Considered the most fundamental mode of Turkish classical music, Rast is classified among the simple (basit) makams. In Persian, rast means straight, correct, or right, and it is also the name of the sol pitch (note) in Turkish music.
Rast Ney Takisimi – Kudsi Erguner
It corresponds to the sol (râst) pitch, which is located on the second line of the musical staff.
Its melodic progression (seyir) is ascending in character.
It is formed by adding a Rast tetrachord on Neva (the 5th degree) to a Rast pentachord on Yegâh (the tonic).
In the scale, especially in descending phrases, it replaces the Eviç pitch — the sharped F (with a 1-comma sharp) located on the 5th line — with the Acem pitch. In this case, the Rast tetrachord on Neva transforms into a Buselik tetrachord. This modified scale, which appears new and is formed by combining a Rast pentachord with a Buselik tetrachord, is called the Acemli Rast scale.
Neva (D), where the pentachord and tetrachord intersect, also serves as the dominant (güçlü) tone of the makam.
1.One whole tone above the Rast tetrachord lies the Uşşak tetrachord. This proximity allows for a temporary resolution (asma karar) on the Dügâh note through the use of the Uşşak tetrachord.
2.The temporary cadence (asma karar) on the Segâh pitch has traditionally been considered only with the Segâh tetrachord until today.
If a descending passage is made over the Segâh pitch using either a Ferahnâk pentachord or an Acem pitch, a temporary cadence can also be formed with an incomplete Ferahnâk pentachord.
3.Undoubtedly, if desired, one can remain on Segâh using the Segâh tetrachord, provided the Dik Hisar pitch is utilized. Additionally, it is also possible to remain on Segâh using the Segâh triad. Another place for a temporary cadence (asma karar) is the Yegâh pitch. During the expansion, a temporary cadence is made on Yegâh with the Rast tetrachord. In Hüseynî Aşîrân, one can also remain using Uşşak or Nişabur tetrachords.
In the tuning, Si (B) is lowered by a comma flat, while Fa (F) is raised by a residual sharp corresponding to 4 commas.
Rast — G (Sol), Dügah — A (La), Segah — B♭ (B flat) with 1 comma flat, Çargah — C (Do), Neva — D (Re), Hüseyni — E (Mi), Eviç — F♯ , Acem — F (Fa), Gerdaniye — G (Sol)
It is the residual sharp Fa (F♯ with commas) pitch in the first interval (Irak).
The Rast makam is an ascending and dignified makam. Therefore, its development (expansion) occurs from the lower (pest) side, below the tonic. The Rast tetrachord on the strong Neva pitch is symmetrically transposed one octave lower to the Yegâh pitch (D below the first line of the staff).
Normally, the Rast makam does not expand in the upper (high) register. However, when it needs to use the higher notes, it performs symmetrical expansion in that region as well.
The melodic progression can begin from the tonic pitch or from the notes on the tonic in the scale, including those in the expanded section below the tonic. After some complex wandering, a half-cadence is made on the Neva (D) pitch. The progression continues, with temporary cadences applied where necessary. Then, after exploring the entire scale—and if desired, also the expanded section—a full cadence, usually with the seventh degree, is made on the Rast pitch.
