Neva, one of the oldest modes in Turkish classical music whose origin is unknown, is also the name of a pitch. The nevâ mode generally carries a lyrical, religious, and mystical character.
Neva Ney Taksimi – Niyazi Sayın
The final note is Dügâh (A).
It follows a descending–ascending melodic trajectory.
It is formed by combining the Uşşak tetrachord on the tonic with the Râst pentachord starting from the fourth degree in Neva (Uşşak tetrachord + Râst pentachord on the 4th degree).
Above the dominant pitch in the Neva scale, there is a Râst flavor, which is highly characteristic of this mode. In the Râst scale at the tonic, the third degree—Segâh—is known to host occasional passing cadences. In the Neva mode, the pitch corresponding to Segâh within the Râst pentachord is Eviç. On this pitch, descending with the Segâh trichord or from above using Tîz Segâh yields a Segâh flavor; descending with Tîz Bûselik produces a Ferehnâk flavor. Additionally, the pitch of Acem (mi with a bakiye sharp) may be used as an auxiliary tone. Passing cadences can also be made on Segâh using Segâh or Ferehnâk pentachords. The main half cadence on the Neva pitch carries a Râst flavor. However, occasionally, instead of Eviç, descending to Acem allows for a Bûselik-flavored half cadence. Both Râst and Bûselik have semitone leading tones. When these flavors are applied on the Neva pitch, the auxiliary tone is Nîm Hicaz (do with a bakiye sharp), which serves as the leading tone for both. Therefore, Nîm Hicaz is used as the leading tone during half cadences in Neva. Sometimes, it is even used as an ornamental lower neighbor to Neva. Some argue that using Nîm Hicaz in this way is incorrect. Passing cadences may also be performed with Çârgâh flavor on Çârgâh, Segâh flavor on Segâh, and Râst flavor on Râst. Bu çeviri, makamın seyir yapısı, çeşni geçişleri ve karar perdeleri açısından teknik doğruluğu ve biçimsel bütünlüğü korur. Dilersen bu bölümü grafik seyir haritası veya interaktif nota paneliyle destekleyebilirim. Hazırsan karar yapıları veya genişleme biçimleriyle devam edebilirim.
The key signature includes a 1-comma flat for B (Si) and a 4-comma sharp (bakiye) for F (Fa)
Dügâh (La / A), Segâh (Si♭ koma / B♭ slightly flat), Çârgâh (Do / C), Nevâ (Re / D), Hüseynî (Mi / E), Eviç (Fa♯ koma / F♯ slightly sharp), Gerdâniye (Sol / G), Muhayyer (La / A, one octave above Dügâh).
It is the G (Sol) pitch on the second line (Râst).
The Râst pentachord above the dominant Neva pitch is extended in the Neva mode by adding a Bûselik tetrachord on the Muhayyer pitch, forming an Acem-colored Râst scale.
Additionally, if desired, the Uşşak tetrachord on the tonic pitch may be symmetrically transposed to the upper tonic (tîz durak). However, it must be noted that in both types of extension, no passing cadence can ever be made on the Muhayyer pitch. These extensions are theoretical constructs to determine which pitches may be used when the melodic line exceeds the upper tonic.
The melodic progression begins around the dominant Neva pitch. After freely exploring the flavors that form the scale, a half cadence is made on the Neva pitch. Passing cadences may be shown either before or after this point. Finally, the melody descends again through mixed flavors—optionally passing through the extended section—and concludes with a full cadence in the Uşşak flavor on the Dügâh pitch. Bu çeviri, seyir yapısının hem teknik hem de icra yönünü doğru biçimde yansıtır. Dilersen bu bölümü grafik seyir haritası veya nota dizisi paneline entegre edebilirim. Hazırsan karar yapılarıyla devam edebilirim.
Note: After performing this mode, if a cadence with Bûselik flavor is made on the tonic, the Neva Bûselik mode emerges; if a cadence with Kürdî flavor is made on the tonic, the Neva Kürdî mode is formed.
