Turkish makam
Each makam specifies a unique intervalic structure (cinsler meaning genera) and melodic development (seyir).
More distant modal relatives include those of Central Asian Turkic musics such as Uyghur “muqam” and Uzbek shashmakom.
North and South Indian classical raga-based music employs similar modal principles.
[2] All of these concepts roughly correspond to mode in Western classical music, although their compositional rules vary.
The names and symbols of the different intervals (şifre) are shown in the following table: 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.
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.
This pattern is known in Turkish as seyir (meaning, "route"), and there are three types of seyir: 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: Additionally, there are three types of makam as a whole: 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 A minor; in the second (2), it consists of a Bûselik pentachord plus a Hicaz tetrachord on Hüseynî (E) 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, 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.
This makam consists of an Uşşâk tetrachord plus a Bûselik pentachord on the note Neva (D); this is labelled (1) below.
Additionally, there 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.
