1 – INTRODUCTION

When I was young I have always wanted to play piano. But it was easier to find a guitar and a
teacher those days so I started with guitar. After listening to Erkan Ogur’s “Fretless” album, I
realised that I am lucky to start with the guitar. It is possible to play makams with fretless guitar
and imitate the playing styles of Turkish instruments. Even wind instruments with the help of e-
bow…

Turkish Music has thousands years of history and still keeps the tradition. Makam, special
rhythms, different song forms, improvisation and its own groove can be the main characteristics
of this modal music. I will try to give brief information about Turkish Music, makams and their
relation with fretless guitar. I hope you will enjoy the journey.

2 – MAKAM

What is Makam? It is possible to describe it as “composition rules”. A good knowledge of

makam, rhythm, musical forms will help us to create senior level of Turkish Music.

I will try to explain you this music in the simplest way because too many written details may
confuse your minds. The best is, book information supported with a good teacher. Probably your
best teachers will be recordings. While giving information about makam I also gave the Turkish
meanings of them in parenthesis.

If you are interested in makams and made a research on the internet, it is possible to find some
examples of makam scales. If you try to play these scales up and down or build phrases like in
jazz music it will be wrong approach to makam music.

IMPORTANT!

In Turkish Music, a makam scale is composed of a tetrachord (dörtlü) over a pentachord (besli)
or a pentachord over a tetrachord. The last note of the pentachord and the first note of the
tetrachord (or vice versa) is the same; therefore there are 8 notes in a scale.

In the makam scale there are certain notes that we should always consider while playing a
taksim (art of makam improvisation). Each makam has its own particular progression which
governs its performance. Similarly to a composition, it has a beginning, development and end.

The most important notes are tonic/final (karar/durak), dominant (güçlü), suspended cadence
(asma karar), temporary stopping points (muvakkat kalislar) and the leading tone (yeden).

The course (direction) of the melody is also very important. The path or way (seyir) determines if
the makam is ascending (çikici), descending (inici) or combination of the two
ascending/descending (inici/çikici).

It is obvious that 8 notes are not enough to make an interesting taksim. We may extend the scale
above and below the octave. This is called range or extension (genisleme).

If we emphasize these important notes, obey other taksim rules and create nice melodies, we
can say that we are playing a makam. As a result, “Scale is static and makam is active”

3 – BRIEF THEORETICAL INFORMATION

Makam scales are constructed by microtones. As we know, there is C# or Db between C and D (in
tempered system) but in Turkish Music (T.M.) system there are 9 microtones (comma). (Figure 1)
Between E and F there are 4 comas. So there are 53 commas in an octave. Certainly we don’t
play all these commas in makam. If we played it, it would be a torture to listen to.

mak_fig_3

Fig 1

mak_fig_7

Fig 3
The figure 2 shows the commas and their symbols which are used in the construction of
makams.

mak_fig_6

Fig 2

The system was so complicated that Arel-Ezgi system was accepted to make it more convenient
for the performer. There are many accidental markings which are used to show the commas. If
you have noticed in figure 1, some commas don’t have accidental markings. Although these
tones are used while playing compositions, special accidentals are not shown on the score.
There are many intervals in T.M. system and it would be very difficult to make accidentals for
each interval. Therefore it was decided not to use many accidentals and try to find a convenient
way of presenting the melody.

mak_fig_4

Fig 4

Here is an example of Çargah makam scale. This scale is similar to C Ionian scale and it doesn’t
have accidentals. In T.M., every note has its own name and while explaining taksim we will use
these names to point the important notes in the makam. Usually these names are also the
names of some makam scales.

The names of the notes in Çargah makam are: Kaba Çargah (C), Yegah (D), Hüseyni Asiran (E),
Acem Asiran (F), Rast (G), Dügah (A), Buselik (B), Çargah (C-the octave) Please note that the
octaves of these notes don’t have the same names. For example, the octave of Yegah (D) is called
Neva (D-the octave).

How do we build the scale? Çargah Makam is a good example to explain because there are just 2
intervals used in the construction: Tanini (9 commas) and Bakiye (4 commas). (Please check
figure 1 and 2) There are no accidentals in the scale.

The formula is:

Tanini(9)+Tanini(9)+Bakiye(4)+Tanini(9)+Tanini(9)+Tanini(9)+Bakiye(4) = 53

4 – HOW TO PLAY TAKSIM

As I mentioned before, taksim is the art of makam improvisation. Taksims have several purposes.
They can be played before the composition to warm up the listeners ears or they can be played
in the middle of the tune like a jazz standard. Also there are various approaches to the taksim.
There is too much information to tell but I will just try to tell in the simplest way of playing a
taksim by using the terms I wrote above. I chose Ussak Makam as an example. Except one note
(it is on B line on the staff) other notes are similar to the tempered system. Before telling Ussak
taksim we should start by giving information about Ussak M.

5 – USSAK MAKAM, taksim and some makam licks

mak_fig_5

Fig 5

USSAK TETRATONES (MP3 376KB)

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“I just played the Ussak tetrachord tones.Buselik pentachord tones can be played like in
tempered system. You will notice that the only different note is Segah. The accidental of Segah
tells us to play 1 comma flat. But in Uþþak makam, when we see this accidental, we play it 2-3
commas flat. The reason is explained in “Brief theorical information” and “Uþþak M.” sections.”

Ussak Makam:

A – Tonic note: Dügah

B – Path(or way): Ascending

C – Makam scale: First of all, we construct the tetrachord on Dügah (A) note. It is called Ussak
tetrachord (Ussak dörtlüsü). Then on Neva (D) note, we construct Buselik pentachord (Buselik
beslisi).

D – Dominant note: Neva note (D) is the dominant note where tetra and pentachord intersects.

E – Suspended cadence:

1 – The most important and characteristic note of this makam is Segah It is possible to play
Segah and Ferahnak makams on Segah and create variety (flavour). Explaining these makams will
just be confusing information at this step.

2 – It is possible to play Rast pentachord on the note Rast below Ussak makam.

(It is G,A, Segah, C, D) In this moment Segah should be played 1 comma flat.

Note: The accidental of Segah on the sheet of music tells us to play this note one comma flat,
but while playing Ussak m. we play this note 2-3 commas flat. In fact, between Dügah (A) and
Segah there are 8 commas (this interval is called Büyük Münecceb). So, this interval in Ussak m.
consists of 6-7 commas. My precious Pole friend who plays blues harmonica calls this note ‘blue
note’. This gives the groove to the makam. I think he found a good term.

mak_fig_12
Fig 6

3 – Emphasising the the Çargah note (C) will create a different suspended cadence.

F – The name of the notes in the scale:

Dügah (A), Segah, Çargah (C), Neva (D), Hüseyni (E), Acem (F), Gerdaniye (G), Muhayyer (A)

G – The leading tone:

The note Rast (G) is the leading tone. This note creates the feeling of resolution to Dügah (A).

H – Range of the makam: The range of the makam can be expanded below or above the scale.

Below the scale: It is possible to play a Rast pentachord which is transposed over the note Yegah
(D). In this case we have an odd note named Irak (F#) in the scale. In fact, there is no F# in the
scale in the main scale. So we have D, E, F#, G, A.

mak_fig_9

Fig 7

Above the scale: Although some musicians prefer not to make expansion over the scale in order
to avoid the change in the serious and sober feeling of the makam, it is possible to make some
expansions.

1-We can play the Ussak tetrachord on Muhayyer note (A) (An octave above the tonic)
mak_fig_11

Fig 8

2-It is also possible to play Kurdi tetrachord (A, Bb, C, D) over Muhayyer (A) note. Personally I
don’t use this.

mak_fig_8

Fig 9

SIMPLEST EXPLANATION OF USSAK TAKSIM

1 – Start creating the melody with any of the note between Dügah (A) (tonic-karar) and Neva (D).
We know that these notes are called ‘Ussak tetrachord’. It is also possible to begin by the range
below Dügah. Be careful! Don’t emphasise these notes too much below Dügah. Just travel
around the note shortly, otherwise you will be creating a different makam.

2 – After creating some phrases stop at the Neva (D) (dominant note-Güçlü)). Now it is time to
create melodies in Buselik pentachord (D-E-F-G-A). It is possible to play these suspended
cadences and show other properties.

3 – If you want, you may travel in all the scale and play below and above ranges (expansion
notes)

4 – Finally come back to the Ussak tetrachord and create your last melodies. You may also play
the leading tone (G) which will create the feeling of resolution.

USSAK TAKSIM and ILAHI (MP3 3,223Kb) performed by Aran Arslan

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Well…I think it is a simple and sufficient explanation for the beginning. For a better taksim you
should be able to know other makams very well. Kantemiroglu (1673-1723) tells that it is
possible to play 38 other makams to create variety while performing Hüseyni makam taksim! But
this is a senior level of taksim. Please don’t give up, because we don’t need to know many of
them. Just try to create nice melodies: Other makam taksims fallow the same way. Emphasising
the important notes and considering the rules.

I recorded some long licks by using fretless guitar and I hope they will be helpful.

EBOW SABA TAKSIM (MP3 713Kb)

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EBOW TAKSIM (MP3 887Kb)

I just used a fretless electric guitar and E-bow.

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HUSEYNI MAKAM LICK (MP3 474Kb)

I played it freely.The blue note that I played in the middle has an explanation in T.M.

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HICAZ LICK (MP3 335Kb)

I used opened strings like in oud. But it is not played in traditional way.

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SEGAH MAKAM LICK (MP3 321Kb)

I played seven notes using one string.Therefore it is reminiscent of tanbur.

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6 – THE USAGE OF MAKAMS IN MENTAL ILLNESSES

If we are talking about makams also it will be interesting to talk about the makams and their
usage in treatment of illnesses. This style of treatment has been used for many years. Sultan
Bayezid II established a university hospital in Edirne in 1486. Psychiatric patients were treated by
aromas of flowers and musical works. Each makam was prescribed according to the type of the
illness.

Important Turkish scientist-philosopher Farabi (870-950) explains the effects of some makams as
follows:

Rast: Gives happiness and tranquillity.

Zirguleli Hicaz: Gives sleepiness.

Saba: Gives strength and courage.

According to the information we have, makams are effective in some periods of the day. For
example Rast is effective in midnight and Hüseyni in the morning. As far as I know Turkish music
therapy is still being used in Turkey. And even in foreign countries. If anyone is interested it is
worth to make a research about this subject.

7 – RHYTHM
There are various rhythms from 2/4 to 124/4. (Most of the long rhythms are not used today).
Some of these rhythms are especially used in T. Classical M. and some of them are in folkloric
and some in religious music. There are really interesting rhythms and these rhythms may give
you inspiration while composing songs. One of my favourite rhythms is Aksak Semai which is
10/8. Also 5/8, 7/8, 8/8, 9/8, 15/8 are worth to try. Here is an example of Aksak Semai: The
notes which show the rhythm on top should be played with right hand and the ones below by
left hand (Right hand means strong beat and left hand weak beat). The word “düm” indicates
strong and longer note and it is useful to say these words (düm, te, ka, ke etc…) while practising
the rhythm. You may use your knees to practise.

mak_fig_2

Fig 10

This rhythm also can be played in this way:

mak_fig_1

Fig 11

8 – TURKISH INSTRUMENTS AND THE FRETLESS GUITAR

As I mentioned in the beginning, fretless guitar provides many possibilities such as imitation of
Turkish traditional instruments. Let’s start with Tanbur. Tanbur is a long necked instrument and
you can see all the properties of Turkish intervals on it. By practicing with tanbur you can
improve your skills in playing on one string only. Good guitarists usually advice to play the guitar
in a horizontal way. Therefore it is better to learn tanbur with fretless guitar first. Unfortunately, I
started with Oud to learn Turkish music and of course it affected my fretless playing style. But
also oud taught me different techniques and makams as well. For example, playing in the first
position of fretless and using open strings.

tanbur
Tanbur

Another instrument to talk about is saz or baglama. There are types of these instruments but
usually playing styles are the same. We can learn nimble hammer on and pull off techniques by
listening to saz players. Also these instruments help in one string playing. It is obvious that the
guitarists who connect horizontal and vertical playing usually can create more interesting ideas.

baglama

Baglama

There are some short necked instruments such as kemence and kabak kemani and examining
these instruments may be helpful in playing upper positions. As you know when the distance
between two frets are shorter (for example after 7th or 9th fret) intonation mistakes can be
heard easily. Imagine the neck of violin. I always admire violin players when they are playing the
exact treble sounds. Kemençe’s neck is so short that players use their nails to give the right note.

kemence

Kemençe

Now let’s talk about a different kind of instrument, ney. It is a kind of reed instrument and has a
different importance in religious music. By using some special techniques it is possible to play
these microtones with a ney. If you have a fretless electric guitar and an e-bow it is possible to
imitate this instrument. Only thing you should do is listen to ney players and try to imitate them.
(The E-bow is a device that vibrates the string continuously and creates long sound) But it is
important to remember a ney player have lungs and you shouldn’t play endless sound and
bother the listener! Give break like a trumpet player and inhale �

Turkish Ney
Turkish Ney

9 – INFORMATION AND FURTHER ADVICE

* It will be useful to listen Erkan Ogur (Fretless guitar), Kudsi Ergüner (Ney), Yorgo Bacanos
(Oud), Tanburi Cemil Bey (Tanbur). The group ‘Yansimalar’ has 2 good albums: Vuslat (Folkloric
songs) and Mahur (T.Classical compositions)

* There types of Turkish M. such as T.Classical m., folkloric m., mosque m., sufi m. etc…So the
songs that you may find coincidently on the internet may refer to any of them!

* I advice you to listen one type of makam improvisation all the day and it will help your ears to
get use to makams. For example one day Ussak M. and other day Segah M.

* I would like to make a list of some makams which are commonly used:

Buselik, Kurdi, Rast, Ussak, Humayun, Hicaz, Uzzal, Hüseyni, Neva, Karcigar, Segah, Saba, Acem
Kürdi, Hicazkar, Mahur, Nihavend, Kürdili Hicazkar, Sultani Yegah.

* Ottoman Empire sultans paid too much attention in music. Even some sultans were really good
composers. They encouraged musicians to create new makams and improve the music.

* Makams are so important that the names of makams represented before the name of
composition. In a concert, the songs composed in the same makam, performed sequentially and
before changing the makam a special taksim is played to prepare the listeners ears for new
compositions in new makam.

* Turn off the light and practise the fretless guitar in the dark. Check your intonation by the open
strings.

* The rule doesn’t change. The best pianist is the dead pianist for a fretless guitarist. (From the
point of intonation)
* If you hear the Segah note in Ussak Makam more flat or sharp in some recordings, don’t be
surprised. Some people may play in this way.It is also related with the course of the melody.
There is no constitution and this makes the music beautiful.”

10 – CONCLUSION & Author’s Notes

Although I tried to keep the information simple I know that it can be confusing, but I hope this
will lead you to make more research. We should always remember that fretless guitar has its
own style and philosophy. These techniques will help you to improve your playing. For sure
knowing Turkish Music will expand your views over fretless guitar. The best way to learn this type
of music is to go to the origin and find a teacher. One month in Istanbul or other cities for the
lessons and one month for holiday near the seaside. We invite you! Take care!

AUTHOR’S NOTES:

1 – Bear in mind that there is not just one makam system in the world. While making research on
the internet or in the library, I advise you to use the keywords “Turkish Music / System / Makam”

2 – Farabi wrote his book about makams in Persian language. Those days every Turkish scientist
or writer knew Arabic and Persian language very well to express their ideas. It is like the usage of
Latin and Greek in science and art in those days.

3 – The information imparted was using the Arel-Ezgi system as a basis.

4 – I would like to thank to Elzbieta Honko, Önder Özkoç, and Ahmet Polat who is the best T.M.
teacher in Ankara, and thanks to Jeff for your patience!

*Ussak makam properties and other scale figures are taken from “Türk Musikisi Nazariyati ve
Usulleri” by Ismail Hakki Özkan, Ötüken Press.

….ends Deniz