{"id":6991,"date":"2025-06-17T21:25:16","date_gmt":"2025-06-17T18:25:16","guid":{"rendered":"https:\/\/test.sahaney.com\/?p=6991"},"modified":"2025-08-14T11:55:36","modified_gmt":"2025-08-14T08:55:36","slug":"huseyni-makami","status":"publish","type":"post","link":"https:\/\/www.sahaney.com\/en\/huseyni-makami\/","title":{"rendered":"H\u00fcseyn\u00ee Makam (a mode in Turkish Classical Music)"},"content":{"rendered":"
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H\u00fcseyn\u00ee: A mode and a pitch within Turkish Music, counted among the simple makams\u00a0<\/p>

H\u00fcseyn\u00ee Ney Taksimi – S\u00fcleyman Yard\u0131m<\/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 follows an ascending-descending 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\tScale<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

Formed on the Dug\u00e2h pitch by combining the H\u00fcseyn\u00ee pentachord with the U\u015f\u015fak tetrachord at H\u00fcseyn\u00ee<\/p>

\"\"<\/a><\/p>

In the H\u00fcseyn\u00ee mode, especially in descending melodies, the allure of descent may lead to the use of the Acem (F natural) pitch instead of Evi\u00e7 (F\u266f). This substitution forms a K\u00fcrd\u00ee tetrachord on the H\u00fcseyn\u00ee pitch, resulting in what is called the Acem-inflected H\u00fcseyn\u00ee<\/strong> scale.<\/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\tDominant note<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

It is the H\u00fcseyn\u00ee pitch<\/strong> at the junction of the H\u00fcseyn\u00ee pentachord and the U\u015f\u015fak tetrachord. A half cadence is made here with the U\u015f\u015fak flavor. (If the melody descends from T\u00eez B\u00fbselik, a H\u00fcseyn\u00ee pentachord forms at H\u00fcseyn\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\tSecondary tonic notes<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

The most prominent and characteristic suspended cadence pitch in the H\u00fcseyn\u00ee mode is \u00c7\u00e2rg\u00e2h. When the Acem-inflected H\u00fcseyn\u00ee scale is used\u2014meaning Acem replaces Evi\u00e7\u2014the suspended cadence at \u00c7\u00e2rg\u00e2h is made with the \u00c7\u00e2rg\u00e2h flavor, a hallmark of the mode. If, rarely, descent occurs via Evi\u00e7, the cadence at \u00c7\u00e2rg\u00e2h reflects the Pen\u00e7g\u00e2h pentachord.\u00a0<\/p>

\"\"<\/p>

The second most significant suspended cadence pitch is Seg\u00e2h. Cadences here are made using Seg\u00e2h and Ferahn\u00e2k flavors or the Seg\u00e2h triad. If the Acem-inflected H\u00fcseyn\u00ee scale is employed\u2014meaning descent occurs via the Acem pitch\u2014then the cadence reflects the incomplete Seg\u00e2h and Ferahn\u00e2k flavors, which nearly amount to a modulation into the U\u015f\u015fak mode.<\/p>

\"\"\"\"<\/p>

The third most important suspended cadence pitch is Nev\u00e2; when the scale employs Evi\u00e7, R\u00e2st flavors emerge on this pitch, whereas in the Acem-inflected H\u00fcseyn\u00ee scale\u2014descending via Acem\u2014B\u00fbselik flavors are formed on Nev\u00e2.<\/p>

\"\"<\/p>

A suspended cadence may also be made on the R\u00e2st pitch using the R\u00e2st pentachord.<\/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

The key signature includes a 1-comma flat for B (Si) and a 4-comma sharp (bakiye) for F (Fa)<\/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 (A), Seg\u00e2h (B lowered by 1 comma \u2013 approximately B double flat), \u00c7\u00e2rg\u00e2h (C), Nev\u00e2 (D), H\u00fcseyn\u00ee (E), Evi\u00e7 (F), Gerd\u00e2niye (G), and Muhayyer (A) correspond to the following notes.<\/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

The H\u00fcseyn\u00ee pentachord on the tonic is symmetrically transposed onto the high register Muhayyer pitch, resulting in a symmetrical expansion.<\/p>

\"\"<\/p>

Additionally, by adding a B\u00fbselik pentachord on the Muhayyer pitch to the U\u015f\u015fak tetrachord on the dominant H\u00fcseyn\u00ee pitch, a U\u015f\u015fak Makam scale is constructed within H\u00fcseyn\u00ee<\/strong> . (Expansion through creation of a new scale<\/strong>)<\/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<\/div>\n\t\t\t\t\t

he melodic progression begins around the dominant H\u00fcseyn\u00ee pitch. Even if it occasionally starts from the tonic, it quickly gravitates toward the dominant. After wandering through the flavors that form the scale, a half cadence with U\u015f\u015fak flavor is made on the dominant H\u00fcseyn\u00ee pitch. Meanwhile, auxiliary cadences are shown where necessary. Again, after a mixed wandering through the scale, the expanded section may optionally be displayed, and a full cadence is made on the D\u00fcg\u00e2h pitch using the H\u00fcseyn\u00ee scale.<\/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<\/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":"

H\u00fcseyn\u00ee; T\u00fcrk M\u00fbsikisinde, basit makamlar aras\u0131nda yer alan bir makam ve ayn\u0131 zamanda bir perdenin ad\u0131d\u0131r.\u00a0 H\u00fcseyn\u00ee Ney Taksimi – […]<\/p>\n","protected":false},"author":1,"featured_media":6993,"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-6991","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basit-makamlar","category-makamlar"],"yoast_head":"\nT\u00fcrk Musikisinde H\u00fcseyn\u00ee Makam\u0131 \u2013 Dizisi ve \u00d6zellikleri<\/title>\n<meta name=\"description\" content=\"T\u00fcrk musikisinde H\u00fcseyn\u00ee 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\/huseyni-makami\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" 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