{"id":7056,"date":"2025-06-29T22:00:07","date_gmt":"2025-06-29T19:00:07","guid":{"rendered":"https:\/\/test.sahaney.com\/?p=7056"},"modified":"2025-08-14T11:48:59","modified_gmt":"2025-08-14T08:48:59","slug":"nihavend-makami","status":"publish","type":"post","link":"https:\/\/www.sahaney.com\/en\/nihavend-makami\/","title":{"rendered":"Nihavend Makam\u0131 (a mode in Turkish Classical Music)"},"content":{"rendered":"
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In earlier times, within the tradition of naming Turkish music makams after cities or regions\u2014such as Irak, Hicaz, Ni\u015f\u00e2bur (Ni\u015f\u00e2pur), or Tebriz\u2014the city of Nih\u00e2vend in Iran also came to be known as the name of a makam. The present-day Nih\u00e2vend makam was formerly called nih\u00e2vend-i r\u00fbm\u00ee. This name was used to distinguish it from another makam called nih\u00e2vend-i keb\u00eer, but over time the distinction was dropped and only the name nih\u00e2vend remained.\n\nThe Nih\u00e2vend makam is obtained by transposing the scale of the B\u00fbselik Makam<\/a> onto the R\u00e2st fret. From the perspective of Western music, the Nih\u00e2vend makam corresponds to G minor.<\/strong>A scale with a K\u00fcrd\u00ee tetrachord on the dominant (g\u00fc\u00e7l\u00fc) corresponds to the natural minor, while one with a Hicaz tetrachord corresponds to the harmonic minor.<\/p>

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

Nihavend 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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It is the R\u00e2st pitch.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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It is descending\u2013ascending in character. Although the progression may sometimes begin ascending or sometimes descending, it soon returns to a predominantly ascending\u2013descending form.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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It is the transposition (\u015fed) of the B\u00fbselik makam scale on the R\u00e2st fret. Thus, it is formed by adding either a K\u00fcrd\u00ee tetrachord on the dominant Nev\u00e2 (D) or, as in the second form of the B\u00fbselik scale, a Hicaz tetrachord to the B\u00fbselik pentachord on the R\u00e2st fret.<\/p>

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

The Nih\u00e2vend makam scale has the same sequence of notes as the G minor scale in Western music. A scale with a K\u00fcrd\u00ee tetrachord on the dominant corresponds to the natural minor, while one with a Hicaz tetrachord corresponds to the harmonic G minor.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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The Nev\u00e2 (5th degree, D) note, where the B\u00fbselik pentachord merges with the K\u00fcrd\u00ee or Hicaz tetrachord, is the dominant (g\u00fc\u00e7l\u00fc) of the makam. A half pause (yar\u0131m karar) with either the K\u00fcrd\u00ee or Hicaz flavor is made on this note. However, especially at the beginning of the melody, the scale featuring the K\u00fcrd\u00ee flavor on Nev\u00e2 is more commonly preferred.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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The Nih\u00e2vend makam is quite rich in hanging pauses (asma kararlar). Hanging pauses with the \u00c7\u00e2rg\u00e2h flavor are made on the 6th degree N\u00eem His\u00e2r fret (E flat), and with the B\u00fbselik flavor on the 4th degree \u00c7\u00e2rg\u00e2h fret (G). However, to perform these two hanging pauses and flavors, the N\u00eem \u015eehn\u00e2z fret (A flat), which is foreign to the scale, must be used. Otherwise, these flavors do not occur. Essentially, the use of this fret also creates a distinct color within the makam.<\/p>

\"\"<\/p>

Since the Nih\u00e2vend makam scale is the same as the G minor scale in Western music, it has a relation to B-flat major, which is the neighboring key of G minor. The hanging pauses with the \u00c7\u00e2rg\u00e2h flavor on the K\u00fcrd\u00ee fret in the Nih\u00e2vend makam are performed due to this closeness. Similarly, hanging pauses with the K\u00fcrd\u00ee flavor are also made on the D\u00fcg\u00e2h fret, which is the second degree of the same scale.<\/p>

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In some Nih\u00e2vend compositions, a small U\u015f\u015fak passing note is observed on the Nev\u00e2 fret. Although this is not part of the makam\u2019s fundamental structure, it serves as a beautiful ornament that adds color to the makam. To perform this passing note, the N\u00eem His\u00e2r fret is skipped and replaced by the Dik His\u00e2r fret. In certain Nih\u00e2vend pieces, usually during the opening phrase and sometimes later, there is a modulation to the Nev\u2019eser makam. This is a natural modulation reflecting the Oriental flavor of the Nih\u00e2vend makam, which corresponds to either the natural minor or harmonic minor scale of G minor.<\/p>

\"\"<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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The small m\u00fccenneb flat is notated for Si (B) and Mi (E). Other necessary alterations are indicated within the piece itself.<\/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

They are R\u00e2st, D\u00fcg\u00e2h, K\u00fcrd\u00ee, \u00c7\u00e2rg\u00e2h, Nev\u00e2, N\u00eem, His\u00e2r, Acem, and Gerd\u00e2niye. When there is a Hicaz on Nev\u00e2, the Nev\u00e2v, His\u00e2r, Evi\u00e7, and Gerd\u00e2niye frets are used.<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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It is the Irak fret, located at the interval of a minor second (B-sharp F).<\/p><\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t

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The Nih\u00e2vend makam can expand both above the high tonic (t\u00eez durak) and below the tonic fret. In other words, the makam can develop through expansions from both the higher and lower registers.<\/p>