Uşşak Makamı is a fundamental or primary makam in Turkish classical music. Since the word Uşşak literally means “lovers,” this makam is also known as the “Makam of Lovers.” Similar to the Rast Makam, Uşşak primarily uses lower (pest) registers and is a dignified makam that evokes religious emotions. In very early times, this makam was referred to as the Dügah Makam. Throughout music history, the name of Uşşak Makam has undergone many changes. Before the Systematic School (Sistemci Okul), Maragî, who described the Uşşak Makam, stated that it was a makam used for compositions symbolizing courage and heroism, and even wrote its scale using the ebced notation. On the other hand, it is reported that Maragî composed works in the Uşşak Makam as well. However, the general consensus is that the Uşşak Makam did not yet exist in his time. The scale Maragî wrote is identical to today’s Nigar Makam. Before the Systematic School, Saadettin Arel named the makam used as Uşşak as Kürdili Çargah. The makam that Ali Çelebi, who lived in the 17th century, described as Dügah corresponds to today’s Uşşak Makam. In his article titled “Characteristics of the Dügah Makam,” Kantemiroğlu actually refers to what we now call Uşşak Makam. The Mevlevis refer to Uşşak as Dügah. Abdülkadir Nasır Dede was the first to describe Dügah and Uşşak Makams as separate entities. The Arel–Dr. Ezgi and Abdülkadir Töre–Ekrem Karadeniz schools have accepted Uşşak as an independent makam in its current form.
Uşşak Ney Taksimi – Ulvi Erguner
The final note is Dügâh (A).
Its melodic progression (seyir) is ascending in character.
It is created by combining the Uşşak tetrachord in its natural place with the Buselik pentachord starting on Neva.
It is the Neva (D) pitch at the junction of the tetrachord and pentachord. A half-cadence with the Buselik mode is performed on this pitch.
On the Segâh pitch, temporary cadences using partial Ferahnâk and partial Segâh tetrachords are performed. Furthermore, a Rast-based temporary cadence is executed on the leading Rast pitch.
Only a one-comma flat is applied to the note B (Si) in the tuning system.
Note: In the Uşşak makam, the Si (B) note is flattened by a comma, thus regarded as the Segâh pitch. However, especially in descending melodic phrases, this pitch is performed 1–2 commas lower than Segâh, adding a distinct character and personality to the makam. Since there is no notation indicating a 2–3 comma alteration, this pitch is still written as Segâh in the notation, though it is performed slightly lower.
Dügâh (La / A), Segâh (Si / B), Çârgâh (Do / C), Nevâ (Re / D), Hüseynî (Mi / E), Acem (Fa / F), Gerdâniye (Sol / G), Muhayyer (La / A)
It is the G (Sol) pitch on the second line (Râst).
Uşşak makam is an ascending mode with a solemn and dignified melodic character. For this reason, it typically moves within the lower (pest) register and expands in that range. This expansion is achieved by forming a Rast pentachord on the Yegâh (D) pitch. During this process, the Irak (#F) pitch—which is not normally part of the scale—is used. This pitch corresponds to the same note used in the expansion of the Rast makamthrough the Rast pentachord on Yegâh. Such an expansion is called borrowed expansion, meaning that Uşşak makam borrows its lower register expansion from Rast makam.
The Uşşak makam does not typically expand above the tonic (tiz durak). As mentioned above, it expands and develops primarily in the lower (pest) register.
Expansion in the upper register (tiz) is more commonly observed in the Bayatî makam, which closely resembles the Uşşak makam. However, if the Uşşak makam ventures into the upper register, it employs certain expansions in that region and utilizes their respective notes.
- The Uşşak tetrachord in its original position is symmetrically transposed onto the upper tonic. (Symmetrical Expansion)
- By adding a Kürdî tetrachord above the Muhayyer pitch to the Bûselik pentachord based on the dominant pitch Neva, the scale expands to form a type-1 Bûselik scale on Neva. (Expansion by Forming a New Scale)
NOTE: The Uşşak makam does not circulate in the upper register (tiz) at all, and even if it does, it especially avoids making temporary cadences (asma karar) on the Muhayyer pitch. If it stays too long on this pitch, the makam ceases to be Uşşak and, in terms of melodic progression, transforms into another makam. The small mücenneb (5 commas) flat on the B note here is called the Sümbüle pitch.
During the progression of the Uşşak makam, if prolonged and persistent temporary cadences (asma karar) are made on the Çârgâh pitch, the Uşşak Huzî makam is formed. Similarly, if prolonged and persistent temporary cadences occur on the Segâh pitch, the Mâye (Dügâh Mâye) makam emerges.
The progression begins around the tonic, starting from the expanded region below it. First, the melody moves through the notes of the Uşşak tetrachord on the tonic. Then, emphasizing the dominant and its upper notes, a half-cadence with the Bûselik mode is performed on Neva. Depending on the length of the progression, necessary temporary cadences (asma karar) are applied while wandering through mixed passages. Finally, a full cadence with Uşşak mode is made on Dügâh.
