2197:
2025:
1787:
1615:
1443:
1216:
1044:
806:
634:
462:
1945:
964:
2238:
2066:
1828:
1656:
1484:
1257:
1085:
847:
675:
503:
1934:
953:
2249:
2077:
1839:
1667:
1495:
1268:
1096:
858:
686:
514:
2737:; in the second (2), it consists of a Bûselik pentachord plus a Hicaz tetrachord on Hüseynî and is identical to A-harmonic minor. The tonic is A (Dügâh), the dominant Hüseynî (E), and the leading tone G-sharp (Nim Zirgüle). Additionally, when descending from the octave towards the tonic, the sixth (F, Acem) is sometimes sharpened to become F-sharp (Dik Acem), and the dominant (E, Hüseynî) flattened four commas to the note Hisar (1A). All these alternatives are shown below:
2509:
2208:
2036:
1798:
1626:
1454:
1388:
1227:
1055:
817:
645:
473:
407:
3193:
201:. Some theories suggest the origin of the makam to be the city of Mosul in Iraq. "Mula Othman Al-Musili," in reference to his city of origin, is said to have served in the Ottoman Palace in Istanbul and influenced Turkish Ottoman music. More distant modal relatives include those of Central Asian Turkic musics such as
2590:
to any note in the scale, so that the tonic A (Dügâh) of the Hicaz tetrachord, for example, can be moved up a major second (9 commas) to B (Bûselik), or in fact to any other note. The other notes of the tetrachord, of course, are also transposed along with the tonic, allowing the pattern to preserve
2894:
This makam consists of an Uşşâk tetrachord plus a Bûselik pentachord on the note Neva (D); this is labelled (1) below. The tonic is A (Dügâh), the dominant—here actually a subdominant—is D (Neva), and the leading tone—here actually a subtonic—is G (Rast). Additionally, there
2826:
This much-used makam—which is said to bring happiness and tranquility to the hearer—consists of a Rast pentachord plus a Rast tetrachord on the note Neva (D); this is labeled (1) below. The tonic is G (Rast), the dominant D (Neva), and the leading tone F-sharp (Irak). However, when
2599:
A makam, more than simply a selection of notes and intervals, is essentially a guide to compositional structure: any composition in a given makam will move through the notes of that makam in a more or less ordered way. This pattern is known in
Turkish as
322:
over two octaves (ordered from highest to lowest), the pitch in commas and cents relative to the lowest note (equivalent to
Western middle C), along with the nearest equivalent equal-temperament tone. The tones of the çârgâh scale are shown in bold.
3090:. "Unabridged reprint of the 1986 hard cover edition with updates, corrections, introduction, audio and other supplements". Originally published: Asian Music Publications, Series D: Monographs, no. 4. Seattle: Asian Music Publications, 1977.
2827:
descending from the octave towards the tonic, the leading tone is always flattened 4 commas to the note Acem (F), and thus a Bûselik tetrachord replaces the Rast tetrachord; this is labeled (2) below. Additionally, there is a development (
139:
Turkish classical music and
Turkish folk music are both based on modal systems. Makam is the name of the scale in classical music, while Ayak is the name of the scale in folk music. Makam and Ayak are similar; following are some examples:
2806:
The çârgâh makam though is very little used in
Turkish music, and in fact has at certain points of history been attacked for being a clumsy and unpleasant makam that can inspire those hearing it to engage in delinquency of various kinds.
281:. In fact, in the Western system of temperament, C-sharp and D-flat—which are functionally the same tone—are equivalent to 4.5 commas in the Turkish system; thus, they fall directly in the center of the line depicted above.
238:
293:
it might be in, in the
Turkish system the notes are—for the most part—individually named (although many are variations on a basic name); this can be seen in the following table, which covers the notes from
2733:
This makam has two basic forms: in the first basic form (1), it consists of a Bûselik pentachord plus a Kürdî tetrachord on the note Hüseynî (E) and is essentially the same as the
Western
2653:("dominant"), which is the first note of the second tetrachord or pentachord, and which is used as a temporary tonic in the middle of a piece (in this sense, it is somewhat similar to the
277:. Each whole tone is an interval equivalent to nine commas. The following figure gives the comma values of Turkish accidentals. In the context of the Arab maqam, this system is not of
220:-based music employs similar modal principles. Some scholars find echoes of Turkish makam in former Ottoman provinces of the Balkans. All of these concepts roughly correspond to
175:
There are some similarities between the rhythms used in
Turkish folk music and Turkish classical music, with respect to their forms, classification, and rhythmic patterns.
2634:
As stated above, makams are built of a tetrachord plus a pentachord (or vice versa), and in terms of this construction, there are three important notes in the makam:
3444:
3322:
2670:("leading tone"), which is most often the penultimate note of any piece and which resolves into the tonic; this is sometimes close to an actual Western
2196:
2024:
1786:
1614:
1442:
1215:
1043:
805:
633:
461:
2803:
starting on the note gerdâniye (G). Thus, the tonic is C (note çârgâh), the dominant is G (note gerdâniye), and the leading tone is B (note bûselik).
1944:
963:
312:
3136:
2547:
There are 6 basic tetrachords, named sometimes according to their tonic note and sometimes according to the tetrachord's most distinctive note:
3173:
3347:
2936:
3770:
2831:) in the makam's lower register, below the tonic, which consists of a Rast tetrachord on the note D (Yegâh); this is labeled (1A) below.
2895:
is a development in the makam's lower register, which consists of a Rast pentachord on the note D (Yegâh); this is labeled (1A) below.
2759:
2751:
2743:
3755:
3057:
2966:"https://www.pegem.net:TÜRK MUSİKÎSİ TEORİK VE UYGULAMALI BİLGİLERİNİN, EĞİTİM VE ÖĞRETİMDE VERİLEBİLMESİNE İLİŞKİN BİR MODEL ÖNERİSİ"
3117:
3102:
3087:
3072:
3042:
3018:
2853:
2845:
2837:
3007:
Maqām
Traditions of Turkic Peoples: Proceedings of the Fourth Meeting of the ICTM Study Group "maqām", Istanbul, 18–24 October 1998
3760:
3712:
2909:
2901:
2776:
3426:
2657:
pitches mentioned above in the context of Arab music). This use of the term "dominant" is not to be confused with the
Western
2646:"), which is the initial note of the first tetrachord or pentachord and which always concludes any piece written in the makam;
3013:
and Gisa Jähnishen, in collaboration with
Theodor Ogger and Ildar Kharissov, Berlin: trafo verlag Dr. Wolfgang Weist, 2006.
2237:
2065:
1827:
1655:
1483:
1256:
1084:
846:
674:
502:
3308:
3765:
3315:
2779:
In this and all subsequent staves, the tonic is indicated by a whole note and the dominant by a half note. T stands for
2666:
2795:
scale, but actually it is misleading to conceptualize a makam through Western music scales. Çârgâh makam consists of a
2248:
2076:
1933:
1838:
1666:
1494:
1267:
1095:
952:
857:
685:
513:
3582:
3462:
3166:
348:
3380:
3375:
2661:; while the güçlü is often the fifth scale degree, it can just as often be the fourth, and occasionally the third;
3750:
3679:
3508:
3615:
3592:
3137:
https://web.archive.org/web/20061215165158/http://www.turkmusikisi.com/osmanli_musikisi/the_ottoman_music.htm
3651:
3643:
68:
3633:
3625:
3577:
3549:
3544:
3745:
3720:
3661:
3572:
3352:
2931:
31:
3564:
3005:
Beken, Münir, and Karl Signell. "Confirming, delaying, and deceptive elements in Turkish improvisation,"
3607:
3536:
3159:
2587:
127:, etc.), all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is
3554:
3488:
2820:
361:
353:
262:
246:
2508:
75:. It provides a complex set of rules for composing and performance. Each makam specifies a unique
72:
2544:
in Turkish), which can occur either above or below (or both) the tonic and/or the highest note.
3687:
3597:
3521:
3113:
3098:
3083:
3068:
3053:
3038:
3014:
278:
3526:
3516:
3452:
2540:
exist but are rarely used). Additionally, most makams have what is known as a "development" (
3010:
2658:
311:
42:
3395:
3385:
3021:
2528:
Similar to the construction of maqamat noted above, a makam in Turkish music is built of a
3480:
3405:
2207:
2035:
1797:
1625:
1453:
1387:
1226:
1054:
816:
644:
472:
406:
198:
54:
3434:
2770:
3131:
Klasik Türk (Tasavvuf) Musikisi İlahi Peşrev Saz semaisi ve Taksim nota ve mp3 kayıtları
3587:
3242:
2889:
334:
289:
Unlike in Western music, where the note C, for example, is called C regardless of what
274:
76:
3739:
3498:
3331:
3279:
3237:
3097:(Turkish translation of above). Istanbul: Yapı Kredi Kültür Sanat Yayıncılık, 2006.
2643:
319:
266:
84:
3227:
3217:
2816:
2723:
2701:), which as the name implies are the simple makams transposed to a different tonic;
2671:
2524:) from the table above are here used to signal the intervals used in these patterns
2364:
The names and symbols of the different intervals are shown in the following table:
341:
221:
202:
188:
184:
128:
17:
2965:
2815:
For the related maqam, or more detail about the Turkish makam, respectively, see
2583:
There are also 6 basic pentachords with the same names with a tone (T) appended.
3493:
3470:
3252:
3247:
3232:
3222:
3182:
2914:
In Turkey, the particular call to prayer which occurs around noon and is called
2654:
210:
64:
2674:(either slightly sharper or slightly flatter) and sometimes close to a Western
3289:
2533:
2529:
250:
213:
2758:
2750:
2742:
2876:
2908:
2900:
3400:
3135:
Cinuçen Tanrıkorur, "The Ottoman Music", translated by Savaş Ş. Barkçin,
2675:
2537:
295:
2852:
2844:
2836:
2775:
3300:
3202:
2792:
2734:
254:
237:
3669:
3269:
3259:
2859:
2708:), which are a joining of differing makams and number in the hundreds
290:
123:
3390:
3274:
3264:
3207:
2864:
2774:
206:
193:
117:
183:
The Turkish makam system has some corresponding relationships to
3284:
3192:
2916:
217:
3304:
3155:
3151:
3130:
2870:
3141:
2604:(meaning basically, "route"), and there are three types of
224:
in Western music, although their compositional rules vary.
3146:
2682:
Additionally, there are three types of makam as a whole:
3022:
http://www.umbc.edu/eol/makam/2008Kongre/confirming.html
2868:
in Turkish) which occurs in the afternoon and is called
27:
System of melodic modes used in traditional Turkic music
3065:
Türk Mûsıkîsi Nazariyatı ve Usûlleri. Kudüm Velveleleri
2586:
It is worth keeping in mind that these patterns can be
2791:
This makam is thought to be identical to the Western
302:) to the same note two octaves above ("Tîz Çârgâh", C
261:
In Turkish music theory, the octave is divided into
135:
Comparison in use in Turkish classical to folk music
3711:
3700:
3678:
3660:
3642:
3624:
3606:
3563:
3535:
3507:
3479:
3461:
3443:
3425:
3414:
3361:
3338:
3082:. Nokomis FL (USA): Usul editions/Lulu.com., 2004.
2874:, as well as the day's final call to prayer called
2783:(tone) which is equal to 9 commas and B stands for
257:system) which is represented by 9 Holdrian commas.
3147:Sephardic Pizmonim Project- Jewish use of Makam
249:-based notation), as they are illustrated on a
241:The accidentals (sharps and flats) used by the
3095:Makam: Türk Sanat Musikisinde Makam Uygulaması
3316:
3167:
2922:is most often recited using the Uşşak makam.
8:
58:
2862:, the particular Muslim call to prayer (or
3708:
3422:
3323:
3309:
3301:
3174:
3160:
3152:
3080:Makam: Modal Practice in Turkish Art Music
2880:, are often recited using the Rast makam.
2507:
2366:
327:
236:
171:Müstezat veya Beşirî Ayağı: Mahur Makamı
2948:
3050:Makamlar: The Musical Scales of Turkey
107:, etc.) or a spontaneous composition (
3348:List of notes in Turkish makam theory
2937:List of notes in Turkish makam theory
2690:), almost all of which have a rising
7:
3112:. Istanbul: Çağlar Yayınları, 2001.
216:. North and South Indian classical
144:Yahyalı Kerem Ayağı: Hüseyni Makamı
59:
25:
179:Geographic and cultural relations
159:Tatyan Kerem Ayağı: Hüzzam Makamı
3191:
2907:
2899:
2851:
2843:
2835:
2757:
2749:
2741:
2516:) are on the left, pentachords (
2247:
2236:
2206:
2195:
2075:
2064:
2034:
2023:
1943:
1932:
1837:
1826:
1796:
1785:
1665:
1654:
1624:
1613:
1493:
1482:
1452:
1441:
1386:
1266:
1255:
1225:
1214:
1094:
1083:
1053:
1042:
962:
951:
856:
845:
815:
804:
684:
673:
643:
632:
512:
501:
471:
460:
405:
310:
153:Yanık Kerem Ayağı: Nikriz Makamı
150:Düz Kerem Ayağı: Karcığar Makamı
91:). Whether a fixed composition (
318:The following table gives the
1:
2520:) on the right. The symbols (
168:Kalenderi Ayağı: Sabâ Makamı
3771:Maqam-based music tradition
2787:which is equal to 4 commas.
156:Muhalif Ayağı: Segâh Makamı
87:) and melodic development (
3787:
2990:Urban Music in the Balkans
2887:
2814:
2768:
2721:
243:Arel-Ezgi-Uzdilek notation
165:Bozlak Ayağı: Kürdî Makamı
29:
3756:Turkish words and phrases
3198:
3189:
3035:Turkish music makam guide
2706:bileşik/mürekkep makamlar
162:Misket Ayağı: Eviç Makamı
147:Garip Ayağı: Hicaz Makamı
3052:. S.l.: Lulu.com, 2017.
3037:. Pan Yayıncılık, 2010.
2955:Beken and Signell 2006,.
2379:Value in terms of commas
253:("Do"–"Re" in the
3761:Ottoman classical music
69:Turkish classical music
3353:List of Turkish makams
3110:Türk Mûsıkîsi Dersleri
2932:List of Turkish makams
2788:
2525:
258:
233:Commas and accidentals
32:Maqam (disambiguation)
3063:Özkan, İsmail Hakkı.
2778:
2511:
240:
228:Makam building blocks
30:For other types, see
3364:Turkish makam theory
3341:Turkish makam theory
3332:Turkish makam theory
2992:. Tirana:ASMUS, 2006
2821:Rast (Turkish makam)
273:), specifically the
77:intervalic structure
3766:Turkish makam music
3680:Ferahnak tetrachord
2988:Shupo, Sokol, ed.,
2699:göçürülmüş makamlar
2697:transposed makams (
2500:) and pentachords (
18:Turkish makam music
3509:Hüseynî pentachord
3445:Buselik pentachord
2789:
2595:Basic makam theory
2526:
2383:Koma olarak değeri
359:Nearest equivalent
263:53 equal intervals
259:
73:Turkish folk music
3733:
3732:
3729:
3728:
3696:
3695:
3662:Nikriz pentachord
3644:Hüzzam tetrachord
3427:Çârgâh pentachord
3298:
3297:
3093:Signell, Karl L.
3078:Signell, Karl L.
3048:Mikosch, Thomas.
2801:çârgâh tetrachord
2797:çârgâh pentachord
2704:compound makams (
2536:, or vice versa (
2493:
2492:
2355:
2354:
349:Arel-Ezgi-Uzdilek
298:("Kaba Çârgâh", C
279:equal temperament
63:) is a system of
16:(Redirected from
3778:
3709:
3626:Segah tetrachord
3608:Hicaz tetrachord
3565:Uşşak tetrachord
3537:Hicaz pentachord
3463:Kürdî pentachord
3423:
3325:
3318:
3311:
3302:
3233:Ladder of thirds
3195:
3176:
3169:
3162:
3153:
3067:. Ötüken, 2000.
3033:Aydemir, Murat.
2993:
2986:
2980:
2979:
2977:
2975:
2970:
2962:
2956:
2953:
2911:
2903:
2855:
2847:
2839:
2761:
2753:
2745:
2626:falling-rising (
2367:
2323:
2322:
2314:
2313:
2303:
2302:
2294:
2293:
2272:
2271:
2263:
2262:
2252:
2251:
2241:
2240:
2211:
2210:
2200:
2199:
2151:
2150:
2142:
2141:
2131:
2130:
2122:
2121:
2100:
2099:
2091:
2090:
2080:
2079:
2069:
2068:
2039:
2038:
2028:
2027:
1948:
1947:
1937:
1936:
1913:
1912:
1904:
1903:
1893:
1892:
1884:
1883:
1862:
1861:
1853:
1852:
1842:
1841:
1831:
1830:
1801:
1800:
1790:
1789:
1741:
1740:
1732:
1731:
1721:
1720:
1712:
1711:
1690:
1689:
1681:
1680:
1670:
1669:
1659:
1658:
1629:
1628:
1618:
1617:
1569:
1568:
1560:
1559:
1549:
1548:
1540:
1539:
1518:
1517:
1509:
1508:
1498:
1497:
1487:
1486:
1457:
1456:
1446:
1445:
1391:
1390:
1342:
1341:
1333:
1332:
1322:
1321:
1313:
1312:
1291:
1290:
1282:
1281:
1271:
1270:
1260:
1259:
1230:
1229:
1219:
1218:
1170:
1169:
1161:
1160:
1150:
1149:
1141:
1140:
1119:
1118:
1110:
1109:
1099:
1098:
1088:
1087:
1058:
1057:
1047:
1046:
967:
966:
956:
955:
932:
931:
923:
922:
912:
911:
903:
902:
881:
880:
872:
871:
861:
860:
850:
849:
820:
819:
809:
808:
760:
759:
751:
750:
740:
739:
731:
730:
709:
708:
700:
699:
689:
688:
678:
677:
648:
647:
637:
636:
588:
587:
579:
578:
568:
567:
559:
558:
537:
536:
528:
527:
517:
516:
506:
505:
476:
475:
465:
464:
410:
409:
328:
314:
115:, recitation of
62:
61:
21:
3786:
3785:
3781:
3780:
3779:
3777:
3776:
3775:
3751:Music of Turkey
3736:
3735:
3734:
3725:
3713:Saba tetrachord
3704:
3702:
3692:
3674:
3656:
3638:
3620:
3602:
3559:
3555:Zirgüleli Hicaz
3531:
3503:
3481:Rast pentachord
3475:
3457:
3439:
3418:
3416:
3410:
3363:
3357:
3340:
3334:
3329:
3299:
3294:
3196:
3185:
3180:
3127:
3030:
3028:Further reading
3002:
2997:
2996:
2987:
2983:
2973:
2971:
2968:
2964:
2963:
2959:
2954:
2950:
2945:
2928:
2892:
2886:
2824:
2813:
2773:
2767:
2731:
2726:
2720:
2715:
2686:simple makams (
2597:
2591:its character.
2506:
2389:
2380:
2371:
2362:
2351:
2345:
2326:
2320:
2319:
2317:
2311:
2310:
2306:
2300:
2299:
2297:
2291:
2290:
2275:
2269:
2268:
2266:
2260:
2259:
2255:
2246:
2244:
2235:
2220:
2214:
2205:
2203:
2194:
2179:
2173:
2154:
2148:
2147:
2145:
2139:
2138:
2134:
2128:
2127:
2125:
2119:
2118:
2103:
2097:
2096:
2094:
2088:
2087:
2083:
2074:
2072:
2063:
2048:
2042:
2033:
2031:
2022:
2007:
2001:
1982:
1976:
1957:
1951:
1942:
1940:
1931:
1921:Dik Acem Aşîrân
1916:
1910:
1909:
1907:
1901:
1900:
1896:
1890:
1889:
1887:
1881:
1880:
1865:
1859:
1858:
1856:
1850:
1849:
1845:
1836:
1834:
1825:
1810:
1804:
1795:
1793:
1784:
1769:
1763:
1744:
1738:
1737:
1735:
1729:
1728:
1724:
1718:
1717:
1715:
1709:
1708:
1693:
1687:
1686:
1684:
1678:
1677:
1673:
1664:
1662:
1653:
1638:
1632:
1623:
1621:
1612:
1597:
1591:
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531:
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524:
520:
511:
509:
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485:
479:
470:
468:
459:
444:
438:
419:
413:
404:
394:Tîz Dik Bûselik
389:
383:
360:
351:
345:above middle C
344:
338:above middle C
337:
305:
301:
287:
235:
230:
199:Byzantine music
181:
137:
35:
28:
23:
22:
15:
12:
11:
5:
3784:
3782:
3774:
3773:
3768:
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3748:
3738:
3737:
3731:
3730:
3727:
3726:
3724:
3723:
3717:
3715:
3706:
3703:based on their
3701:Complex Makams
3698:
3697:
3694:
3693:
3691:
3690:
3684:
3682:
3676:
3675:
3673:
3672:
3666:
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3456:
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3440:
3438:
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3431:
3429:
3420:
3417:based on their
3412:
3411:
3409:
3408:
3403:
3398:
3393:
3388:
3383:
3378:
3373:
3367:
3365:
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3328:
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3320:
3313:
3305:
3296:
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3293:
3292:
3287:
3282:
3277:
3272:
3267:
3262:
3257:
3256:
3255:
3250:
3248:Shout-and-fall
3245:
3243:Melodic motion
3240:
3235:
3230:
3220:
3215:
3210:
3205:
3199:
3197:
3190:
3187:
3186:
3181:
3179:
3178:
3171:
3164:
3156:
3150:
3149:
3144:
3139:
3133:
3126:
3125:External links
3123:
3122:
3121:
3108:Yılmaz, Zeki.
3106:
3091:
3076:
3061:
3058:978-0244325602
3046:
3029:
3026:
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3024:
3001:
2998:
2995:
2994:
2981:
2957:
2947:
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2944:
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2940:
2939:
2934:
2927:
2924:
2890:Bayati (maqam)
2885:
2882:
2812:
2809:
2769:Main article:
2766:
2763:
2730:
2727:
2719:
2716:
2714:
2711:
2710:
2709:
2702:
2695:
2688:basit makamlar
2680:
2679:
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2647:
2632:
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2617:
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2464:
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2456:büyük mücenneb
2452:
2451:
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2445:
2443:kücük mücenneb
2439:
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2280:Kaba Nim Hicâz
2277:
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2264:
2256:
2253:
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2232:
2229:
2226:
2222:
2221:
2218:
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2212:
2201:
2191:
2188:
2185:
2184:Kaba Dik Hicâz
2181:
2180:
2177:
2174:
2171:
2168:
2165:
2162:
2156:
2155:
2152:
2143:
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2132:
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2115:
2112:
2109:
2108:Kaba Nim Hisâr
2105:
2104:
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2092:
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2070:
2060:
2057:
2054:
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2049:
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2029:
2019:
2016:
2013:
2012:Kaba Dik Hisâr
2009:
2008:
2005:
2002:
1999:
1996:
1993:
1990:
1988:Hüseynî Aşîrân
1984:
1983:
1980:
1977:
1974:
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275:Holdrian comma
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3:
2:
3783:
3772:
3769:
3767:
3764:
3762:
3759:
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3752:
3749:
3747:
3746:Modes (music)
3744:
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3722:
3719:
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3716:
3714:
3710:
3707:
3699:
3689:
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3528:
3525:
3523:
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3515:
3514:
3512:
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3506:
3500:
3499:Basit Suzinak
3497:
3495:
3492:
3490:
3487:
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3484:
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3478:
3472:
3469:
3468:
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3158:
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3154:
3148:
3145:
3143:
3140:
3138:
3134:
3132:
3129:
3128:
3124:
3119:
3118:975-95729-1-5
3115:
3111:
3107:
3104:
3103:975-08-1080-5
3100:
3096:
3092:
3089:
3088:0-9760455-0-8
3085:
3081:
3077:
3074:
3073:975-437-017-6
3070:
3066:
3062:
3059:
3055:
3051:
3047:
3044:
3043:9789944396844
3040:
3036:
3032:
3031:
3027:
3023:
3020:
3019:3-89626-657-8
3016:
3012:
3011:Jürgen Elsner
3008:
3004:
3003:
2999:
2991:
2985:
2982:
2967:
2961:
2958:
2952:
2949:
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2782:
2777:
2772:
2764:
2762:
2760:
2754:
2752:
2746:
2744:
2738:
2736:
2729:Bûselik makam
2728:
2725:
2717:
2713:Simple makams
2712:
2707:
2703:
2700:
2696:
2693:
2689:
2685:
2684:
2683:
2677:
2673:
2669:
2668:
2663:
2660:
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2648:
2645:
2641:
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2629:
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2622:
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2615:
2611:
2610:
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2592:
2589:
2584:
2579:
2576:
2573:
2570:
2568:
2565:
2563:
2560:
2558:
2555:
2553:
2550:
2549:
2548:
2545:
2543:
2539:
2535:
2532:built atop a
2531:
2523:
2519:
2515:
2512:Tetrachords (
2510:
2503:
2499:
2496:Tetrachords (
2495:
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2475:
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2470:
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2407:
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2378:
2375:
2370:Interval Name
2369:
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2216:
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2182:
2175:
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2166:
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2158:
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2136:
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2110:
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2106:
2085:
2078:
2067:
2061:
2058:
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2044:
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2026:
2020:
2017:
2014:
2011:
2010:
2003:
1997:
1994:
1991:
1989:
1986:
1985:
1978:
1972:
1969:
1966:
1964:
1961:
1960:
1953:
1946:
1935:
1929:
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118:Kuran-ı Kerim
114:
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106:
102:
98:
94:
90:
86:
82:
78:
74:
70:
66:
56:
52:
48:
44:
40:
39:Turkish makam
33:
19:
3415:Basic Makams
3370:
3228:Double tonic
3212:
3183:Melody types
3109:
3094:
3079:
3064:
3049:
3034:
3009:, edited by
3006:
2989:
2984:
2972:. Retrieved
2960:
2951:
2917:
2915:
2913:
2905:
2897:
2893:
2875:
2869:
2863:
2857:
2849:
2841:
2833:
2828:
2825:
2817:Rast (maqam)
2805:
2800:
2796:
2790:
2784:
2780:
2765:Çârgâh makam
2755:
2747:
2739:
2732:
2724:Ajam (maqam)
2705:
2698:
2691:
2687:
2681:
2672:leading tone
2665:
2650:
2639:
2633:
2628:inici-çıkıcı
2627:
2620:
2613:
2605:
2601:
2598:
2585:
2582:
2577:
2571:
2566:
2561:
2556:
2551:
2546:
2541:
2527:
2521:
2517:
2513:
2501:
2497:
2481:
2468:
2455:
2442:
2429:
2417:eksik bakiye
2416:
2403:
2399:
2391:
2382:
2374:Aralığın adı
2373:
2363:
2331:
2159:
1987:
1962:
1749:
1577:
1405:
1350:
1178:
1006:
981:
768:
596:
424:
369:
352:notation of
317:
288:
270:
260:
242:
192:
189:Arabic music
182:
174:
138:
122:
116:
112:
108:
104:
100:
96:
92:
88:
80:
65:melody types
50:
46:
38:
36:
3705:lower çeşni
3494:Acemli Rast
3419:lower çeşni
3362:Concepts in
3339:Lists about
3253:Tune-family
3223:Modal frame
3142:Maqam World
2884:Uşşâk makam
2482:artık ikili
2332:Kaba Çârgâh
1963:Acem Aşîrân
1698:Nim Zirgüle
1602:Dik Zirgüle
1375:Dik Bûselik
490:Dik Sünbüle
425:Tîz Bûselik
53:; from the
3740:Categories
3290:Shashmaqam
2888:See also:
2811:Rast makam
2722:See also:
2718:Acem makam
2588:transposed
2534:pentachord
2530:tetrachord
2225:Kaba Hicâz
2053:Kaba Hisâr
1774:Dik Gevest
717:Nim Şehnâz
621:Dik Şehnâz
370:Tîz Çârgâh
331:Tone name
251:major tone
214:shashmakom
2829:genişleme
2619:falling (
2542:genişleme
2538:trichords
2498:dörtlüler
2360:Intervals
1471:Dik Kürdi
1299:Nim Hicâz
1203:Dik Hicâz
1127:Nim Hisâr
1031:Dik Hisâr
793:Dik Mâhûr
769:Gerdâniye
449:Tîz Segâh
265:known as
3688:Ferahnak
3598:Karcığar
3522:Muhayyer
2974:26 March
2926:See also
2676:subtonic
2659:dominant
2612:rising (
2502:beşliler
2321:♭
2312:♯
2301:♭
2292:♯
2270:♭
2261:♯
2149:♭
2140:♯
2129:♭
2120:♯
2098:♭
2089:♯
1911:♭
1902:♯
1891:♭
1882:♯
1860:♭
1851:♯
1739:♭
1730:♯
1719:♭
1710:♯
1688:♭
1679:♯
1567:♭
1558:♯
1547:♭
1538:♯
1516:♭
1507:♯
1340:♭
1331:♯
1320:♭
1311:♯
1289:♭
1280:♯
1168:♭
1159:♯
1148:♭
1139:♯
1117:♭
1108:♯
940:Dik Acem
930:♭
921:♯
910:♭
901:♯
879:♭
870:♯
758:♭
749:♯
738:♭
729:♯
707:♭
698:♯
597:Muhayyer
586:♭
577:♯
566:♭
557:♯
535:♭
526:♯
296:middle C
83:meaning
67:used in
51:makamlar
3616:Hümayün
3593:Isfahân
3527:Gülizâr
3517:Hüseyni
3453:Buselik
3203:Dastgah
3000:Sources
2793:C-major
2735:A-minor
2557:Bûselik
2486:12 - 13
1643:Zirgüle
1406:Bûselik
1007:Hüseynî
545:Sünbüle
255:solfege
81:cinsler
43:Turkish
3670:Nikriz
3652:Hüzzam
3588:Bayatî
3435:Çârgâh
3270:Pathet
3260:Mugham
3116:
3101:
3086:
3071:
3056:
3041:
3017:
2871:Ikindi
2860:Turkey
2799:and a
2785:bakiye
2781:tanini
2771:Çârgâh
2614:çıkıcı
2552:Çârgâh
2514:dörtlü
2469:tanîni
2430:bakiye
2388:Symbol
1815:Gevest
1351:Çârgâh
662:Şehnâz
362:12-ΤΕΤ
354:53-ΤΕΤ
335:Commas
291:octave
267:commas
209:” and
203:Uyghur
185:maqams
124:Mevlid
113:taksim
101:peşrev
85:genera
55:Arabic
3634:Segah
3583:Uşşak
3578:Tahir
3550:Uzzal
3545:Hicaz
3471:Kürdî
3401:Geçki
3396:Çeşni
3391:Yeden
3386:Seyir
3381:Güçlü
3376:Durak
3371:Makam
3280:Radif
3275:Qupai
3265:Muqam
3238:Level
3218:Maqam
3213:Makam
3208:Echos
2969:(PDF)
2943:Notes
2877:Yatsı
2692:seyir
2667:yeden
2655:axial
2651:güçlü
2644:tonic
2640:durak
2621:inici
2606:seyir
2602:seyir
2572:Hicaz
2567:Uşşâk
2562:Kürdî
2522:simge
2518:beşli
2404:fazla
2392:Simge
2160:Yegâh
1578:Dügâh
1526:Kürdi
1430:Segâh
1244:Hicâz
1072:Hisâr
834:Mâhûr
364:tone
356:tone
342:Cents
320:tones
285:Notes
247:53TET
211:Uzbek
207:muqam
194:echos
109:gazel
97:şarkı
93:beste
89:seyir
57:word
47:makam
3721:Saba
3573:Neva
3489:Rast
3406:Şedd
3285:Raga
3114:ISBN
3099:ISBN
3084:ISBN
3069:ISBN
3054:ISBN
3039:ISBN
3015:ISBN
2976:2017
2918:Öğle
2906:1A)
2865:ezan
2842:1A)
2819:and
2756:1A)
2664:the
2649:the
2638:the
2578:Rast
2400:koma
1870:Irak
1750:Rast
1477:1019
1436:1087
1413:1109
1381:1177
1358:1200
1305:1291
1250:1313
1209:1381
1186:1404
1179:Nevâ
1133:1494
1078:1517
1037:1585
1014:1608
989:1698
982:Acem
946:1721
895:1789
889:Eviç
840:1811
799:1879
776:1902
723:1992
668:2015
627:2083
604:2106
551:2196
496:2219
455:2287
432:2309
400:2377
377:2400
271:koma
222:mode
218:raga
191:and
129:usul
105:âyin
71:and
60:مقام
49:pl.
37:The
2898:1)
2858:In
2850:2)
2834:1)
2748:2)
2740:1)
2574:and
2402:or
2318:/ D
2298:/ D
2267:/ D
2245:/ D
2231:113
2204:/ D
2190:181
2167:204
2146:/ E
2126:/ E
2114:294
2095:/ E
2073:/ E
2059:317
2032:/ E
2018:385
1995:408
1970:498
1941:/ G
1927:521
1908:/ G
1888:/ G
1876:589
1857:/ G
1835:/ G
1821:611
1794:/ G
1780:679
1757:702
1736:/ A
1716:/ A
1704:792
1685:/ A
1663:/ A
1649:815
1622:/ A
1608:883
1585:906
1564:/ B
1544:/ B
1532:996
1513:/ B
1491:/ B
1337:/ D
1317:/ D
1286:/ D
1264:/ D
1223:/ D
1165:/ E
1145:/ E
1114:/ E
1092:/ E
1051:/ E
960:/ G
927:/ G
907:/ G
876:/ G
854:/ G
813:/ G
755:/ A
735:/ A
704:/ A
682:/ A
641:/ A
583:/ B
563:/ B
532:/ B
510:/ B
469:/ B
452:101
429:102
397:105
374:106
306:):
245:(a
197:in
187:in
3742::
2642:("
2623:);
2616:);
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2286:91
2111:13
2056:14
2015:17
1992:18
1967:22
1924:23
1873:26
1818:27
1777:30
1754:31
1701:35
1646:36
1605:39
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1529:44
1474:45
1450:/B
1433:48
1410:49
1378:52
1355:53
1302:57
1247:58
1206:61
1183:62
1130:66
1075:67
1034:70
1011:71
986:75
943:76
892:79
837:80
796:83
773:84
720:88
665:89
624:92
601:93
548:97
493:98
131:.
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111:,
103:,
99:,
95:,
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3075:.
3060:.
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2694:;
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2325:4
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2265:4
2258:C
2254:4
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2228:5
2219:4
2217:D
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2193:C
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2133:4
2124:4
2117:D
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2071:4
2062:D
2047:4
2045:E
2041:4
2030:4
2021:D
2006:4
2004:E
2000:4
1998:E
1981:4
1979:F
1975:4
1973:F
1956:4
1954:F
1950:4
1939:4
1930:F
1915:4
1906:4
1899:F
1895:4
1886:4
1879:F
1864:4
1855:4
1848:F
1844:4
1833:4
1824:F
1809:4
1807:G
1803:4
1792:4
1783:F
1768:4
1766:G
1762:4
1760:G
1743:4
1734:4
1727:G
1723:4
1714:4
1707:G
1692:4
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1676:G
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1661:4
1652:G
1637:4
1635:A
1631:4
1620:4
1611:G
1596:4
1594:A
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1588:A
1571:4
1562:4
1555:A
1551:4
1542:4
1535:A
1520:4
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1504:A
1500:4
1489:4
1480:A
1465:4
1463:B
1459:4
1448:4
1439:A
1424:4
1422:B
1418:4
1416:B
1399:5
1397:C
1393:5
1384:C
1369:5
1367:C
1363:5
1361:C
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1328:C
1324:5
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1277:C
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1262:5
1253:C
1238:5
1236:D
1232:5
1221:5
1212:C
1197:5
1195:D
1191:5
1189:D
1172:5
1163:5
1156:D
1152:5
1143:5
1136:D
1121:5
1112:5
1105:D
1101:5
1090:5
1081:D
1066:5
1064:E
1060:5
1049:5
1040:D
1025:5
1023:E
1019:5
1017:E
1000:5
998:F
994:5
992:F
975:5
973:F
969:5
958:5
949:F
934:5
925:5
918:F
914:5
905:5
898:F
883:5
874:5
867:F
863:5
852:5
843:F
828:5
826:G
822:5
811:5
802:F
787:5
785:G
781:5
779:G
762:5
753:5
746:G
742:5
733:5
726:G
711:5
702:5
695:G
691:5
680:5
671:G
656:5
654:A
650:5
639:5
630:G
615:5
613:A
609:5
607:A
590:5
581:5
574:A
570:5
561:5
554:A
539:5
530:5
523:A
519:5
508:5
499:A
484:5
482:B
478:5
467:5
458:A
443:5
441:B
437:5
435:B
418:6
416:C
412:6
403:C
388:6
386:C
382:6
380:C
304:6
300:4
269:(
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79:(
41:(
34:.
20:)
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