending care | Aahon spend cadence played on Dag AP Suspend cadences ae play om Hosp (withthe Hasyn aor flowed th Hs vor en sey CE APA upended cadence i played on Cah (C withthe Cag avo. “Hapa (0 emptied wie Hl avr payed on ste IMP The Grp favors plied on Rs (6. sepende dec played Garth we Gui vor Th a cadence splayed omthe onic ast) ws the Cae avr In ode o beter comprehend the we fhe maka S ‘eamples by maer muscan are gion ae references ir, some ‘The st example ian analysis the Susidara asin and Sailr Se Sena by Tanbue Cera By “The melodic progression begins by emphasizing gah (A. The Mavs aston argh ().Cagihon Carga (C), Hoseyn on Hise (8), Hs ints orignal location (A, and Niki is orga lation (Ga w “The final cadence i played om Rat () with he Care favor, Second example the analjs of the mika Sula thsi by Necet Yasar ‘Theil cadences played on Garg (C wth the Gargth avo. The avs Buse ts orga Icon (4), Hasyn on Hseye (and ica ints ogi location (A) ae used, The Binal eadence splayed on as (G) wth the argh avo. ———————— lllKe Suzidilara Pesrey sar enk ‘se ent $5 Dai eeeet Toe fast) Dominant: eye gh) ste prudent ana Nees the secenary cra deo akan escenaingeaacte, baer: decening easing toe: eve Gon amas sh) Acts: tr kas sharp) onsrton: he kam hr isatrnspostn hearth ae onthe ast). Mer Grptnpenaies Garang ppt Themes ofthe nots fr he makam Mar, ath a Cah Ney, Mr, Gea, se, sel, Tis Cag, Tz Neva ‘The composition begins ron the ose Ra (Gu to he rakam's ascending character. suspended aden played om Hasey (E (Bars 12). The melodic progression cmtines wih the previously wed Mars, “The mala moves onto the Car Mave on Rast (6) (Bars 68). The ea favoron Dog (A) is sed at eng (Bare9-18), The argh vor on (Gs played aad th nal cadence played wit this favor (Bars 19-22) kam exter wich the Carp petachord above the high tone sive (igh). ioe: lode progression begins around the high onc Geri (high G) tothe male's descering character ante ih cadences played thine A suspended cadence spayed on Muhayer gh with Je sel vor singh Kang one Seba (Gems hp). A ended cadence splayed on Hey CE with he Buse favor using heeding one HD amass is peavey spend ‘dence om Mose withthe Hey Haver,Following this cadence, Aer (Fi pyed and another suspended cade is played on Cash (C) ih the Carl aoe. Pye onscuteythese two cadences moe os place the secon hal eence expected th dominant Neva (2), Une he domanant nts ofthe other mas, Neve {@)inthe maka Mahur tena emphasized wih aa eaence on New) Inthe compositions writen athe casi forms, spend calc played on Seg (BL oma ft) with dhe Sept and the Feranak rs “These dations ae alo ed inthe mya ecto ofthe amos ‘A speaded cadence splayed on Dagan (A withthe Buse aor wing the lang tone Zig (5 kor sharp. many eomposons nthe ‘maka Marte seal descends below the tonic to Hosey Asan ow 1 Ajump fom Hey gan aw Eto use (8 typi ofthe la ‘Mah The sae doesnot usally descend o Yes (aw D) which woul rot the character fe kam, In theory books, th malar Mahur is ugh sa ransposton of hea ‘Gareth, Akthongh ths not incor, the naam Mar as a comply ferent mood than ha of Gang, and bears larity othe male ‘Acer Ai (bch yet acter transposon othe kam Carga transposing sal dno produce ane rakam with is om charac, teaspoons would nit be ssningl Therefore the word el shoul te pred asa ro mame when casing the maka bt aang cola sade ora tetchord/perachord to anther note. Ants of the Maur Tain: (00°-04" the melodic progression bes ron th high ale Gen (high Gd to the makamis descending 10" The Buse favor played on Mulayyer igh A). The ft half cadence i played Gerda Chih Git the Crea #40" sod epee whe 0, 48° upended cade played on Carat wih he Cari ar 106" Neva (D) is emphasized, 2 ‘TW foal cadence i played onthe one Rast (6) withthe Gargth flavor. ae Mahur Pesrev potion begins around the high nic Gerda high G) devo is descending charace. The it half cadence payed on (high © oi he Ganga Mavor Bars 1-10). The melotic connie with the Ganga cle on Ras () (Bars 10-16). The gy aor wed on Heyl ( (Bar 17). A suspended cadence is don Neva (D) (ar 18. The fear splayed onthe tonic Rast. th he Carga favor,ere ‘When the makin Ne perfoned pay or completely following the ‘naar Maur, the mnkam Za produced. The al cadence can also tre played in the maka Mahar The pra of Tas makam so use he ‘Nike favor wn the kann abu oa of he Za Tks: Tonic Rist) Deiat: Aa cae splyedonthe primary nia Gera) th ie ar lina, Arter ace pa on te seo, erin awh the ast the ara ia. enor = Oesceting adn tone eves or Shama sha) ‘eleal : Moar F 5kons sap) Contin: We ki sais cmt wih te Matra inital lain (00™10" The tas begins aroun the hgh onic Gerdaniye high G) de tothe mala’ descending character. 35" The maar descends to Rast) wit he Nis favor. acdc {splayed on Gedaniye high G) wih the Garg avo. 45" Asuspended cadence payed on Garg (C) wih the Cag favor. “The Niki aor emplsied. The fal cadence i played on the tonic as (6) wih the Gaga vor: ‘he naes of the ates forthe man Zvi stan nah ‘as, Dogth, Buse, Carga, Neva, Hoseyn, Maur, Gendaiye oka ii ast igh, ik Ko, Nim ia, Neva Hse, ve, Gerda. tension: The makam extends above the high ori Gerdaniye igh G) wit he argh pentachorpase Zavil Saz Semaisi ‘The compeston bens around the high one Gerdanye (high @) du to ‘he makam’s descending character. The fst half cadence i payed on Gerda (igh with the Carga favor (Bars 1-3). The second half cadence splayed onthe dominant Neva (D) wih the Carga vor (ars 4-5). The Niaz favor i emphasized (Bars 64). The Nis Barf ws nul he supreme moment ofthe conelision ofthe maka, Theil «dence played onthe tonic Ras (G) with the Gags vor ar) “This surprising Carga favor in he inal cadence ofthe makam doesnot chang the fact hat the maka Za isbeing ptfommed. The final dense ofthis maha can be played wih eter the Garg o Nas Hor. Tle: Rast Bevor Ascending or asendr-descenig Denia Nev) eatin ton: ow Fe) ecletals £8 Hons at an Nim ea (ae sown one sta Tenct EF) ofl use in compost Cantina etch nits orga xatin ast Buse tetracord nner The nes of the ates forthe maka Mia: Rast, Dog, Dik Kd Nm Hz, Nea, Hosen, Aamo Ev, Gerdanipe Extension: ‘The malam Nieris eens below the tonic with the Ras etrachond on ‘Yegah Gow D). though its posible to bear junps ino the high register In Nik compostions, theres sly speaking no extension to the higher ocave Bahai: “The Niktspentachord i formed by alding «whole tp (tami) terval before the Haz tetahord The eling ha the Nir avo arouses i Are fom hat ofthe a sor ‘The ek pro es wh the Nat pertachon, some Wiz vith he Bask soon Nea),ae _ ‘The Bell (D-0I-G) and the Rast (D-78-) Naor on Neva () apy an ascending-descending atracon. The thd deyee ofthe tetrachord! on the dominant Neva (Di played ve (F8) when ascending and Acem (@ when descending on sae This vor, known as as wit Ace) favor, used i several maka, sch she makams Rast and Hae ‘The Sepa Masoron Se (8 1 koma sequen wed forthe man [ike Paying suspended cadence with this favor followed by a sun ‘tum othe Nile Naor bas become charters for the mak, nati othe Mri asin ‘The compeston begins around the toate Kast (G) de othe alam's sending character A shor al eaence is played onthe dominant Neva (©) @ar The Nik vor sed forthe reminder ofthe composton. “The melodic progression begins atound the tonic Rast () det he ‘The ral cadence is payed on Rast (G) wi he Nk vor rmakam’s ascending characte, 22" Al cadences played on the dominant Neva (D) “The Ex (Fis played in order 1 give ast ofthe Rat favor on New (0), and Rast wih Ace (F) Havor splayed 234" Asspended cadence splayed on Nn lca (C8) without any favor “he Mae favor ews forthe rrander fhe tas, The ina eadence te played on Rast (G) wih the Nz far.