Editing Turkish makam

{{short description|System of melodic modes used in traditional Turkic music}}
{{For|other types|Maqam (disambiguation)}}The '''Turkish makam''' ([[Turkish language|Turkish]]: ''makam'' pl. ''makamlar''; from the [[Arabic language|Arabic]] word ''maqām'' {{lang|ar|مقام}}) is a system of [[melody type]]s 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 [[Musical tuning|intervalic structure]] (''cinsler'' meaning [[genus (music)|genera]]) and melodic development (''seyir'').<ref>Beken and Signell 2006,{{Page needed|date=October 2017}}.</ref> Whether a fixed composition (''[[Beste (Turkish music)|beste]]'', ''[[şarkı]]'', ''[[peşrev]]'', ''[[Ceremony|âyin]]'', etc.) or a spontaneous composition (''[[gazel]]'', ''[[Taqsim|taksim]]'', recitation of ''[[Quran|Kuran-ı Kerim]]'', ''[[Mawlid|Mevlid]]'', etc.), all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is [[Usul (music)|usul]].

== Geographic and cultural relations ==
The Turkish makam system has some corresponding relationships to [[Arabic maqam|maqams]] in [[Arabic music]] and ''[[echos]]'' in [[Byzantine music]]. 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 court|Ottoman Palace]] in Istanbul and influenced [[Ottoman music|Turkish Ottoman music]]. More distant modal relatives include those of Central Asian Turkic musics such as [[Uyghur music|Uyghur]] “[[muqam]]” and [[Uzbek music|Uzbek]] [[shashmakom]]. North and South Indian classical [[raga]]-based music employs similar modal principles. Some scholars find echoes of Turkish makam in former Ottoman provinces of the Balkans.<ref>Shupo, Sokol, ed., ''Urban Music in the Balkans''. Tirana:ASMUS, 2006</ref> All of these concepts roughly correspond to [[musical mode|mode]] in [[Classical music|Western classical music]], although their compositional rules vary.
==Similarities between Turkish classical and folk music==
Turkish classical music and Turkish folk music are both based on [[Mode (music)|modal systems]]. ''Makam'' is the name of the scale in classical music, while ''Ayak'' (''Ayağı'') is the name of the scale in folk music. Makam and Ayak are similar; following are some examples:

*Yahyalı Kerem Ayağı: Hüseyni Makamı
*Garip Ayağı: Hicaz Makamı
*Düz Kerem Ayağı: Karcığar Makamı
*Yanık Kerem Ayağı: Nikriz Makamı
*Muhalif Ayağı: Segâh Makamı
*Tatyan Kerem Ayağı: Hüzzam Makamı
*Misket Ayağı: Eviç Makamı
*Bozlak Ayağı: Kürdî Makamı
*Kalenderi Ayağı: Sabâ Makamı
*Müstezat veya Beşirî Ayağı: Mahur Makamı

There are some similarities between the [[Rhythm|rhythms]] used in Turkish folk music and Turkish classical music, with respect to their forms, classification, and rhythmic patterns.<ref>{{cite web |title=TÜRK MUSİKÎSİ TEORİK VE UYGULAMALI BİLGİLERİNİN, EĞİTİM VE ÖĞRETİMDE VERİLEBİLMESİNE İLİŞKİN BİR MODEL ÖNERİSİ |url=https://www.pegem.net/dosyalar/dokuman/421.pdf |archive-url=https://web.archive.org/web/20120617010423/http://www.pegem.net/dosyalar/dokuman/421.pdf |url-status=dead |archive-date=June 17, 2012 |access-date=26 March 2017}}</ref>

==Makam building blocks==

===Commas and accidentals===

In Turkish music theory, the octave is divided into [[53 equal temperament|53 equal intervals]] known as [[comma (music)|comma]]s (''koma''), specifically the [[Holdrian comma]]. Each whole tone is an interval equivalent to nine commas. In practice, only 24 of the 53 commas are used, as highlighted in the figure and table below. The following figure gives the comma values of Turkish accidentals. In the context of the Arab maqam, this system is not of [[equal temperament]]. In fact, in the Western system of temperament, C-sharp and D-flat&mdash;which are functionally the same tone&mdash;are equivalent to 4.5 commas in the Turkish system; thus, they fall directly in the center of the line depicted above.

===Accidentals===
[[Image:Comma Line.svg|400px|thumb|The accidentals (sharps and flats) used by the '''Arel-Ezgi-Uzdilek notation''' (a [[53 equal temperament|53TET]]-based notation), as they are illustrated on a [[major tone]] ("Do"&ndash;"Re" in the [[solfege]] system) which is represented by 9 Holdrian commas.]]

Arel-Ezgi-Uzdilek notation adds 6 accidentals in addition to Western music theory's 4 accidentals. Note that the commonly used quarter-tone symbols {{music|halfflat}} and {{music|halfsharp}} are used in this system to indicate a tone's adjusting with a ''koma'', not a quarter-tone, like in [[Arabic maqam]] and [[Helmholtz-Ellis notation]]. ''Makam Rast'' is therefore notated in the "same" in Arabic and Turkish music, but Turkish Rast's third is a just major third, not a [[neutral third]].

{| class="wikitable" style="text-align: center;"
|-
! Accidental
| [[Image:Arabic music notation half sharp.svg|25px]] || [[Image:Sharp.svg|25px]] || [[Image:ArelEzgiUzdilek kuçuk sharp.svg|25px]] || [[Image:ArelEzgiUzdilek büyük mücenneb sharp.svg|25px]] || [[Image:DoubleSharp.svg|25px]]
|-
! Function
| 1 koma sharp || 4 komas sharp || 5 komas sharp || 8 komas sharp || 9 komas=<br>whole tone sharp
|-
! Accidental
| [[Image:Doubleflat.svg|25px]] || [[Image:ArelEzgiUzdilek büyük mücenneb flat.svg|25px]] || [[Image:Flat.svg|25px]] || [[Image:Arabic music notation half flat.svg|25px]] || [[Image:Llpd-½.svg|25px]] 
|-
! Function
| 9 komas=<br>whole tone flat || 8 komas flat || 5 komas flat || 4 komas flat || 1 koma flat
|}

===Notes===
Unlike in Western music, where the note&nbsp;C, for example, is called 'C' regardless of what [[octave]] 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 [[middle C]] ("Kaba Çârgâh", C{{sub|4}}) to the same note two octaves above ("Tîz Çârgâh", C{{sub|6}}):

:[[Image:Turkish Note Names (small).jpg]]

The following table gives the [[pitch (music)|tones]] over two octaves (ordered from highest to lowest), the pitch in commas and cents relative to the lowest note (equivalent to Western middle&nbsp;C), along with the nearest equivalent equal-temperament tone. The tones of the Çârgâh scale are shown in bold.

:{| class="wikitable" style="text-align:center"
! Tone name
! [[Holdrian comma|Commas]]<br>above middle C
! [[cent (music)|Cents]]<br>above middle C
! [https://www.w3.org/2019/03/smufl13/tables/arel-ezgi-uzdilek-aeu-accidentals.html Arel-Ezgi-Uzdilek]<br>notation of [[53 equal temperament|53-ΤΕΤ]] tone
! Nearest equivalent<br>[[12 equal temperament|12-ΤΕΤ]] tone
|- style="background-color:lavender"
| '''Tîz Çârgâh''' || 106 || 2400 || C{{sub|6}} || C{{sub|6}}
|-
| Tîz Dik Bûselik || 105 || 2377 || C{{su|p={{music|d}}|b=6}} || C{{sub|6}}
|- style="background-color:lavender"
| '''Tîz Bûselik'''|| 102 || 2309 || B{{sub|5}} || B{{sub|5}}
|-
| Tîz Segâh || 101 || 2287 || A{{su|p={{music|buyuksharp}}|b=5}} / B{{su|p={{music|d}}|b=5}} || B{{sub|5}} 
|-
| Dik Sünbüle || 98 || 2219 || A{{su|p={{music|kucuksharp}}|b=5}} / B{{su|p={{music|flatstroke}}|b=5}} || A{{su|p={{music|sharp}}|b=5}} / B{{su|p={{music|flat}}|b=5}}
|-
| Sünbüle || 97 || 2196 || A{{su|p={{music|sharp}}|b=5}} / B{{su|p={{music|flat}}|b=5}} || A{{su|p={{music|sharp}}|b=5}} / B{{su|p={{music|flat}}|b=5}}
|- style="background-color:lavender"
|'''Muhayyer''' || 93 || 2106 || A{{sub|5}} || A{{sub|5}}
|-
| Dik Şehnâz || 92 || 2083 || G{{su|p={{music|buyuksharp}}|b=5}} / A{{su|p={{music|d}}|b=5}} || A{{sub|5}}
|-
| Şehnâz || 89 || 2015 || G{{su|p={{music|kucuksharp}}|b=5}} / A{{su|p={{music|flatstroke}}|b=5}} ||G{{su|p={{music|sharp}}|b=5}} / A{{su|p={{music|flat}}|b=5}}
|-
| Nim Şehnâz || 88 || 1992 || G{{su|p={{music|sharp}}|b=5}} / A{{su|p={{music|b}}|b=5}} || G{{su|p={{music|sharp}}|b=5}} / A{{su|p={{music|flat}}|b=5}}
|- style="background-color:lavender"
| '''Gerdâniye''' || 84 || 1902 || G{{sub|5}} || G{{sub|5}}
|-
| Dik Mâhûr || 83 || 1879 || F{{su|p={{music|buyuksharp}}|b=5}} / G{{su|p={{music|d}}|b=5}} || G{{sub|5}}
|-
| Mâhûr || 80 || 1811 || F{{su|p={{music|kucuksharp}}|b=5}} / G{{su|p={{music|flatstroke}}|b=5}} || F{{su|p={{music|#}}|b=5}} / G{{su|p={{music|b}}|b=5}}
|-
| Eviç || 79 || 1789 || F{{su|p={{music|sharp}}|b=5}} / G{{su|p={{music|flat}}|b=5}} || F{{su|p={{music|sharp}}|b=5}} / G{{su|p={{music|flat}}|b=5}}
|-
| Dik Acem || 76 || 1721 || F{{su|p={{music|halfsharp}}|b=5}} / G{{su|p={{music|buyukflat}}|b=5}} || F{{sub|5}}
|- style="background-color:lavender"
| '''Acem''' || 75 || 1698 || F{{sub|5}} || F{{sub|5}}
|- style="background-color:lavender"
| '''Hüseynî''' || 71 || 1608 || E{{sub|5}} || E{{sub|5}}
|-
| Dik Hisâr || 70 || 1585 || D{{su|p={{music|buyuksharp}}|b=5}} / E{{su|p={{music|d}}|b=5}} || E{{sub|5}}
|-
| Hisâr || 67 || 1517 || D{{su|p={{music|kucuksharp}}|b=5}} / E{{su|p={{music|flatstroke}}|b=5}} || D{{su|p={{music|sharp}}|b=5}} / E{{su|p={{music|flat}}|b=5}}
|-
| Nim Hisâr || 66 || 1494 || D{{su|p={{music|sharp}}|b=5}} / E{{su|p={{music|flat}}|b=5}} || D{{su|p={{music|sharp}}|b=5}} / E{{su|p={{music|flat}}|b=5}}
|- style="background-color:lavender"
| '''Nevâ''' || 62 || 1404 || D{{sub|5}} || D{{sub|5}}
|-
| Dik Hicâz || 61 || 1381 || C{{su|p={{music|buyuksharp}}|b=5}} / D{{su|p={{music|d}}|b=5}} || D{{sub|5}}
|-
| Hicâz    || 58 || 1313 || C{{su|p={{music|kucuksharp}}|b=5}} / D{{su|p={{music|flatstroke}}|b=5}} || C{{su|p={{music|sharp}}|b=5}} / D{{su|p={{music|flat}}|b=5}}
|-
| Nim Hicâz || 57 || 1291 || C{{su|p={{music|sharp}}|b=5}} / D{{su|p={{music|flat}}|b=5}} || C{{su|p={{music|sharp}}|b=5}} / D{{su|p={{music|flat}}|b=5}}
|- style="background-color:lavender"
| '''Çârgâh''' || 53 || 1200 || C{{sub|5}} || C{{sub|5}}
|-
| Dik Bûselik || 52 || 1177 || C{{su|p={{music|d}}|b=5}} || C{{sub|5}}
|- style="background-color:lavender"
| '''Bûselik''' || 49 || 1109 || B{{sub|4}} || B{{sub|4}}
|-
| Segâh    || 48 || 1087 || A{{su|p={{music|buyuksharp}}|b=4}} / B{{su|p={{music|d}}|b=4}} || B{{sub|4}}
|-
| Dik Kürdi||45||1019 || A{{su|p={{music|kucuksharp}}|b=4}} / B{{su|p={{music|flatstroke}}|b=4}} || A{{su|p={{music|sharp}}|b=4}} / B{{su|p={{music|flat}}|b=4}}
|-
| Kürdi    ||44||996 || A{{su|p={{music|sharp}}|b=4}} / B{{su|p={{music|flat}}|b=4}} || A{{su|p={{music|sharp}}|b=4}} / B{{su|p={{music|flat}}|b=4}}
|- style="background-color:lavender"
| '''Dügâh'''    ||40||906  ||A {{sub|4}} || A{{sub|4}}
|-
| Dik Zirgüle ||39||883 || G{{su|p={{music|buyuksharp}}|b=4}} / A{{su|p={{music|d}}|b=4}} || A{{sub|4}}
|-
| Zirgüle     ||36||815 || G{{su|p={{music|kucuksharp}}|b=4}} / A{{su|p={{music|flatstroke}}|b=4}} || G{{su|p={{music|sharp}}|b=4}} / A{{su|p={{music|flat}}|b=4}}
|-
| Nim Zirgüle ||35||792 || G{{su|p={{music|sharp}}|b=4}} / A{{su|p={{music|flat}}|b=4}} || G{{su|p={{music|sharp}}|b=4}} / A{{su|p={{music|flat}}|b=4}}
|- style="background-color:lavender"
| '''Rast''' || 31 || 702 || G{{sub|4}} || G{{sub|4}}
|-
| Dik Gevest||30||679|| F{{su|p={{music|buyuksharp}}|b=4}} / G{{su|p={{music|d}}|b=4}} ||G{{sub|4}}
|-
| Gevest         || 27 || 611 || F{{su|p={{music|kucuksharp}}|b=4}} / G{{su|p={{music|flatstroke}}|b=4}} || F{{su|p={{music|sharp}}|b=4}} / G{{su|p={{music|flat}}|b=4}}
|-
| Irak           || 26 || 589 || F{{su|p={{music|sharp}}|b=4}} / G{{su|p={{music|flat}}|b=4}} || F{{su|p={{music|sharp}}|b=4}} / G{{su|p={{music|flat}}|b=4}}
|-
| Dik Acem Aşîrân || 23 || 521 || F{{su|p={{music|halfsharp}}|b=4}} / G{{su|p={{music|buyukflat}}|b=4}} || F{{sub|4}}
|- style="background-color:lavender"
| '''Acem Aşîrân''' || 22 || 498 || F{{sub|4}} || F{{sub|4}}
|- style="background-color:lavender"
| '''Hüseynî Aşîrân''' || 18 || 408 || E{{sub|4}} || E{{sub|4}}
|-
| Kaba Dik Hisâr || 17 || 385 || D{{su|p={{music|buyuksharp}}|b=4}} / E{{su|p={{music|d}}|b=4}} || E{{sub|4}}
|-
| Kaba Hisâr    || 14 || 317 || D{{su|p={{music|kucuksharp}}|b=4}} / E{{su|p={{music|flatstroke}}|b=4}} || D{{su|p={{music|sharp}}|b=4}} / E{{su|p={{music|flat}}|b=4}}
|-
| Kaba Nim Hisâr || 13 || 294 || D{{su|p={{music|sharp}}|b=4}} / E{{su|p={{music|flat}}|b=4}} || D{{su|p={{music|sharp}}|b=4}} / E{{su|p={{music|flat}}|b=4}}
|- style="background-color:lavender"
| '''Yegâh''' || 9 || 204 || D{{sub|4}} || D{{sub|4}}
|-
| Kaba Dik Hicâz || 8 || 181 || C{{su|p={{music|buyuksharp}}|b=4}} / D{{su|p={{music|d}}|b=4}} || D{{sub|4}}
|-
| Kaba Hicâz || 5 || 113 || C{{su|p={{music|kucuksharp}}|b=4}} / D{{su|p={{music|flatstroke}}|b=4}} || C{{su|p={{music|sharp}}|b=4}} / D{{su|p={{music|flat}}|b=4}}
|-
| Kaba Nim Hicâz || 4 || 91 || C{{su|p={{music|sharp}}|b=4}} / D{{su|p={{music|flat}}|b=4}} || C{{su|p={{music|sharp}}|b=4}} / D{{su|p={{music|flat}}|b=4}}
|- style="background-color:lavender"
| '''Kaba Çârgâh''' || 0 || 0 || C{{sub|4}} || C{{sub|4}}
|}

===Intervals===

The names and symbols of the different [[Interval (music)|intervals]] (''[[şifre]]'') are shown in the following table:

{| class="wikitable" style="text-align:center"
!Interval name<br>(''Aralığın adı'')
!Value in terms of commas<br>(''Koma olarak değeri'')
!Symbol<br>(''Simge'')
|-
|''koma'' or ''fazla''||1||	F
|-
|''eksik bakiye''||	3||	E
|-
|''bakiye''||	4||	B
|-
|''küçük (sağir) mücenneb''||	5||	S
|-
|''büyük (kebir) mücenneb''||	8||	K
|-
|''tanîni''||	9||	T
|-
|''artık ikili''||	12 - 13||	A
|}

===Tetrachords (''dörtlüler'') and pentachords (''beşliler'')===
[[Image:ottoman tetrachords pentachords.png|400px|thumb|Tetrachords (''dörtlü'') are on the left, pentachords (''beşli'') on the right. The symbols (''simge'') from the table above are here used to signal the intervals used in these patterns]]

Similar to the construction of maqamat noted above, a makam in Turkish music is built of a [[tetrachord]] built atop a [[pentachord]], or vice versa. [[Trichord]]s exist, e.g. [[Saba (music)|Saba]], but are rarely used. Additionally, most makams have what is known as a "development" (''genişleme'' in Turkish), which can occur either above or below (or both) the tonic and/or the highest note.

There are six basic tetrachords, named sometimes according to their tonic note and sometimes according to the tetrachord's most distinctive note:
*'''Çârgâh'''
*'''Bûselik'''
*'''Kürdî'''
*'''Uşşâk'''
*'''Hicaz''' and
*'''Rast'''
There are also six basic pentachords with the same names with a tone (T) appended.

It is worth keeping in mind that these patterns can be [[transposition (music)|transposed]] 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 its character.

==Basic makam theory==
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 ''[[seyir]]'' (meaning, "route"), and there are three types of ''seyir'':

*Ascending (''çıkıcı'');
*Descending (''inici'');
*Descending-ascending (''inici-çıkıcı'')

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:

*The ''[[Durak (Turkish makam theory)|Durak]]'' ("[[tonic (music)|tonic]]"), which is the initial note of the first tetrachord or pentachord and which always concludes any piece written in the makam.

*The ''[[Güçlü (Turkish makam theory)|Güçlü]]'' ("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 [[modal frame|axial]] pitches mentioned above in the context of Arab music). This use of the term "dominant" is not to be confused with the [[Classical music|Western]] [[dominant (music)|dominant]]; while the güçlü is often the fifth scale degree, it can just as often be the fourth, and occasionally the third.

*The ''[[Yeden (Turkish makam theory)|Yeden]]'' ("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 [[leading tone]] (either slightly sharper or slightly flatter) and sometimes close to a Western [[subtonic]].

Additionally, there are three types of makam as a whole:

*Simple makams (''[[Basit makam|Basit makamlar]]''), almost all of which have a rising ''seyir'',
*Transposed makams (''[[Şed makam|Göçürülmüş/Şed makamlar]]''), which as the name implies are the simple makams transposed to a different tonic,
*Compound makams (''[[Mürekkeb makam|Bileşik/Mürekkeb makamlar]]''), which are a joining of differing makams and number in the hundreds.

==Some simple makams==
===Bûselik makam===
This makam has two basic forms: in the first basic form (1), it consists of a [[Buselik pitch class set (Turkish makam theory)|Bûselik pentachord]] plus a [[Kürdî pitch class set|Kürdî tetrachord]] on the note Hüseynî (E) and is essentially the same as the Western [[A minor]]; in the second (2), it consists of a Bûselik pentachord plus a [[Hicaz tetrachord]] on Hüseynî (E) and is identical to [[A minor|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:

1) [[Image:Buselikmakam-1.jpg]]

2) [[Image:Buselikmakam-2.jpg]]

1A) [[Image:Buselikmakam-3.jpg]]

===Çârgâh makam===
{{main|Çârgâh}}
This makam is thought to be identical to the Western [[C major|C-major]] scale, but actually it is misleading to conceptualize a makam through Western music scales. Çârgâh makam consists of a [[Çârgâh pitch class set|Ç''ârgâh pentachord'']] and a [[Çârgâh tetrachord|Ç''ârgâh tetrachord'']] starting on the note Gerdâniye (G). Thus, the tonic is C (Çârgâh), the dominant is G (Gerdâniye), and the leading tone is B (Bûselik).

[[Image:Cargahmakam.jpg|In this and all subsequent staves, the tonic is indicated by a whole note and the dominant by a half note. T stands for ''tanini'' (tone) which is equal to 9 commas and B stands for ''bakiye'' which is equal to 4 commas.]]

The çârgâh makam has at certain points in history been criticized for being a clumsy and unpleasant makam that can inspire those listening to it to engage in delinquency of various kinds.{{dubious|date=January 2020}}

===Hicaz makam===
{{main|Hicaz (Turkish makam)}}

===Rast makam===
{{for|the related maqam, or more detail about the Turkish makam, respectively|Rast (maqam)|Rast (Turkish makam)}}

This much-used makam - which is said to bring happiness and tranquility to the hearerer - consists of a [[Rast pitch class set|Rast pentachord]] plus a [[Rast pitch class set|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 descending from the octave towards the tonic, the leading tone is always flattened 4 commas to the note Acem (F), and thus a [[Buselik tetrachord|Bûselik tetrachord]] replaces the Rast tetrachord; this is labeled (2) below. Additionally, there is a development (''genişleme'') 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.

1) [[Image:Rastmakam-1.jpg]]

1A) [[Image:Rastmakam-2.jpg]]

2) [[Image:Rastmakam-3.jpg]]

In [[Turkey]], the particular Muslim call to prayer (or ''[[Adhan|ezan]]'' in Turkish) which occurs in the afternoon and is called ''[[Asr|Ikindi]]'', as well as the day's final call to prayer called ''[[Isha'a|Yatsı]]'', are often recited using the Rast makam.

===Kürdî makam===
{{main|Kürdî}}

===Uşşâk makam===
{{main|Bayati (maqam)}}
This makam consists of an [[Uşşak tetrachord|Uşşâk tetrachord]] plus a [[Buselik pentachord|Bûselik pentachord]] on the note Neva (D); this is labelled (1) below. The tonic is A (Dügâh), the dominant&mdash;here actually a subdominant&mdash;is D (Neva), and the leading tone&mdash;here actually a subtonic&mdash;is G (Rast). Additionally, there is a development in the makam's lower register, which consists of a [[Rast pitch class set|Rast pentachord]] on the note D (Yegâh); this is labeled (1A) below.

1) [[Image:Ussakmakam-1.jpg]]

1A) [[Image:Ussakmakam-2.jpg]]

In Turkey, the particular call to prayer which occurs around noon and is called ''[[Zuhr|''Öğle'']]'' is most often recited using the Uşşak makam.

==See also==
* [[List of Turkish makams]]
* [[List of notes in Turkish makam theory]]
* [[Rhythm in Turkish music]]
* [[Ottoman music]]
* [[Dastgāh|Persian dastgah]]
* [[Arabic maqam]]
* [[Music of Turkey]]
* [[Turkish music (style)]]

==Notes==
* Beken, Münir, and Karl Signell. [http://www.umbc.edu/eol/makam/2008Kongre/confirming.html "Confirming, delaying, and deceptive elements in Turkish improvisation," ''Maqām Traditions of Turkic Peoples: Proceedings of the Fourth Meeting of the ICTM Study Group 'maqām', Istanbul, 18–24 October 1998''], edited by [[Jürgen Elsner]] and Gisa Jähnishen, in collaboration with Theodor Ogger and Ildar Kharissov, {{Page needed|date=October 2017}}<!--Inclusive page numbers of Beken and Signell's chapter needed.-->, Berlin: trafo verlag Dr. Wolfgang Weist, 2006. {{ISBN|3-89626-657-8}}
* {{Cite web |title=MAKAM |url=https://islamansiklopedisi.org.tr/makam--musiki |access-date=2024-10-15 |website=TDV İslâm Ansiklopedisi |language=tr}}
* {{Cite web |title=Türk Sanat Müziğinde Makam Olgusu {{!}} Prof. Dr. Hazım GÖKÇEN |url=https://www.hazimgokcen.net/turk-sanat-muzigi/turk-sanat-muziginde-makam-olgusu/ |access-date=2024-10-16 |language=tr}}
* {{Cite journal |last=Kaçar |first=Dr. Gülçin Yahya |date=2008 |title=TÜRK MÛSİKÎSİNDE MAKAM |url=https://dergipark.org.tr/en/download/article-file/260761 |journal=DergiPark |issue=11 |pages=153}}

==References==
{{Reflist}}

==Further reading==
*Aydemir, Murat. ''Turkish music makam guide''. Pan Yayıncılık, 2010. {{ISBN| 9789944396844}}.
*Mikosch, Thomas. ''Makamlar: The Musical Scales of Turkey''. S.l.: Lulu.com, 2017. {{ISBN| 978-0244325602}}.
*Özkan, İsmail Hakkı. ''Türk Mûsıkîsi Nazariyatı ve Usûlleri. Kudüm Velveleleri''. Ötüken, 2000. {{ISBN|975-437-017-6}}.
*Signell, Karl L. ''Makam: Modal Practice in Turkish Art Music''. Nokomis FL (USA): Usul editions/Lulu.com., 2004. {{ISBN|0-9760455-0-8}}. "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. 
*Signell, Karl L. ''Makam: Türk Sanat Musikisinde Makam Uygulaması'' (Turkish translation of above). Istanbul: Yapı Kredi Kültür Sanat Yayıncılık, 2006.  {{ISBN|975-08-1080-5}}.
*Yılmaz, Zeki. ''Türk Mûsıkîsi Dersleri''. Istanbul: Çağlar Yayınları, 2001. {{ISBN|975-95729-1-5}}.

==External links==
*[http://www.umutrehberi.com/ Klasik Türk (Tasavvuf) Musikisi İlahi Peşrev Saz semaisi ve Taksim nota ve mp3 kayıtları]
*Cinuçen Tanrıkorur, [https://web.archive.org/web/20061215165158/http://www.turkmusikisi.com/osmanli_musikisi/the_ottoman_music.htm The Ottoman Music], translated by Savaş Ş. Barkçin
*[http://www.maqamworld.com/ Maqam World]
*[http://www.pizmonim.org Sephardic Pizmonim Project- Jewish use of Makam]

{{Melody types}}
{{Turkish makam theory|state=collapsed}}
[[Category:Modes (music)]]
[[Category:Music of Turkey]]
[[Category:Turkish words and phrases]]
[[Category:Ottoman classical music]]
[[Category:Turkish makam music| ]]
[[Category:Maqam-based music tradition]]