{"id":7042,"date":"2025-06-22T21:52:04","date_gmt":"2025-06-22T18:52:04","guid":{"rendered":"https:\/\/test.sahaney.com\/?p=7042"},"modified":"2025-08-14T13:46:26","modified_gmt":"2025-08-14T10:46:26","slug":"suzinak-makami","status":"publish","type":"post","link":"https:\/\/www.sahaney.com\/en\/suzinak-makami\/","title":{"rendered":"Basit S\u00fbz\u00eenak Makam (a mode in Turkish Classical Music)"},"content":{"rendered":"
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The S\u00fbz\u00eenak mode was first used during the reign of Sultan Selim III. Although the creator of the mode is unknown, compositions in the S\u00fbz\u00eenak mode by contemporary composers such as Seyit Ahmet A\u011fa, Abd\u00fclhalim A\u011fa, and K\u00fc\u00e7\u00fck Mehmet A\u011fa are recorded. The mode has two variations: the Simple (Basit) and the Zirg\u00fcleli S\u00fbz\u00eenak<\/a> .<\/p>

https:\/\/www.sahaney.com\/wp-content\/uploads\/basit-suzinak-pesrev-neyzen-emin-efendi.mp3<\/a><\/audio><\/p>

Basit S\u00fbz\u00eenak Pe\u015frev (Neyzen Emin Efendi)<\/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

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\tMelodic progression<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

It follows a descending\u2013ascending melodic trajectory.<\/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 a Hicaz tetrachord on the Neva pitch to a Rast pentachord on the tonic (Yerinde). (Rast pentachord + Hicaz tetrachord on the 5th degree).<\/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

Neva (G) is the strong (g\u00fc\u00e7l\u00fc) pitch, where a semi-cadence is performed with the Hicaz tetrachord.<\/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

As a natural consequence of the Hicaz flavor on the dominant Neva pitch, the melody descends to the \u00c7\u00e2rg\u00e2h pitch with a Nikriz flavor, and a cadential suspension (asma karar) is made on \u00c7\u00e2rg\u00e2h using the Nikriz tetrachord.\u201d
Apart from this, the Seg\u00e2h pitch is also a highly characteristic cadential suspension pitch, where a suspension is made using the H\u00fczz\u00e2m flavor. (There is a H\u00fczz\u00e2m pentachord on Seg\u00e2h.)<\/p>

\"\"<\/p>

The cadential suspension on the D\u00fcg\u00e2h pitch corresponds to the Karc\u0131\u011far makam<\/a>.\u00a0<\/p>

\"\"<\/p>

Moreover, since the final pitch of the Simple S\u00fbz\u00eenak scale carries a Rast pentachord, it closely resembles the Rast mode. The difference lies in the section above the dominant pitch. Transitions between these two modes are therefore easy. In some Simple S\u00fbz\u00eenak compositions, this closeness has been utilized by omitting the His\u00e2r and Evi\u00e7 pitches and replacing them with H\u00fcseyn\u00ee and Acem pitches, leading to a full cadence in the form of an Acem-colored Rast 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\tStructure<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

In the key signature, a koma flat is written for B, a bakiye flat for E, and a bakiye sharp for F.<\/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

R\u00e2st (G), D\u00fcg\u00e2h (A), Seg\u00e2h (B\u266d \u2013 koma bemol), \u00c7\u00e2rg\u00e2h (C), Nev\u00e2 (D), His\u00e2r (E\u266d), Evi\u00e7 (F\u266f), Gerd\u00e2niye (G)<\/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 yeden note<\/a>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t

The pitch of fa (F) with a bakiye sharp in the first interval is the Irak pitch. However, almost no Simple S\u00fbz\u00eenak composition resolves with the leading tone.<\/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 Hicaz tetrachord on the Neva pitch is extended into a Humayun scale by adding a Buselik pentachord on the Gerdaniye pitch.<\/p>

\"\"<\/p>

If the melodic phrases continuously ascend and descend on the Neva pitch, an average Hicaz scale is used on Neva.<\/p>

It is observed that while ascending from the Neva pitch, the 6th degree is T\u00eez Seg\u00e2h, and while descending, it is S\u00fcnb\u00fcle. Moreover, when the Muhayyer pitch makes an upper ornamentation, the S\u00fcnb\u00fcle pitch is also used.<\/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 Neva pitch. After wandering through the tetrachords on both sides of the scale, a Hicaz-flavored semi-cadence is made on Neva. Following the mentioned cadential suspensions, if desired, the extended section is also explored, and ultimately a full cadence is made on the Rast pitch\u2014usually without the leading tone\u2014either through the Simple S\u00fbz\u00eenak scale or via the Acem-colored Rast scale.<\/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
\"\"
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":"

S\u00fbz\u00eenak makam\u0131 ilk kez Padi\u015fah III.Selim d\u00f6neminde kullan\u0131lmaya ba\u015flanm\u0131\u015ft\u0131r. Makam\u0131 bulan belli olmasa da, ayn\u0131 d\u00f6nem bestekarlar\u0131ndan Seyit Ahmet A\u011fa, […]<\/p>\n","protected":false},"author":1,"featured_media":7044,"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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