It is one of the thirteen simple modes (makams) of Turkish music and is estimated to have a history of 500 to 550 years.
Karcığar Ney Taksimi – Ahmet Şahin
The final note is Dügâh (A).
It is a descending-ascending (inici-çıkıcı) mode. It has rarely been used in a purely descending manner.
It is formed by adding a Hicaz pentachord on the Neva pitch to the Ushshak tetrachord starting on the tonic (Yegâh) (Ushshak tetrachord + Hicaz pentachord on the 4th degree).
The Neva pitch is the junction point of the Ushshak tetrachord and the Hicaz pentachord. A semi-cadence with a Hicaz flavor is made on it.
The semi-cadence on the Neva pitch features a Hicaz flavor. As a result, auxiliary cadences are made on the Çargâh pitch using a Nikriz flavor and on the Segâh pitch with a Huzzâm pentachord. The Dügâh pitch is already the full cadence pitch, which carries the Karcığar scale. Additionally, if one descends a whole tone from Dügâh to Rast, the flavor becomes Rast. The entire scale, however, is that of the simple Sûznâk makam. An auxiliary cadence is also made on the Rast pitch using the Sûznâk scale, which constitutes a brief modulation to the Sûznâk makam.
In the key signature, a koma flat is written for B, a bakiye flat for E, and a bakiye sharp for F.
The key pitches are Dügâh (A, La), Segâh (B♭, Si♭), Çargâh (C, Do), Neva (D, Re), Hisar (E♭, Mi♭), Eviç (F, Fa), Gerdâniye (G, Sol), and Muhayyer (A, La).
It is the G (Sol) pitch on the second line (Râst).
The Ushshak tetrachord based on the tonic (Yegâh) is transposed symmetrically and identically onto the high tonic Muhayyer pitch (G, Sol), which also means extending the Hicaz pentachord on the Neva pitch (D, Re) into the scale of the Uzzâl makam.
One of the notes in this extension, the High Segâh pitch (C♯, Do♯), is used in ascending passages. In descending passages, High Segâh is omitted and replaced by the Sünbüle pitch (B♭, Si♭). When these ascending and descending forms are considered side by side, it becomes evident that an approximate Hicaz scale is formed on the Neva pitch (D, Re). For this reason, it is accepted that the Karcığar makam expands with an approximate Hicaz scale built on Neva. The Sünbüle pitch is also used when ornamentation (upper melodic development) is performed on Muhayyer (A, La).
Some Karcığar pieces, during the cadence, may omit the E♭ (Hisâr) and F♯ (Eviç) pitches and instead use E (Hüseynî) and F (Acem) pitches to cadentially resolve with a Beyâtî scale. However, this substitution is not mandatory.
The melody begins around the strong Neva pitch. After wandering through the various flavors on both sides of the scale, a semi-cadence with a Hicaz flavor is made on this strong pitch. Meanwhile, necessary auxiliary cadences are also indicated where needed. If desired, by exploring the extended section, a full cadence is made on the Dügâh pitch using either the Karcığar scale or the Beyâtî scale.
Akordiyon İçeriği
