Ney Lessons

Ney Lessons
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Ney Lessons - 11

In this lesson, we will talk about modes (makam). But, you should learn some basic concepts first:

Yeden;It is a lower tone of “opening tone” (karar perdesi).

Tam karar;It is the final tone. It is the most important part of a song. It is usually a higher tone. It can be assumed as “full stop” in a song.

Yarım karar;It is on the strongest intonation of a song. It can be assumed as “comma” in a song. So, it tells us that the song will continue.

Asma karar; It is weaker than Yarım Karar and its place is changeable.

Makams can be divided into three categories:

1-Basit (Simple) Makams

2- Şed (Göçürülmüş) Makams.

3-Mürekkep (Combined) Makams.

Basit (Simple) Makams:

1-) Çargah, 2-) Buselik, 3-) Kürdi, 4) Rast, 5-) Uşşak, 6-) Hüseynı, 7-) Neva, 8-) Hicaz, 9-) Hümayun, 10-) Uzzal, 11-)Zirgüleli Hicaz, 12-) Karcığar,13-) Basit Sûzinak

Şed (Göçürülmüş) Makams:

1-)Mahur, 2-)Acemaşiran, 3-)Nihavent, 4-)Ruhnüvaz, 5-)Sultanî Yegâh, 6-)Kürdili Hicazkâr, 7-)Aşk’efzâ, 8-)Ferhnuma, 9-)Zîrgûleli Sûzinâk, 10-)Hicazkâr, 11-)Evcârâ, 12-)Suz-i Dil, 13-)Şedarabân, 14-)Reng-i Dil

Mürekkep (Combined) Makams;

1)Nişabur, 2)Segâh, 3)Mâye, 4-)Müstear, 5-)Hüzzâm, 6-)Vech-i Arazbar, 7-)Bileşik Gülizâr, 8-)Bileşik Isfahan, 9-)Isfahânek, 10-)Beyati Arabân, 11-)Acem 12-)Acem Kürdî, 13-)Hisâr, 14-)Hisâr Buselik, 15-)Şehnâz, 16-)Arazbâr, 17-)Sâba, 18-)Dügâh, 19-)Kûcek, 20-)Sipihr, 21-)Gerdâniye, 22-)Muhayyer Sünbüle, 23-)Dügâh Mâye, 24-)Sultân-ı Irâk, 25-)Nişâbûrek, 26-)Nikriz, 27-)Nev’eser, 28-)Pesendîde, 29-)Güldeste, 30-)Tarz-ı Nevin, 31-)Nihâvend-i Kebir, 29-)Zâvil, 30-)Pençgâh, 31-)Sûz-i Dilârâ, 32-)Büzürk, 33-)Sâzkâr, 34-)Rehâvî, 35-)Şevk-i Dil, 36-)Irâk, 37-)Eviç, 38-)Bestenigâr, 39-)Beste-Isfahan, 40-)Râhatü’l-Ervâh, 41-)Dikleş-Hâverân, 42-)Rûy-i Irâk, 43-)Revnâk-Nûma, 44-)Hüzzâm-ı Cedîd, 45-)Ferahnâk, 46-)Şevk-u Tarab, 47-)Şevk’efzâ, 48-)Şevk-âver, 49-)Tarz-ı Cedid, 50-)Hüseynî Aşirân, 51-)Bûselik Aşîrân, 52-)Aşiran Zemzeme, 53-)Nühüft, 54-)Can-feza, 55-)Sâba Aşiran, 56-)Hicaz Aşiran, 57-)Zirefkend, 58-)Ferahfeza, 59-)Dilkeşîde, 60-)Lâlegül, 61-)Sultânî Segâh, 62-)Şive-Nümâ, 63-)Şeref-Nûmâ, 64-)Yegâh, 65-)Acem’li Yegâh, 66-)Anber-efşan makamlarıdır.

M.Ekrem Karadeniz stated in his book (Türk Mûsikîsinin Nazariye ve Esasları) that the number of known makams is about 150. However, you will learn only the most popular and common ones. Now, let us start with Basit Makams.

Bayati Makam:

Its Rest: Dügah sound.

Its Progression: Ascending /Descending.

Its Progression:Its Scale: Combination of Uşşak and Buselik.

Its Strong Sound: Its Strong Sound: The sound between Uşşak and Buselik.

Its Asma Karars: Segah, Neva and Çargah sounds (Acem sound is also a very important sound for Bayati Makam but it is not an Asma Karar).

Its Expansion: From the side having lower sounds (so it is different from Uşşak Makam).

This is your first sheet music to play:

You can also watch the video:

You can find more information about makams as soon as possible in our website.

Ney Lesson
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