{"id":6950,"date":"2025-06-09T20:54:03","date_gmt":"2025-06-09T17:54:03","guid":{"rendered":"https:\/\/test.sahaney.com\/?p=6950"},"modified":"2025-08-14T13:39:53","modified_gmt":"2025-08-14T10:39:53","slug":"kurdi-makami","status":"publish","type":"post","link":"https:\/\/www.sahaney.com\/en\/kurdi-makami\/","title":{"rendered":"K\u00fcrd\u00ee Makam (a mode in Turkish Classical Music)"},"content":{"rendered":"
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K\u00fcrd\u00ee is a makam (musical mode) in Turkish music, classified among the simple makams, and it is also the name of a tone (perde). Although the K\u00fcrd\u00ee makam is not originally named as such, its form is considered old. Its former name was not K\u00fcrd\u00ee but Ebiselik or Ebuselik. Indeed, in works written during the reign of Sultan Murad III, such as Edvar-\u0131 Makamat and Kitab-\u0131 M\u00fbsiki, these names were used instead of K\u00fcrd\u00ee. However, it is known that during the period of L\u00e2dikli Mehmet \u00c7elebi, the name K\u00fcrd\u00ee was preferred instead of Ebuselik.<\/p>

K\u00fcrd\u00ee M\u00fc\u015fterek Taksim (instrumental improvisation) \u2013 Ney: Ali Balakbabalar<\/a> Tambur: Sel\u00e7uk Sipahio\u011flu<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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\n\t\t\t\n\t\t\t\t\t\t<\/span>\n\t\t<\/div>\n\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

The melodic progression is ascending. Occasionally, it is employed with both ascending and descending movements.<\/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 is formed by adding the Buselik pentachord to the Nev\u00e2 note of the K\u00fcrd\u00ee tetrachord in place.<\/p>

\"\"<\/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\tDominant note<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

It is the Nev\u00e2 note at the junction of the tetrachord and pentachord; a half cadence with Buselik flavor is performed on it.<\/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

Below one of the tetrachords of K\u00fcrd\u00ee, there is the Buselik pentachord on the Rast note, which is a whole tone lower (towards the lower register).\nDuring the K\u00fcrd\u00ee melodic progression, the melody reaches the Rast note, which corresponds to the Nihavend makam \u2014 a mode with a \u015fedd (accidental) on the Rast note within the Buselik makam.\nTherefore, on the Rast note, which serves as the dominant (yeden) note, a transition to the Nihavend makam is made, creating a secondary tonic (asma karar).\nMeanwhile, the Nim Hisar note can also be indicated in this context. \"\"<\/p>

Also, in \u00c7\u00e2rg\u00e2h, a secondary tonic (asma karar) with \u00c7\u00e2rg\u00e2h flavor is performed, while in K\u00fcrd\u00ee, a secondary tonic without additional flavor (\u00e7e\u015fnisiz) is applied.<\/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\tStructure<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

A small m\u00fccenneb (\u266d) flat (5 commas) is added to Si (Si - B) in the structure.<\/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

The notes are D\u00fcg\u00e2h (La - A), K\u00fcrd\u00ee (Si\u266d - B\u266d), \u00c7\u00e2rg\u00e2h (Do - C), Nev\u00e2 (Re - D), H\u00fcseyn\u00ee (Mi - E), Acem (Fa - F), Gerd\u00e2niye (Sol - G), and Muhayyer (La - 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\tThe yeden note<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

It is the Sol (R\u00e2st - G) note on the second line. Sometimes, the Nim Z\u00eerg\u00fble (Sol\u266f - G\u266f) note is also used.<\/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\tExpansion<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t

The K\u00fcrd\u00ee tetrachord on the tonic is symmetrically transposed onto the upper tonic (Muhayyer note).\nThus, at the same time, a Buselik scale is formed on the Nev\u00e2 note.\nIn this way, an expansion is achieved by creating both a symmetrical and a new scale simultaneously.<\/p>

\"\"<\/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

The melodic progression begins from the tonic or the dominant vicinity. The scale is explored in a mixed manner, and a half cadence is made on the dominant (Nev\u00e2 - Re) note. Afterwards, the entire scale is traversed again, and finally, a full cadence with K\u00fcrd\u00ee flavor is performed on D\u00fcg\u00e2h (La - A).<\/p>

Note: <\/strong>The K\u00fcrd\u00ee makam is rarely used in its original position. The Hicazk\u00e2r makam with a K\u00fcrd\u00ee \u015fedd on the Rast (Sol - G) note is frequently employed. Additionally, many compound makam structures end with K\u00fcrd\u00ee.<\/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\tExample composition<\/a>\n\t\t\t\t\t<\/h6>\n\t\t\t\t\t
\"\"
Click to view the PDF\u2026<\/a><\/figcaption><\/figure><\/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":"

K\u00fcrd\u00ee; T\u00fcrk M\u00fbsikisinde, basit makamlar aras\u0131nda yer alan bir makam ve ayn\u0131 zamanda bir perdenin ad\u0131d\u0131r. K\u00fcrd\u00ee makam\u0131 isim olarak […]<\/p>\n","protected":false},"author":1,"featured_media":6960,"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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center 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