{"id":6949,"date":"2025-06-22T16:30:03","date_gmt":"2025-06-22T13:30:03","guid":{"rendered":"https:\/\/test.sahaney.com\/?p=6949"},"modified":"2025-08-14T13:43:32","modified_gmt":"2025-08-14T10:43:32","slug":"buselik-makami","status":"publish","type":"post","link":"https:\/\/www.sahaney.com\/en\/buselik-makami\/","title":{"rendered":"Buselik Makam (a mode in Turkish Classical Music)"},"content":{"rendered":"
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B\u00fbselik is a makam in Turkish music classified among the simple makams, and it is also the name of a pitch. It corresponds exactly to the A minor scale in Western music.<\/p>

Buselik Ney Taksimi \u2013Niyazi Say\u0131n<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tFinal note<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

The final note is D\u00fcg\u00e2h (A).<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tMelodic progression<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

It has an ascending progression. Occasionally, it has also been used in an ascending-descending manner.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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\n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tScale<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

It has two types of scales:<\/p>

  1. It is formed by adding a K\u00fcrd\u00ee tetrachord on H\u00fcseyn\u00ee (the 5th degree) to the B\u00fbselik pentachord in its original register (B\u00fbselik pentachord + K\u00fcrd\u00ee tetrachord on the 5th degree).<\/li>
  2. It is formed by adding a Hicaz tetrachord on H\u00fcseyn\u00ee (the 5th degree) to the B\u00fbselik pentachord in its original register.<\/li><\/ol>

    \"\"<\/a>As seen, in both scales of the B\u00fbselik makam, the only variation lies in the region above the dominant pitch. <\/span>The B\u00fbselik pentachord on the tonic pitch remains unchanged. Although the Hicaz-based scale is used less frequently, both scales can be employed interchangeably.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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    \n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tDominant note<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

    The junction point between the pentachord and tetrachord is the H\u00fcseyn\u00ee pitch (5th degree). On the dominant, either K\u00fcrd\u00ee or Hicaz tetrachords may appear. A half cadence can be made with either. In classical compositions, the \u00c7\u00e2rg\u00e2h pitch has occasionally been used as the primary dominant (1st-degree strong pitch).<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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    \n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tSecondary tonic notes<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

    The B\u00fbselik makam scale is identical to the A minor scale in Western music. The first scale with K\u00fcrd\u00ee corresponds to the Natural Minor (Eski Min\u00f6r), while the second scale with Hicaz corresponds to the Harmonic Minor (Armonik Min\u00f6r).<\/p>

    In Turkish music, although not part of the makam\u2019s core structure, certain brief modulations have become customary. These include:<\/p>

    1. Displaying the Hicaz flavor on Neva and the Nikriz flavor on \u00c7\u00e2rg\u00e2h during the melodic progression,<\/p>

    \"\"<\/p>

    2. Demonstrating an U\u015f\u015fak-flavored intermediate cadence on the H\u00fcseyn\u00ee pitch, which serves as the dominant of the makam,<\/p>

    \"H\u00fcseynide<\/p>

    Additionally, in accordance with Western music theory, every minor scale has a corresponding major scale, and direct modulation between them is possible. From the A minor scale (B\u00fbselik makam), one can directly modulate to the C major scale (\u00c7\u00e2rg\u00e2h makam). In this case, the G\u266f pitch (nim zirg\u00fcle) should not be used.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

    \n\t\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tStructure<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

    Based on the scale that features K\u00fcrd\u00ee on H\u00fcseyn\u00ee, nothing is written in the key signature. The scale with Hicaz on H\u00fcseyn\u00ee and other variations are indicated within the piece itself.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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    \n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tNames of the makam notes<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

    They are D\u00fcg\u00e2h, B\u00fbselik, \u00c7\u00e2rg\u00e2h, Nev\u00e2, H\u00fcseyn\u00ee, Acem, Gerd\u00e2niye, and Muhayyer. The pitch names of the Hicaz flavor on H\u00fcseyn\u00ee are H\u00fcseyn\u00ee, Dik Acem, N\u00eem \u015eehn\u00e2z, and Muhayyer.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

    \n\t\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tThe yeden note<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

    The pitch on the second line with a modified sharp is G\u266f (N\u00eem Z\u00eerg\u00fble). A crucial point to note is that the Sol (Zirg\u00fcle) pitch can be confused with leading tones. In the B\u00fbselik makam, although G\u266f is correctly N\u00eem Z\u00eerg\u00fble, it is sometimes mistakenly referred to as Zirg\u00fble\u2019li Yeden. The correct term is N\u00eem Z\u00eerg\u00fble.<\/p>

    \"\"<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

    \n\t\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tExpansion<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

    For both scales, the B\u00fbselik pentachord located on the tonic is symmetrically transposed onto the upper tonic, resulting in symmetrical expansion.<\/strong> However, this also generates the K\u00fcrd\u00ee scale on H\u00fcseyn\u00ee and the Humayun makam scale on H\u00fcseyn\u00ee. Thus, the expansion occurs both as a symmetrical extension and as the formation of new scales.<\/p>

    \"\"<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

    \n\t\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tMelodic progression<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

    The melodic progression begins near the tonic pitch. After a mixed exploration on both sides of the scale, a half cadence is made on the dominant. Meanwhile, the aforementioned intermediate cadences and necessary modulations are also displayed where appropriate. The expansion region of the scale may then be explored, and finally, a full cadence with leading tone is made on the D\u00fcg\u00e2h pitch.<\/p>

    Note:<\/strong>The B\u00fbselik makam is not a highly fluid or cheerful makam. If melodies are too fast and flowing, they may evoke the flavor of the Nihavend makam. Instead, somewhat more composed and dignified melodies should be employed.<\/p>

    At the beginning of the melodic progression, the scale with K\u00fcrd\u00ee is almost always used. The Hicaz-based scale appears toward the end of the progression, especially in descending phrases that gradually return from the high expansion region toward the cadence. Before concluding, the melody returns to the K\u00fcrd\u00ee-based scale and ends with it.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

    \n\t\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tIts derived makams (\u015fedler) are<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

    On the R\u00e2st pitch: Nih\u00e2vend makam<\/a>,
    On the H\u00fcseyn\u00ee A\u015f\u00eer\u00e2n pitch: Ruhn\u00fcv\u00e2z makam,
    On the Yeg\u00e2h pitch:     Sult\u00e2n\u00ee Yeg\u00e2h makam.<\/a><\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

    \n\t\t\t\t\t
    \n\t\t\t\t\t\t\t\t\t\t\t\t\t\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t<\/path><\/svg><\/span>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t<\/span>\n\t\t\t\t\t\t\t\t\t\t\t\tExample composition<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t
    \"\"<\/a>
    Click to view the PDF\u2026<\/a><\/figcaption><\/figure>

    \"\"<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>","protected":false},"excerpt":{"rendered":"

    Buselik; T\u00fcrk M\u00fbsikisinde, basit makamlar aras\u0131nda yer alan bir makam ve ayn\u0131 zamanda bir perdenin ad\u0131d\u0131r. Bat\u0131 m\u00fczi\u011findeki LA Min\u00f6r […]<\/p>\n","protected":false},"author":1,"featured_media":6952,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center 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center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[132,129],"tags":[],"class_list":["post-6949","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basit-makamlar","category-makamlar"],"yoast_head":"\nT\u00fcrk Musikisinde Buselik Makam\u0131 \u2013 Dizisi ve \u00d6zellikleri<\/title>\n<meta name=\"description\" content=\"T\u00fcrk musikisinde Buselik makam\u0131n\u0131n tarih\u00e7esini, dizisini ve seyir karakterini detayl\u0131 olarak ke\u015ffedin.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sahaney.com\/en\/buselik-makami\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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