What is Taksim?
Taksimwhile it means to divide or break apart in the dictionary, as a musical term it refers to an instrumental improvisation performed by the artist entirely according to their own melodic world and ability, provided that the piece concludes on a specific makam (mode) and follows the general melodic rules of that makam or makams. In other words, it is a spontaneous, momentary performance that outlines the characteristics of the makam(s), without being written down on sheet music or bound to a specific rhythm or form. Therefore, we can say that taksim is the name of a composition created on the spot, without notation and without strict adherence to a fixed procedure (rhythm) .
Taksim is one of the most fundamental and deeply rooted forms of performance in Turkish music. All organized musical events traditionally begin with a taksim. Through taksim, the makam or makams of the pieces to be performed in these events are introduced to both the listeners and performers, mentally preparing them. Naturally, taksim is not only performed at the beginning of such music gatherings but also individually; it has always attracted attention and has been one of the most important forms for performers aiming to develop their skills. Because taksim, in the musical sense, is essentially a summary of everything the performer has learned up to that day, the stages they have gone through, and even all the emotions experienced in their daily life.
So, how is taksim performed?
Actually, there isn't a concrete answer to this question, but it is possible to talk about some basic rules. To be able to perform a taksim, you need to know at least the fundamental structural characteristics of the makam you wish to improvise in, even if not all makams. These characteristics can be listed as follows:
- Final tone:It is the ending note of the makam. It is the most fundamental characteristic of the makam.
- Melodic progression:It is the range of notes over which the makam is performed. For example, the melodic progression of the Rast makam is the sol scale—that is, the sequence from sol to sol (from Rast to Gerdaniye). The sequence is as follows: Rast (sol/G) – Dügâh (la/A) – Segâh (si/B) – Çargâh (do/C) – Neva (re/D) – Hüseynî (mi/E) – Acem (fa/F) – Gerdaniye (sol/G).
- Dominant tone:In the simplest terms, it is the note most frequently heard during the performance of a makam.
- Microtonal deviations:They are, roughly speaking, the half tones found within the melodic progression of the makam. To illustrate visually, the black keys on a piano between two white keys represent half tones. Of course, the piano is never an instrument that can fully reflect Turkish Music, so it’s important to keep that in mind.
These four characteristics help us perform amateur taksims as a starting point. In addition to these, secondary tonic notes; yeden note; whether the melodic progression is descending, ascending or or both; and the appropriate flavors or modulations of related makams will further enhance your taksims. Let’s briefly define these as well:
Secondary tonic notes: It is usually the note one step above the final tone. It gives the feeling that the taksim is approaching its conclusion.
Yeden note It is the note one step below the final tone. It is referred to as the note that supports the cadence.
Ascending melodic progression: An ascending melodic progression (çıkıcı seyir) is when the melody begins from the lower (bass) tones, or more specifically from the cadence area, moves through the strong and higher (treble) regions, and then returns to the cadence.
Descending melodic progression: It is the melodic progression of a makam that begins in the high (treble) region, moves through the strong region, and then resolves to the final tone.
Descending-ascending melodic progression: It is the melodic progression of a makam that begins around the middle of the main scale, ascends to the high (treble) regions, and then resolves to the final tone.
No matter how much we discuss these rules on paper, to truly perform a taksim you need to train your ear—and thus your heart— by listening to plenty of taksims. Since the feeling and melodic character of a makam cannot be fully expressed in words, it can only be truly grasped through listening.
Neyzen Ahmed ŞAHİN – Hüzzam Geçiş Taksimi
How to Develop Taksim?
Putting all that aside, a performer who truly wants to create impressive taksims must definitely turn to our ancient music learning method called meşk. In other words, they must kneel before a master and grasp the music through listening and immediate application techniques.
The reason for this is that, compared to other musical traditions, the melodic structures in Turkish Music allow for very flexible use of tones, with the ability to access every microtone (komma). It is nearly impossible to fully capture all aspects of this feature on paper and turn it into a formal teaching curriculum. Anyone who wants to become a sazende (instrumentalist/musician) must first thoroughly research and acquire a quality instrument as well as find a good teacher who is successful in performance and training methods.
Types of Taksim
- Opening Taksim / Introductory Taksim:It is the introductory taksim performed before playing the arranged musical repertoire.
- Interlude Taksim:It is a taksim performed between pieces in the same makam as the pieces being played.
- Transition Taksim:It is a taksim that begins in one makam and concludes (resolves) in another makam.
- Joint Taksim:It is a collaborative taksim performed by two or more instrumentalists in the same makam, engaging in a call-and-response or improvisational exchange. While it can take place between the same instruments, it is more commonly preferred among different instruments.
- Index Taksim:It is the longest type of taksim, featuring the presentation of multiple makams.
