{"id":6975,"date":"2025-06-13T21:16:09","date_gmt":"2025-06-13T18:16:09","guid":{"rendered":"https:\/\/test.sahaney.com\/?p=6975"},"modified":"2025-08-14T13:40:45","modified_gmt":"2025-08-14T10:40:45","slug":"ussak-makami","status":"publish","type":"post","link":"https:\/\/www.sahaney.com\/en\/ussak-makami\/","title":{"rendered":"U\u015f\u015fak Makam (a mode in Turkish Classical Music)"},"content":{"rendered":"
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U\u015f\u015fak Makam\u0131 is a fundamental or primary makam in Turkish classical music. Since the word U\u015f\u015fak literally means \u201clovers,\u201d this makam is also known as the \u201cMakam of Lovers.\u201d Similar to the Rast Makam, U\u015f\u015fak 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 D\u00fcgah Makam. Throughout music history, the name of U\u015f\u015fak Makam has undergone many changes.\n\nBefore the Systematic School (Sistemci Okul), Marag\u00ee, who described the U\u015f\u015fak 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 Marag\u00ee composed works in the U\u015f\u015fak Makam as well. However, the general consensus is that the U\u015f\u015fak Makam did not yet exist in his time. The scale Marag\u00ee wrote is identical to today\u2019s Nigar Makam.\n\nBefore the Systematic School, Saadettin Arel named the makam used as U\u015f\u015fak as K\u00fcrdili \u00c7argah. The makam that Ali \u00c7elebi, who lived in the 17th century, described as D\u00fcgah corresponds to today\u2019s U\u015f\u015fak Makam. In his article titled \u201cCharacteristics of the D\u00fcgah Makam,\u201d Kantemiro\u011flu actually refers to what we now call U\u015f\u015fak Makam. The Mevlevis refer to U\u015f\u015fak as D\u00fcgah.\n\nAbd\u00fclkadir Nas\u0131r Dede was the first to describe D\u00fcgah and U\u015f\u015fak Makams as separate entities. The Arel\u2013Dr. Ezgi and Abd\u00fclkadir T\u00f6re\u2013Ekrem Karadeniz schools have accepted U\u015f\u015fak as an independent makam in its current form.<\/p>

U\u015f\u015fak Ney Taksimi – Ulvi Erguner<\/a><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\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<\/div>\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<\/div>\n\t\t\t\t\t

Its melodic progression (seyir) is ascending in character.<\/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<\/div>\n\t\t\t\t\t

\u00a0It is created by combining the U\u015f\u015fak tetrachord in its natural place with the Buselik pentachord starting on Neva.<\/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<\/div>\n\t\t\t\t\t

It is the Neva (D) pitch at the junction of the tetrachord and pentachord.\nA half-cadence with the Buselik mode is performed on this 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<\/div>\n\t\t\t\t\t

On the Seg\u00e2h pitch, temporary cadences using partial Ferahn\u00e2k and partial Seg\u00e2h tetrachords are performed. Furthermore, a Rast-based temporary cadence is executed on the leading Rast pitch.<\/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\tStructure<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

Only a one-comma flat is applied to the note B (Si) in the tuning system.<\/p>

Note:<\/strong> In the U\u015f\u015fak makam, the Si (B) note is flattened by a comma, thus regarded as the Seg\u00e2h pitch. However, especially in descending melodic phrases, this pitch is performed 1\u20132 commas lower than Seg\u00e2h, adding a distinct character and personality to the makam.\nSince there is no notation indicating a 2\u20133 comma alteration, this pitch is still written as Seg\u00e2h in the notation, though it is performed slightly lower.<\/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<\/div>\n\t\t\t\t\t

D\u00fcg\u00e2h (La \/ A), Seg\u00e2h (Si \/ B), \u00c7\u00e2rg\u00e2h (Do \/ C), Nev\u00e2 (Re \/ D), H\u00fcseyn\u00ee (Mi \/ E), Acem (Fa \/ F), Gerd\u00e2niye (Sol \/ G), 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<\/div>\n\t\t\t\t\t

It is the G (Sol) pitch on the second line (R\u00e2st).<\/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<\/div>\n\t\t\t\t\t

U\u015f\u015fak 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 Yeg\u00e2h (D) pitch. During this process, the Irak (#F) pitch\u2014which is not normally part of the scale\u2014is used. This pitch corresponds to the same note used in the expansion of the Rast makam<\/a>through the Rast pentachord on Yeg\u00e2h. Such an expansion is called borrowed expansion, meaning that U\u015f\u015fak makam borrows its<\/strong> lower register expansion from Rast makam.<\/p>

\"\"<\/p>

The U\u015f\u015fak makam does not typically expand above the tonic (tiz durak). As mentioned above, it expands and develops primarily in the lower (pest) register.<\/p>

Expansion in the upper register (tiz) is more commonly observed in the Bayat\u00ee makam, which closely resembles the U\u015f\u015fak makam. However, if the U\u015f\u015fak makam ventures into the upper register, it employs certain expansions in that region and utilizes their respective notes.<\/p>

  1. The U\u015f\u015fak tetrachord in its original position is symmetrically transposed onto the upper tonic. (Symmetrical Expansion<\/strong>)<\/li>
  2. By adding a K\u00fcrd\u00ee tetrachord above the Muhayyer pitch to the B\u00fbselik pentachord based on the dominant pitch Neva, the scale expands to form a type-1 B\u00fbselik scale on Neva. (Expansion by Forming a New Scale<\/strong>)<\/span><\/li><\/ol>

    \"\"<\/p>

    NOTE: The U\u015f\u015fak 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 U\u015f\u015fak and, in terms of melodic progression, transforms into another makam. The small m\u00fccenneb (5 commas) flat on the B note here is called the S\u00fcmb\u00fcle pitch.<\/p>

    During the progression of the U\u015f\u015fak makam, if prolonged and persistent temporary cadences (asma karar) are made on the \u00c7\u00e2rg\u00e2h pitch, the U\u015f\u015fak Huz\u00ee makam<\/strong> is formed. Similarly, if prolonged and persistent temporary cadences occur on the Seg\u00e2h pitch, the M\u00e2ye (D\u00fcg\u00e2h M\u00e2ye) makam<\/strong>\u00a0emerges.<\/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<\/div>\n\t\t\t\t\t

    The progression begins around the tonic, starting from the expanded region below it. First, the melody moves through the notes of the U\u015f\u015fak tetrachord on the tonic. Then, emphasizing the dominant and its upper notes, a half-cadence with the B\u00fbselik 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 U\u015f\u015fak mode is made on D\u00fcg\u00e2h.<\/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<\/div>\n\t\t\t\t\t
    \"\"<\/a>
    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":"

    U\u015f\u015fak Makam\u0131; T\u00fcrk M\u00fbsikisinde, temel ya da ana bir makamd\u0131r. U\u015f\u015fak kelime anlam\u0131 olarak a\u015f\u0131klar anlam\u0131na geldi\u011finden bu makama a\u015f\u0131klar […]<\/p>\n","protected":false},"author":1,"featured_media":6977,"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 center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","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":"var(--ast-global-color-5)","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":""}},"footnotes":""},"categories":[132,129],"tags":[],"class_list":["post-6975","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basit-makamlar","category-makamlar"],"yoast_head":"\nT\u00fcrk Musikisinde U\u015f\u015fak Makam\u0131 \u2013 Dizisi ve \u00d6zellikleri<\/title>\n<meta name=\"description\" content=\"T\u00fcrk musikisinde U\u015f\u015fak 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\/ussak-makami\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" 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