{"id":7008,"date":"2025-06-21T21:33:48","date_gmt":"2025-06-21T18:33:48","guid":{"rendered":"https:\/\/test.sahaney.com\/?p=7008"},"modified":"2025-08-14T13:43:03","modified_gmt":"2025-08-14T10:43:03","slug":"tahir-makami","status":"publish","type":"post","link":"https:\/\/www.sahaney.com\/en\/tahir-makami\/","title":{"rendered":"Tahir Makam (a mode in Turkish Classical Music)"},"content":{"rendered":"
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One of the oldest modes in Turkish music, and in earlier periods it was known as babat\u00e2hir. Abd\u00fclb\u00e2ki N\u00e2s\u0131r Dede<\/a>divided the mode into two branches: \u201ct\u00e2hir-i keb\u00eer\u201d and \u201ct\u00e2hir-i sag\u00eer\u201d, which over time was shortened to t\u00e2hir. It is considered a simple mode and can be defined as a variation of the nev\u00e2 makam<\/a>.<\/p>

https:\/\/www.sahaney.com\/wp-content\/uploads\/musterek-tahir-taksim-sedat-oytun-tahir-aydogdu.mp3<\/a><\/audio><\/p>

M\u00fc\u015fterek Tahir Taksimi – Kanun: Tahir Aydo\u011fdu<\/a> & Ud: Sedat Oytun<\/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\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

The melodic progression is descending 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

It is the descending form of the Neva scale. That is, it is formed by adding the Rast pentachord on Neva to the U\u015f\u015fak tetrachord on the tonic. Due to its close relation to the Neva makam, it is considered the descending version of Neva and therefore has not been assigned a separate number among the simple makams.<\/p>

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

Since the Tahir makam is a descending mode, its primary dominant is the Muhayyer pitch. A half cadence is performed on this pitch. To create a melodic space in the high register, the U\u015f\u015fak tetrachord located on the tonic of the main scale is transposed symmetrically and identically onto the high tonic Muhayyer.<\/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

Since the Tahir makam is a descending mode, the primary dominant is the high tonic Muhayyer pitch. The secondary dominant is the Neva pitch, which is the dominant of the main scale. However, in rare cases, some compositions use Neva as the primary dominant and Muhayyer as the secondary. On the primary dominant Muhayyer, cadences are made with U\u015f\u015fak flavor, while on the secondary dominant Neva, cadences are made with Rast and Buselik flavors.\n\n\u0130stersen bu a\u00e7\u0131klamay\u0131 seyir yap\u0131s\u0131na ba\u011flayarak karar noktalar\u0131n\u0131 grafikle g\u00f6sterebilirim. Haz\u0131rsan devam edebilirim.<\/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

In the main scale of the T\u00e2hir makam, there is a R\u00e2st flavor (\u00e7e\u015fni) on the Nev\u00e2 pitch. However, in descending phrases, the Acem pitch may occasionally be used instead of Evi\u00e7 due to its descending allure. In such cases, a B\u00fbselik flavor emerges on the Nev\u00e2 pitch and a \u00c7\u00e2rg\u00e2h flavor on the \u00c7\u00e2rg\u00e2h pitch, allowing for intermediate cadences (asma karar) on these pitches using the mentioned flavors. An intermediate cadence with Seg\u00e2h flavor can also be made on the Evi\u00e7 pitch.<\/p>

\"\"<\/p>

Although the U\u015f\u015fak flavor appears one whole tone above the R\u00e2st flavor on the Nev\u00e2 pitch\u2014that is, on the H\u00fcseyn\u00ee pitch\u2014the T\u00e2hir makam rarely makes intermediate cadences (asma karar) on H\u00fcseyn\u00ee. In contrast, the Muhayyer makam often descends from H\u00fcseyn\u00ee, its secondary dominant, to Nev\u00e2 and makes an intermediate cadence with R\u00e2st flavor on Nev\u00e2.<\/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 (La \/ A), Seg\u00e2h (Si\u266d koma \/ B\u266d slightly flat), \u00c7\u00e2rg\u00e2h (Do \/ C), Nev\u00e2 (Re \/ D), H\u00fcseyn\u00ee (Mi \/ E), Evi\u00e7 (Fa\u266f koma \/ F\u266f slightly sharp), Gerd\u00e2niye (Sol \/ G), Muhayyer (La \/ A, one octave above D\u00fcg\u00e2h).<\/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

Since the makam is descending, it expands toward the high register.<\/p>

  1. The U\u015f\u015fak tetrachord on the tonic pitch is transposed upward symmetrically. This expansion is always used in the introductory progression. We examined it earlier (in the scale section).<\/li>
  2. The R\u00e2st pentachord on the Nev\u00e2 pitch is extended into an Acem-colored R\u00e2st scale by adding a B\u00fbselik tetrachord on the Muhayyer pitch. However, this type of expansion is not used in the introductory progression, and the B\u00fbselik flavor on the Muhayyer pitch is not retained. Occasionally, though, when the melody descends to the Nev\u00e2 pitch or ornaments above the Muhayyer pitch, the T\u00eez B\u00fbselik pitch\u2014corresponding to the sound of the B\u00fbselik tetrachord on Muhayyer\u2014is used.<\/li><\/ol>

    \"\"<\/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 high tonic, the Muhayyer pitch. After wandering freely in the high register and within the R\u00e2st flavor on the Nev\u00e2 pitch, a half cadence with U\u015f\u015fak flavor is made on the Muhayyer pitch. Continuing with mixed phrases, an intermediate cadence is made on the Nev\u00e2 pitch as the secondary dominant. Meanwhile, other intermediate cadences are also demonstrated, culminating in a full cadence with U\u015f\u015fak flavor on the D\u00fcg\u00e2h pitch.<\/p>

    Note:<\/strong> If, after performing this makam, a cadence is made in its original register using the B\u00fbselik scale or pentachord, the T\u00e2hir B\u00fbselik makam<\/strong> <\/em>emerges.<\/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":"

    T\u00fcrk m\u00fbsikisinin en eski makamlar\u0131ndan olup \u00f6nceki d\u00f6nemlerde ismi babat\u00e2hirdir. Abd\u00fclb\u00e2ki N\u00e2s\u0131r Dede\u2019nin \u201ct\u00e2hir-i keb\u00eer\u201d ve \u201ct\u00e2hir-i sag\u012br\u201d diye ikiye […]<\/p>\n","protected":false},"author":1,"featured_media":7010,"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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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-7008","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-basit-makamlar","category-makamlar"],"yoast_head":"\nT\u00fcrk Musikisinde Tahir Makam\u0131 \u2013 Dizisi ve \u00d6zellikleri<\/title>\n<meta name=\"description\" content=\"T\u00fcrk musikisinde Tahir 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\/tahir-makami\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta 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