{"id":7016,"date":"2025-06-24T17:00:23","date_gmt":"2025-06-24T14:00:23","guid":{"rendered":"https:\/\/test.sahaney.com\/?p=7016"},"modified":"2025-08-14T13:36:14","modified_gmt":"2025-08-14T10:36:14","slug":"muhayyer-makami","status":"publish","type":"post","link":"https:\/\/www.sahaney.com\/en\/muhayyer-makami\/","title":{"rendered":"Muhayyer Makam (a mode in Turkish Classical Music)"},"content":{"rendered":"
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It is one of the very old makam (modes) of Turkish music and consists of the \u201cinici\u201d (sharp) form of the H\u00fcseyn\u00ee makam<\/a>. Abd\u00fclb\u00e2ki N\u00e2s\u0131r Dede mentions it among the muhayyeri compositions. Its scale, established on the D\u00fcg\u00e2h note, is exactly the same as the H\u00fcseyn\u00ee makam scale, which is why this makam is classified among the simple makams.<\/p>

The Muhayyer makam has been highly appreciated and widely used in Turkish music\u2019s vocal religious and non-religious works, instrumental pieces, as well as in almost every form of classical art and folk music.<\/p>

https:\/\/www.sahaney.com\/wp-content\/uploads\/muhayyer-ney-taksimi-niyazi-sayin.mp3<\/a><\/audio><\/p>

Muhayyer Ney Taksimi – Niyazi Say\u0131n<\/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

\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 contour is descending.<\/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>

\u00a0As seen, this scale is exactly the same as the H\u00fcseyn\u00ee makam scale. However, due to its raised (sharp) notes, the Muhayyer makam begins its melodic progression from the higher tonic. To create a melodic passage in this section\u2014just like in almost all sharp (inici) makams\u2014the H\u00fcseyn\u00ee pentachord on the tonic is symmetrically transposed onto the higher tonic note of Muhayyer. This way, both the makam is expanded, and a melodic area for the introductory phrase is established.<\/p>

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

Since this expanded section is used right at the beginning of the melodic progression, it can be considered as an integral part of the main 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\tDominant note<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

The primary dominant (first-degree strong note) of the Muhayyer makam is the Muhayyer note. If the melody descends from the high H\u00fcseyn\u00ee note and takes a half pause on Muhayyer, the flavor is H\u00fcseyn\u00ee. If it descends from the high Nev\u00e2 and similarly takes a half pause on Muhayyer, the flavor is U\u015f\u015fak.<\/p>

The second strongest note is the H\u00fcseyn\u00ee note at the junction of the main scale. The flavor on this note is U\u015f\u015fak; however, if the descent is made using the high B\u00fbselik instead of high Seg\u00e2h and the melody settles on the H\u00fcseyn\u00ee note, it is called H\u00fcseyn\u00ee in 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

\u00a0The most important secondary tonic note is Nev\u00e2, on which a R\u00e2st-flavored secondary tonic can be made. This secondary tonic on the Nev\u00e2 note serves as a small modulation to the T\u00e2hir makam. Additionally, the \u00c7\u00e2rg\u00e2h and Seg\u00e2h notes are also used as secondary tonic notes, just like in the H\u00fcseyn\u00ee makam. That is, secondary tonics with \u00c7\u00e2rg\u00e2h or, rarely, Pen\u00e7g\u00e2h flavor can occur on the \u00c7\u00e2rg\u00e2h note. On the Seg\u00e2h note, secondary tonics can be made using the Seg\u00e2h, Ferahn\u00e2k, or Eksik Ferahn\u00e2k pentachord, or with the Seg\u00e2h triad.<\/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>

In the expanded section: High Seg\u00e2h (B lowered by 1 comma \u2013 approx. B\u266d\u266d), High \u00c7\u00e2rg\u00e2h (C), High Nev\u00e2 (D), and High H\u00fcseyn\u00ee (E).<\/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 located on the tonic is symmetrically transposed to the upper part of the high tonic. (See: 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\tMelodic progression<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

The melodic progression begins around the high tonic, the Muhayyer note. After exploring the upper register around the Muhayyer note, a half cadence is made on Muhayyer. Then, the secondary dominant, the H\u00fcseyn\u00ee note, is used for a secondary (temporary) cadence. Along the way, other necessary secondary cadences are also applied where appropriate. Finally, after some melodic wandering, a full cadence is made on the D\u00fcg\u00e2h note using the H\u00fcseyn\u00ee scale.<\/p>

Note:<\/strong> If, after performing this makam, a cadence is made on the spot using the B\u00fbselik scale or pentachord, the Muhayyer B\u00fbselik makam is formed; if a cadence is made using the K\u00fcrd\u00ee scale, the Muhayyer K\u00fcrd\u00ee makam 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 \u00e7ok eski makamlar\u0131ndan biri olup h\u00fcseyn\u00ee makam\u0131n\u0131n inici \u015feklinden ibarettir. Abd\u00fclb\u00e2ki N\u00e2s\u0131r Dede muhayyeri terkipler aras\u0131nda zikreder. D\u00fcg\u00e2h […]<\/p>\n","protected":false},"author":1,"featured_media":7018,"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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