{"id":6983,"date":"2025-06-15T21:21:09","date_gmt":"2025-06-15T18:21:09","guid":{"rendered":"https:\/\/test.sahaney.com\/?p=6983"},"modified":"2025-08-14T13:41:07","modified_gmt":"2025-08-14T10:41:07","slug":"bayati-makami","status":"publish","type":"post","link":"https:\/\/www.sahaney.com\/en\/bayati-makami\/","title":{"rendered":"Bayati Makam (a mode in Turkish Classical Music)"},"content":{"rendered":"
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The Bayati Makam (a mode in Turkish Classical Music)<\/strong>, believed to have derived its name from the Bayat Turks, a branch of the Oghuz Turks, has been in use for approximately five centuries. However, its originator remains unknown.<\/p>

U\u015f\u015fak makam (a mode in Turkish Classical Music)<\/a> , although using the same scale, differs by starting its melodic progression from the middle pitches rather than the lower ones. This feature exemplifies that in Turkish music, the concept of a makam is shaped more by its melodic development (seyir) than by the scale (dizi) itself.<\/p>

Bayati makam, compared to U\u015f\u015fak makam, has a less melancholic character and is classified among the simple makams.<\/p>

https:\/\/www.sahaney.com\/wp-content\/uploads\/bayati-ney-taksimi-aka-gunduz-kutbay.mp3<\/a><\/audio><\/p>

Bayati Ney Taksimi – Aka G\u00fcnd\u00fcz Kutbay<\/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<\/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

It has an ascending (rising) character, which is the first feature that distinguishes it from the U\u015f\u015fak makam.<\/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

It is formed by adding the B\u00fbselik pentachord on Neva to the U\u015f\u015fak tetrachord in its original position. This is the same scale as the U\u015f\u015fak makam.\u00a0<\/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, incomplete Ferahn\u00e2k and incomplete Seg\u00e2h temporary cadences (asma karar) are performed; additionally, temporary cadences with Rast are made on the Rast pitch.<\/p>

\"\"<\/p>

\u00a0Additionally, the Acem pitch (F) is very important for the Bayati makam. The melodic progression often begins around this pitch. The interval between Neva (D) and Acem (F) is frequently used. (This is the second difference from the U\u015f\u015fak makam.)<\/p>

Also, during the Bayati progression, as it approaches the end (but not at the very end), a Hijaz modulation is made on Neva, followed by temporary cadences with Hijaz on Neva and Nikriz on \u00c7\u00e2rg\u00e2h. (This is the third difference from the U\u015f\u015fak makam.)<\/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

As in the U\u015f\u015fak makam, only a one-comma flat is applied to the B note in the tuning system.<\/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\u266d), \u00c7\u00e2rg\u00e2h (Do \/ C), Nev\u00e2 (Re \/ D), H\u00fcseyn\u00ee (Mi \/ E), Acem (Fa \/ F), Gerd\u00e2niye (Sol \/ G), Muhayyer (La \/ A\u266d)<\/p>

The sounds of the Hijaz mode on Neva and the Nikriz mode on \u00c7\u00e2rg\u00e2h are Neva (D), Hisar (C\u266f), Evi\u00e7 (F\u266f), and Gerd\u00e2niye (G).<\/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

While the U\u015f\u015fak makam expands in the lower (bass) region, the Bayati makam expands in the higher (treble) region. It does not expand in the lower region at all; if it uses bass notes, it employs the sounds of the Rast pentachord on Yeg\u00e2h, just like U\u015f\u015fak. (See:U\u015f\u015fak Makam (a mode in Turkish Classical Music)<\/a>)<\/p>

In the high register, it also expands in two different ways.<\/p>

      1. 1. The U\u015f\u015fak tetrachord on the tonic pitch is transposed to the high tonic, resulting in symmetric expansion.<\/ol><\/li><\/ol>

        \"\"<\/p>

          2. It expands by creating a new scale through adding a K\u00fcrd\u00ee tetrachord on the Muhayyer pitch to the B\u00fbselik pentachord on the Neva pitch.<\/ol><\/li><\/ol>

          \"\"<\/p>

          Note:<\/em> In the progression of the Bayati makam, prolonged stays that would create a suspended cadence on the Muhayyer pitch are avoided.<\/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 melodic progression begins around the strong Neva pitch. The Acem (F) pitch is frequently emphasized while navigating the scale. A half cadence with B\u00fbselik is performed on the Neva pitch. Then, the scale is explored further with necessary suspended cadences. Near the ending, a Hijaz modulation is shown on Neva, and finally, a full cadence with U\u015f\u015fak 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\tThe distinguishing features between the U\u015f\u015fak makam and the Bayati makam.<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t
          1. The U\u015f\u015fak makam has an ascending (rising) melodic character, while the Bayati makam features both ascending and descending melodic movement.<\/li>
          2. The Bayati makam frequently utilizes the interval between the Neva and Acem pitches (especially more so in the opening progression). In contrast, the U\u015f\u015fak makam rarely dwells on these pitches, focusing more on the tonic and its lower neighbor.<\/li>
          3. In the Bayati makam, especially as it approaches the cadence, descending melodies feature a Hijaz modulation on the Neva pitch. This modulation is absent in the U\u015f\u015fak makam (although there are exceptional pieces that include it).<\/li>
          4. The U\u015f\u015fak makam expands in the lower register (bass) around the tonic pitch, using the Rast pentachord on Yeg\u00e2h borrowed from the Rast makam. In contrast, the Bayati makam expands in the upper register (treble) above the high tonic, through symmetric expansion and by creating a new scale.<\/li><\/ol><\/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":"

            Ad\u0131n\u0131 O\u011fuzlar\u2019\u0131n bir kolu olan Bayat T\u00fcrkleri\u2019nden ald\u0131\u011f\u0131 d\u00fc\u015f\u00fcn\u00fclen ve be\u015f as\u0131rdan beri kullan\u0131ld\u0131\u011f\u0131 tahmin edilen Bayati Makam\u0131\u2019n\u0131n m\u00fbcidi bilinmemektedir. […]<\/p>\n","protected":false},"author":1,"featured_media":6985,"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-6983","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basit-makamlar","category-makamlar"],"yoast_head":"\nT\u00fcrk Musikisinde Bayati Makam\u0131 \u2013 Dizisi ve \u00d6zellikleri<\/title>\n<meta name=\"description\" content=\"T\u00fcrk musikisinde Bayati (Beyati) 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\/bayati-makami\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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