Kürdî is a makam (musical mode) in Turkish music, classified among the simple makams, and it is also the name of a tone (perde). Although the Kürdî makam is not originally named as such, its form is considered old. Its former name was not Kürdî but Ebiselik or Ebuselik. Indeed, in works written during the reign of Sultan Murad III, such as Edvar-ı Makamat and Kitab-ı Mûsiki, these names were used instead of Kürdî. However, it is known that during the period of Lâdikli Mehmet Çelebi, the name Kürdî was preferred instead of Ebuselik.
Kürdî Müşterek Taksim (instrumental improvisation) – Ney: Ali Balakbabalar Tambur: Selçuk Sipahioğlu
Final note
The final note is Dügâh (A).
Melodic progression
The melodic progression is ascending. Occasionally, it is employed with both ascending and descending movements.
Scale
It is formed by adding the Buselik pentachord to the Nevâ note of the Kürdî tetrachord in place.
Dominant note
It is the Nevâ note at the junction of the tetrachord and pentachord; a half cadence with Buselik flavor is performed on it.
Secondary tonic notes
Below one of the tetrachords of Kürdî, there is the Buselik pentachord on the Rast note, which is a whole tone lower (towards the lower register).
During the Kürdî melodic progression, the melody reaches the Rast note, which corresponds to the Nihavend makam — a mode with a şedd (accidental) on the Rast note within the Buselik makam.
Therefore, on the Rast note, which serves as the dominant (yeden) note, a transition to the Nihavend makam is made, creating a secondary tonic (asma karar).
Meanwhile, the Nim Hisar note can also be indicated in this context. 
Also, in Çârgâh, a secondary tonic (asma karar) with Çârgâh flavor is performed, while in Kürdî, a secondary tonic without additional flavor (çeşnisiz) is applied.
Structure
A small mücenneb (♭) flat (5 commas) is added to Si (Si - B) in the structure.
Names of the makam notes
The notes are Dügâh (La - A), Kürdî (Si♭ - B♭), Çârgâh (Do - C), Nevâ (Re - D), Hüseynî (Mi - E), Acem (Fa - F), Gerdâniye (Sol - G), and Muhayyer (La - A).
The yeden note
It is the Sol (Râst - G) note on the second line. Sometimes, the Nim Zîrgûle (Sol♯ - G♯) note is also used.
Expansion
The Kürdî tetrachord on the tonic is symmetrically transposed onto the upper tonic (Muhayyer note). Thus, at the same time, a Buselik scale is formed on the Nevâ note. In this way, an expansion is achieved by creating both a symmetrical and a new scale simultaneously.
Melodic progression
The melodic progression begins from the tonic or the dominant vicinity. The scale is explored in a mixed manner, and a half cadence is made on the dominant (Nevâ - Re) note. Afterwards, the entire scale is traversed again, and finally, a full cadence with Kürdî flavor is performed on Dügâh (La - A).
Note: The Kürdî makam is rarely used in its original position. The Hicazkâr makam with a Kürdî şedd on the Rast (Sol - G) note is frequently employed. Additionally, many compound makam structures end with Kürdî.
