Buselik Makam (a mode in Turkish Classical Music)

The final note is Dügâh (A).

It has an ascending progression. Occasionally, it has also been used in an ascending-descending manner.

It has two types of scales:

1. It is formed by adding a Kürdî tetrachord on Hüseynî (the 5th degree) to the Bûselik pentachord in its original register (Bûselik pentachord + Kürdî tetrachord on the 5th degree).
2. It is formed by adding a Hicaz tetrachord on Hüseynî (the 5th degree) to the Bûselik pentachord in its original register.

As seen, in both scales of the Bûselik makam, the only variation lies in the region above the dominant pitch. The Bûselik pentachord on the tonic pitch remains unchanged. Although the Hicaz-based scale is used less frequently, both scales can be employed interchangeably.

The junction point between the pentachord and tetrachord is the Hüseynî pitch (5th degree). On the dominant, either Kürdî or Hicaz tetrachords may appear. A half cadence can be made with either. In classical compositions, the Çârgâh pitch has occasionally been used as the primary dominant (1st-degree strong pitch).

The Bûselik makam scale is identical to the A minor scale in Western music. The first scale with Kürdî corresponds to the Natural Minor (Eski Minör), while the second scale with Hicaz corresponds to the Harmonic Minor (Armonik Minör).

In Turkish music, although not part of the makam’s core structure, certain brief modulations have become customary. These include:

1. Displaying the Hicaz flavor on Neva and the Nikriz flavor on Çârgâh during the melodic progression,

2. Demonstrating an Uşşak-flavored intermediate cadence on the Hüseynî pitch, which serves as the dominant of the makam,

Additionally, in accordance with Western music theory, every minor scale has a corresponding major scale, and direct modulation between them is possible. From the A minor scale (Bûselik makam), one can directly modulate to the C major scale (Çârgâh makam). In this case, the G♯ pitch (nim zirgüle) should not be used.

Based on the scale that features Kürdî on Hüseynî, nothing is written in the key signature. The scale with Hicaz on Hüseynî and other variations are indicated within the piece itself.

They are Dügâh, Bûselik, Çârgâh, Nevâ, Hüseynî, Acem, Gerdâniye, and Muhayyer. The pitch names of the Hicaz flavor on Hüseynî are Hüseynî, Dik Acem, Nîm Şehnâz, and Muhayyer.

The pitch on the second line with a modified sharp is G♯ (Nîm Zîrgûle). A crucial point to note is that the Sol (Zirgüle) pitch can be confused with leading tones. In the Bûselik makam, although G♯ is correctly Nîm Zîrgûle, it is sometimes mistakenly referred to as Zirgûle’li Yeden. The correct term is Nîm Zîrgûle.

For both scales, the Bûselik pentachord located on the tonic is symmetrically transposed onto the upper tonic, resulting in symmetrical expansion. However, this also generates the Kürdî scale on Hüseynî and the Humayun makam scale on Hüseynî. Thus, the expansion occurs both as a symmetrical extension and as the formation of new scales.

The melodic progression begins near the tonic pitch. After a mixed exploration on both sides of the scale, a half cadence is made on the dominant. Meanwhile, the aforementioned intermediate cadences and necessary modulations are also displayed where appropriate. The expansion region of the scale may then be explored, and finally, a full cadence with leading tone is made on the Dügâh pitch.

Note:The Bûselik makam is not a highly fluid or cheerful makam. If melodies are too fast and flowing, they may evoke the flavor of the Nihavend makam. Instead, somewhat more composed and dignified melodies should be employed.

At the beginning of the melodic progression, the scale with Kürdî is almost always used. The Hicaz-based scale appears toward the end of the progression, especially in descending phrases that gradually return from the high expansion region toward the cadence. Before concluding, the melody returns to the Kürdî-based scale and ends with it.

On the Râst pitch: Nihâvend makam,
On the Hüseynî Aşîrân pitch: Ruhnüvâz makam,
On the Yegâh pitch: Sultânî Yegâh makam.