Greek and Turkish scales

28.1.2013

Introduction

The purpose of this page is to explain how Greek musical scales have developed from their Turkish originals. The irregularities in their development have puzzled me for a long time, but when one investigates the melodies in these scales it turns out that the irregularities only appear in the standard descriptions of the scales.

Greek music uses scales derived from Turkish scales (or modes). They have been modified for equal temperament. Many of the names of these scales are Turkish but they may differ in unexpected ways. Here I am making an attempt to describe how those Greek scales have been derived from the Turkish makams with the same name. It can be shown that in traditional music the scales are more similar to Trukish musuc thatn the conventionaly listed ones. I don't take into account the melodic development (seyir).

Sources

Greek scales are rather standardized. The main sources are probably in Παγιάτης 1992a, 1992b, which I haven't seen. The scales can be found in several books, Μαρακομιχελάκης 1999 and Κριωνάς 2003. Δρόμοι by Antwnis Christaki is a full online source. The books by Κωνστάντζος provide examples.

As for Turkish makams, The Oud by David Parfitt has most Makams and also the Arabic versions. The Turkish page Nazariyat has rather full information and indicates the intervals. An excellent printed source is Aydemir 2010. Μαυροειδής 1999 is also a good printed source. He writes the scales a fifth lower than the Turks, which is a good thing because it makes comparison with Greek scales easier. It gives a large number of variants which makes it a bit problematic for the purposes of this page.
Arabic Maqam World is a good online source.

Marcus (1989) is a good source for the Arabic system. Althpough the Arabic system is in many ways different from the Turkish one, I'm using the Maqam Transposition table by Sami Asmar because it is very concise and the notation is simple and the presentation admirably clear.

Musical Theory

As to Turkish music, the Wikipedia article “Makam” explains the basics.

Using Arabic Maqams to explain Turkish ones needs some explanation, because Turkish and Arabic theory is different.

In Arabic musical notation, the scale of seven notes is divided into 24 quarter tones. This doesn't mean that the system is a well tempered scale in actual musical practice, but all the maqams can be distinguished from each other with this system.

The Turkish Arel-Ezgi system (53-ET) is much more detailed. An octave is divided into 53 commas in Turkish musical theory. The first tetrachord is 22 commas and a pentachord 31 commas. The occurring intervals are 4, 5, 8, 9, 12 and 13 commas. However, the underlying system is based on a 24-tone system with the intervals of ½, ¾, 1 and 1.5 tones, which is the theory used in Arabic music. 1.5 is always surrounded by ½s, which cannot be shared with another 1.5.  A full tone is 9, a half tone is 4, ¾ ¾ is 8 5, and ½ 1.5 ½ is 5 12 5 or 5 13 4.

The distribution of 5 12 5 and 5 13 4 is not entirely clear. Usually the augmented second is corrected to 12 commas. For instance G Ab B C or D Eb F# G is 5 12 5. But in Sabâ F Gb A Bb is 5 13 4, because there is no accidental for 6 commas flat.

This means that one comma flat can mean half flat or nothing in the 24-tone system. It's not clear how difficult it would be to figure this out on the go while you are playing. In any case it seems possible to convert from one system to the other.

Turkish Arab
B 4 ½
S A S  5 12 5
5 13 4		 ½ 1.5 ½
K S 8 5 ¾ ¾
T S 9 5 1.25 ½
T 9 1
A 12~13 1.5


One rare makam, Müsteâr, has 1.25: 1.25 ½ 1 ½ 1 1  ¾. In Turkish theory the intervals are 9 5 9 4 9  9 8. The 9 at the beginning is 5+4 (¾+½=1.25) which is the reason for the strange result, but it also means that the Arabic and Turkish notations are equivalent. Μαυροειδής 1999:261. I have no information about the Greek version of this makam. Persian music uses a corresponding interval.

Hisar (8 5 13 5 5 12 5) is an exception. Bewcause it is described as 1+hijaz tetrachord+hijaz tetrachord in Arabic theory, one would expect 9 5 12 5 5 12 5, which is possible with the Turkish notation.

It should be noted that the common Turkish makams usually are different even if the quarter steps are disregarded.

Turkish notation is a fifth higher than Arab notation. Signell p. 49.


Greek scales are usually given with the root D. In Turkish music the root can vary and the scales are traditionally not presented as transposable. The scales can be played with a fretted instrument with strings tuned to G, D and A that has extra frets below every B, E and A. If the strings are tuned a fifth lower to C, G and E, the extra frets need to be at D-, E- and F+. This will produce a pattern of saz fretting on this page:
http://www.turkuler.com/5/5.asp
A-, E- and B- is good for the tuning GDA, because it means that you need a fret for the notes that are 3/4 tones above the open strings, and their octaves.
The Turkish system needs four frets in a group to be able to produce the correct intervals, the so called tanbur fretting
(a site by Eric Ederer).

In the Turkish system the scale covers an octave (not always full) and it may have extensions on both sides which do not necessarily follow the same pattern of steps as the main scale.

There are scales with Greek names like Ποιμενικός which are not treated here because the Turkish equivalent is not known. They may of course derive from a Turkish makam or a corresponding folk scale (ayak).

I tend to use the Turkish names of the scales, because transliteration though an intermediate language is unnecessary and not particularly elegant.

Greek from Turkish

The default rule is that you disregard half flat (and play half sharp as sharp in the transpositions). In other words, you round up to the nearest half tone. In intervals this means ¾ ¾ > 1 ½. The flat in descending scales is usually disregarded or used also in the ascending part. In Nahavend 1 1 > 1 ½.

Hicazkâr

The following scale has no difference between the Greek and Turkish versions.

Hicazkâr C Db E F G Ab B C ½ 1.5 ½ 1 ½ 1.5 ½
Χιτζαζσκιάρ C Db E F G Ab B C ½ 1.5 ½ 1 ½ 1.5 ½

The correspondence ¾ ¾ > 1 ½ is common. In terms of notes this means that half flats are not played and half sharps are played as sharps. In other words, quarter notes are rounded up. I take this to be the normal rule.

Hicaz

Hicaz D Eb F# G A B-(b) C D ½ 1.5 ½ 1 ¾ ¾ 1
Χιτζάζ D Eb  F# G A B C D ½ 1.5 ½ 1
 ½ 1 1

In Μαρακομιχελάκης (Έχε γεια πάντα γεια, p. 84) the key is C major and the finalis D. F# throughout, Bb, but Bn in a melodic rise between Bb and C. Final chords D Cm D.
There's a lot of variation in the seventh degree of the scale. It can be B- or Bb alone or both. It's not obvious that Bb only occurs in descending passages.

Hüzzam

Hüzzam E- F G Ab B C D E- ¾
 1 ½ 1.5 ½ 1 ¾
F+ G A Bb C# D E F+
Χουζάμ  E F G Ab B C D E ½ 1 ½ 1.5 ½ ½ 1
F# G A Bb C D E F#

The conventional Greek form of this scale is D E# F# G A B C# D, but in the example in Μαρακομιχελάκης (Ο ουρανός κι αν σκοτεινιάσει, p. 108) the key is D major and the finalis F#. Bb on all occurrences, natural E, final chord progression G A D ( IV V I). This means that disregarding the half flat the scale is actually the same as the original. Pennanen (p. 36) gives three variants of Hüzzam. This is M-3, modified with the third degree of the scale of D major as the finalis.

Sûzinak

Sûzinak F G Ab B C D E- F 1 ½ 1.5 ½ 1 ¾ ¾
Σουζινάκ D E F G# A Bb C D 1 ½ 1.5 ½ ½ 1 1
F G Ab B C Db E F

There is no example available but one would expect F major (B neutral, Ab, Db) with finalis C, D major (Fn, G#, Bb) with the finalis on A or G major with the finalis on D with Eb, C# and Bb.

Rast

This makam has kept the difference between the ascending and descendin scales.

Rast C D E- F G A B-(b) C 1
 ¾ ¾ 1
 1
 ¾(½) ¾(1)
Ραστ C D E F G A B(b) C 1 1 ½ 1 1 1(½) ½(1)

Μαρακομιχελάκης  (Αποφάσισα να γίνο): D maj, finalis D, chromatic Fn(#) and Ab.
Κωνστάντζος 4α  (6: Αποφάσισα να γίνο): C maj, finalis C, Bb throughout, chromatic D#(n) and F#.

Nihâvend


The conventional Greek form of this scale is D-E-F-G#-A-Bb-C#-D. However the example in the Mandolin Method of Μαρακομιχελάκης  (Από ξένο τόπο): D minor, finalis D, lower leading tone c#' throughout, one c'', one G# versus 38 G.
Nihâvend C D Eb F G Ab B(b) C 1 ½ 1 1 1 ½ ½
D E F G A Bb C(+) D
Νιαβέντ  D E F G A Bb C# D

C D Eb F G Ab B C 1 ½ 1½ ½ ½ 1½ ½

Κωνστάντζος 4α (46, Σηκώστε να χόρεψουμε) E minor, leading tone d#', d#'',

Hüseynî


Hüseynî D E- F G A B- C D ¾ ¾ 1 1 ¾ ¾ 1
Χουσεϊνί  D E F#(n) G A B(b) C D 1 1 ½ 1 1 (½) ½(1) 1
Tonic d', dominant, a' leading tone c', ascending-descending
Κωνστάντζος 4α 12, 16

Karcığar D E- F G Ab B C D ¾ ¾ 1
 ½ 1.5 ½ 1
Καρτζικιάρ D E F G Ab B C D 1 ½ 1
 ½ 1.5 ½ 1

Tonic d', dominant, g' leading tone c', ascending-descending.
Κωνστάντζος 4α 34
accidentals

Karcığar
¾ ¾ 1 ½ 1.5 ½ 1
C D- Eb E G A Bb B
D E- F Gb A B C Db
E F+ G Ab B C# D Eb
F G- Ab A C D Eb E
G A- Bb B D E F Gb
A B- C Db E F# G Ab
B C+ D Eb F# G# A Bb



Segâh

Segâh looks strange. The scale normally given D-E#-F#-G-A-B#-C#-D gives a strange result when compared with the Turkish Makam. However, checking tunes in Σεγκιάχ, it can be seen that they end in the third degree, so the scale is F#-G-A-B#-C#-D-E#-F#.  The example in Μαρακομιχελάκης (Ήθελα να ’χα δυο καρδιές) has the signature D major with finalis F#, with natural E. This is a transposition of the original Turkish scale, with quarter tones rounded upwards.

Segâh E- F G A B- C D E- ¾ 1 1 ¾ ¾ 1 ¾
F+ G A B C+ D E F+
Σεγκιάχ E F G A B C D E ½ 1 1 1 ½ 1 1
F# G A B C# D E F#

Tonic , dominant, leading tone.

Κωνστάντζος 2001b has similar examples.
(13) C major, finalis E, no accidentals
(20) C major, finalis E, F#(n) occasionally
(22) C major, finalis E, F#(n)
(31) C major, finalis E,  F#(n), D#(n), A#(n)
(44) D major, finalis F#
This means that all these songs follow the original Turkish Segâh.

Segâh
¾ 1 1 ¾ ¾ 1 ¾
C+ D E F# G+ A B C+
D- Eb F G A- Bb C D-
E- F G A B- C D E-
F+ G A B C+ D E F+
G+ A B C# D+ E F# G+
A- Bb C D E- F G A-
B- C D E F+ G A B-


Kürdî
Kürdî D
 Eb F  G A Bb C D ½ 1 1 1 ½ 1 1
Κιουρντί D Eb F G A Bb C D

http://www.eksd.org.tr/makamlar/kurdi_makami.php
Tonic d', dominant, g' leading tone c', ascending, sometimes ascending-descending
The conventional Greek scale has E and B. However, the example in Μαρακομιχελάκης (Μήλο μου μανταρίνι) has the above scale, the original for Kürdî.  D minor, finalis D, Eb throughout, B(b). F# once.
Κωνστάντζος 4α (Πήραν τα φύργανα φωτιά) E minor, 16*F, 8*F# (all ocurrences in a cadence), B throughout.
Παραδοσιακα 11,39
Παραδοσιακα 7

Uşşak

The conventional Greek version is D-Eb-F-G-A-Bb-C-D.

A problem with Uşşak is that Turkish sources give different versions for the sixth grade. 
C D- Eb F G A-(b) Bb C
Uşşak D E- F G A B-(b) C D
E F+ G A B C+(n) D E
A B- C D E F+(n) G A
Ουσάκ D E(b) F G A Bb C D

Tonic d', dominant, g' leading tone c', ascending

Uşşak is exceptional in that the half-flats are rounded downward, but this is not always true.
Μαρακομιχελάκης  Dm, finalis D, E(b), B throughout, i.e. once. Below finalis B. 2nd grade:______ 6th grade______
Κωνστάντζος 4α (3) Am, finalis A. F# throughout. 2nd grade:______ 6th grade______
Κωνστάντζος 4α (29) Dm, finalis D, B(b) 2nd grade:______ 6th grade______
Κωνστάντζος 4α (37) Gm, finalis G. 2nd grade:______ 6th grade______
Κωνστάντζος 4α (38) Dm, finalis D, F#(n) 2nd grade:______ 6th grade______
Κωνστάντζος 4α (47) Em, finalis D 2nd grade:______ 6th grade______
Κωνστάντζος 4α (48) Dm; finalis D B(b), E(b) once 2nd grade:______ 6th grade______

Hüseynî
Hüseynî D E- F G A B- C D ¾ ¾ 1 1 ¾ ¾ 1
Χουσεϊνί  D E F#(n) G A B(b) C D 1 1 ½ 1 1 (½) ½(1) 1

Sometimes B-(b)
Κωνστάντζος 4α (12) Dm, finalis D, B(b) throughout.
Κωνστάντζος (16) Dm, finalis D, B(b) throughout.


Bibliography

Aydemir, Murat  2010. Turkish Music Makam Guide. Pan Yayıncılık: İstanbul.
Κριωνάς, Γιώργος 2003. Μέθοδος για τρίχορδο μπουζούκι - μπαγλαμά - τζουρά.
Κωνστάντζος Γιώργος 1997. Τα τραγούδια της Σμύρνης 1β - Τα Λαϊκά
Κωνστάντζος Γιώργος 2001. Τα τραγούδια της Σμύρνης 3α - Τα Παραδοσιακά
Κωνστάντζος Γιώργος 2001. Τα τραγούδια της Πόλης: Τραγούδια της Κωνσταντινούπολης, της Βιθυνίας και της Προποντίδας: Πολίτικα
Μαρακομιχελάκης,  Μ 2004. Μέθοδος Μαντολίνου, σύγχρονου διδασκαλία του οργάνου.
Μαυροειδής, Μάριος 1999: ΟΙ ΜΟΥΣΙΚΟΙ ΤΡΟΠΟΙ ΣΤΗΝ ΑΝΑΤΟΛΙΚΗ ΜΕΣΟΓΕΙΟ,  Fagotto.
Παγιάτης,  Χαράλαμπος 1992a. Λαϊκοί Δρόμοι. Fagotto.
Παγιάτης,  Χαράλαμπος 1992b.  Οι Λαϊκοί Δρόμοι και η πρακτική τους εφαρμογ. Fagotto.

*****


Hüseynî ??? D
 E- F  G A B- C  D ¾   ¾ 1  1  ¾  ¾  1
Hüseynî A B C D E F+ G A
Χουσεϊνί D E F#(n) G A B(b) C D 1 1 ½ 1 1 ½ 1
Tonic d', dominant a' leading tone c', melody development ascending-descending.
Very much like Beyâtî
Εγώ ’μαι του ψαρά ο γιός B(b) F throughout (no F#)
Μαυροειδής 1999:233
Neva
1 ½ 1 1 Neva – Νεβά=Κιουρδί  d'
1
½ 1
1
1
½ 1
regular coalesces with Kürdi.  Kürdì has Bb.
Neva d' 8 5 9 9 8 5 9 Nawa
Neva D
 E- F  G A B- C  D ¾   ¾ 1  1  ¾  ¾  1
Νεβά D E F G A B C D 1 1 ½ 1 1 ½ 1

Tonic d', dominant g' leading tone c', melody development ascending-descending.

Mâhur
Mâhur C D
 E F  G A B C  1  1 ½ 1  1  1  ½

Tonic c', dominant g' leading tone b', melody development descending.

http://tr.yenisehir.wikia.com/wiki/Gerdaniye_Makamı





Τα τραγούδια της Πόλης has a few tunes in Σεγκιάχ
Σεγκιάχ E Fx G A B C D E ½ 1 1 1 ½ 1 ½
In the second tune F is F# att he beginning of a rise. The third tone is transposed to F# major.

Sabâ D
 E- F  Gb A Bb C Db ¾ ¾ ½ 1½ ½ 1 ½

Ζαμπά

 D E F Gb A Bb C Db~D 1 ½ ½ 1½ ½ 1 ½~1
Tonic d', dominant f' leading tone c', compound, melody development ascending.


Δρόμος








Hicaz – Χιτζάζ  – Hijaz up
 d'
 ½ 1.5 ½ 1 ¾ ¾ 1
down
½ 1.5 ½ 1
 ½ 1 1
Bûselik – Μπουσελίκ=Μινόρε
1
 ½ 1
 1
 ½ 1
 1
Neva – Νεβά=Κιουρδί  d'
 1
 ½ 1
 1
 1
 ½ 1

¾¾ > ½ 1

Ουσάκ
½ 1
 1
 1
 ½ 1
 1
 ¾¾ > ½ 1
Uşşâk a'
 8
 5
 9
 9
 d'
 ¾ ¾ 1
 1
 ¾ ¾ 9
 9
Maqam Ushaq Masri d'
 ¾ ¾ 1
 1
 ¾ 1
Nihâvend C D Eb F G Ab B C



1 ½ 1½ ½ ½ 1½ ½ 1 1 > 1.5 ½?
Νιαβέντ  conventional Greek (mand) C D Eb F# G Ab B C 1 ½ 1½ ½ ½ 1½ ½

Νιαβέντ(mand) C D Eb F G Ab B C 1 ½ 1 1 ½ 1 1
CHECK intervals
Mand Από ξένο τόπο
Dm, C# Nihâvend asc desc g'
9 4 9 9 4 9 9

Pennanen 48 nikriz>Nihavend. Not correct.
Nikriz
C D Eb F# G A B-(n) C 1 ½ 1.5 ½ 1 ¾ ¾
c'g'b-"
Νικρίζ


Ουζάλ
½ 1.5 ½ 1
1
½ 1
regular, ¾ ¾>1 ½
 D Eb F# G A B C D
Uzzal d' ½ 1.5 ½ 1 ¾ ¾ 1 D Eb F# G A B- C D

Suznak D E F+ G# A Bb C D 1 ¾ ¾ 1 ½ 1.5 ½
Σουζινάκ D E F G# A Bb C D 1 ½ 1.5 ½ ½ 1 1
Check


4th degree>root, 1¾¾>½ 1 1 Sûzinâk 9 8 5 9 5 12 5 C D E- F G Ab B C
Χιουμαγιούν=Χιτζάζ  ½ 1.5 ½ 1 ½ 1 1
regular, Hicaz has ¾ ¾ Hümâyun 5 12 5 9 4 9 9
Νεβεσερι ½ 1 ½ 1.5 ½ 1 ½ D Eb F Gb A Bb C Db Nev'eser c (a) 9 5 12 5 5 12 5 Mandolin
 
Hisar (d) 9 4 13 5 4 13 4 Irregular (Nawa athar on D) 1 ½ 1.5
http://www.eksd.org.tr/makamlar/hisar_makami.php

 Evçara (fis) 5 13 4 9 5 13 4
Awj ¾ 1.5 ½ Marcus 306
Müsteâr 9 5 9 4 9 9 8 Μεσο 261 
Mustaar 1.25 ½ 1 ½ 1 1 ¾
Maqamworld
http://www.eksd.org.tr/makamlar/mustear_makami.php



Muhayyer Polis 50 C: Dm, B(b) Descending Hüseynî

Turkish Beyâtî
http://www.eksd.org.tr/makamlar/beyati_makami.php

Mahur 1 3/4 3/4 1 1 1 1/2 on C


Marcus is the source for the following.
The Turkish equivalents:
http://www.turkmusikisi.com/nazariyat/sistemler/sekizlinin_kurulusu.html
http://www.eksd.org.tr/turk_sanat_muzigi/turk_musikisinde_dizi_meydana_getirmeye_yarayan_ozel_dortlu_ve_besliler.php
(A11, A12, A13)

Trichords


Ajam
 1
 1 ½
Sikah
 ¾ 1
 (1)
Huzam
 ¾ 1
 ½
Iraq
 ¾ 1
 ¾
Jiharkah (Ajam)


Mustaar
 1¼
 ½
Tetrachords


Bayati
 ¾ ¾ 1
Busalik
 1
 ½ 1
Hijaz
 ½ 1.5
 ½
Kurd
 ½ 1
 1
Nahawand
 1
 ½ 1
Rast
 1
 ¾ ¾
Saba
 ¾ ¾ ½
Zamzana


Nawa athar
(Nakriz, Hisar)		 1 ½ 1.5 ½ Marcus 303

Evç: Irâk on B- ¾ 1 ¾ Marcus 301
Farahnâk: Sikah on B- Marcus 301

The following makams have examples
Gerdaniye D E- F G A B C D
Çahârgâh
Ferahnak
Dügâh
Beyâtî Araban
Arasbar?
Bestenigar
Evç Maye
Zürgeli
Evç Mahur
Acem Kürdi
Muhayyer Kürdi



Others
Segâh E- F G A B- C D E- ¾ 1 1 ¾ ¾ 1 ¾
Shad Arban G Ab B C D Eb F# G ½ 1.5 ½ 1 ½ 1.5 ½
AjamAshiran Bb C D Eb F G A Bb 1 1 ½ 1 1 1 ½
Hijaz Kar C Db E F G Ab B C ½ 1.5 ½ 1 ½ 1.5 ½
Nawa Athar C D Eb F# G Ab B C 1 ½ 1.5 ½ ½ 1.5 ½
D E F G# A Bb C# D
Nakriz C D Eb F# G A Bb C 1 ½ 1.5 ½ 1 ½ 1
Suznak C D E- F G Ab B C 1 ¾ ¾ 1 ½ 1.5 ½

Segâh
¾ 1 1 ¾ ¾ 1 ¾
C+ D E F# G+ A B C+
D- Eb F G A- Bb C D-
E- F G A B- C D E-
F+ G A B C+ D E F+
G+ A B C# D+ E F# G+
A- Bb C D E- F G A-
B- C D E F+ G A B-

Suznak
1
 ¾ ¾ 1 ½ 1.5 ½
C D E- F G Ab B C
D E F+ G A Bb C# D
E F# G+ A B C D# E
F G A- Bb C Db E F
G A B- C D Eb F# G
A B C+ D E F G# A
B C# D+ E F# G A# B

Hijaz Kar
½ 1.5 ½ 1 ½ 1.5 ½
C Db E F G Ab B C
D Eb F# G A Bb D
E F G# A B C
F Gb A Bb C Db
G Ab B C D Eb
A Bb C# D E F
B C D# E F# G

Persian
Chahargah on D

1 1.25
 ½ 1 ¾ ¾ ½
D E-
 F#
 G
 A
 B-
 C#
 D

The system may originate from Persia. The names of Maqams were known in India.
Dilorom Karomat: The 12-maqam System and its Similarity with Indian Ragas (according to Indian Manuscripts)
http://web.mac.com/wvdm/JIMS/Issue_36-37_files/6_karomat.pdf


Ayaklar in Turkish folk music

Yörelere göre Muhalif, Müstezat, Beşiri, Kalenderi, Zarinci, Misket gibi adlarla anilan ve kirik yahut uzun hava tarzinda terennüm edilen makamlar vardir. Bunlarin Klasik Türk musikisinde karşiliklari şöyledir:

TÜRK HALK MÜZİĞİNDE DİZİ VE AYAKLAR
1: Maya Ayağı Dizisi
2:Hüseyni Ayağı Dizisi
3:Kerem Ayağı Dizisi
4:Engin Hüseyni Ayağı Dizisi
5:Engin Kerem Ayağı Dizisi
6:Garip Ayağı Dizisi
7:Misget Ayağı Dizisi
8:Müztezat Ayağı Dizisi Fa Kararlı
9:Müztezat Ayağı Dizisi Sol Kararlı
10:Müztezat Ayağı Dizisi Do Kararlı
11:Beşiri Ayağı Dizisi
12:Derbeder Kalender Ayağı Dizisi


-Elezber Makamı.
-İbrahimiye Makamı
-Tecnis Makamı.
-Tatvan Makamı.
-Varsak Makamı
-Muhalif Makamı.
-Müstezat Makamı.
-Kürdî Makamı.
-Nevruz Makamı.


a-Rast Makamı.
b-Nihavent Makamı.
c-Mahur Makamı.
d-Hicaz Makamı.
e-Saba Makamı. 4
f-Uşşak Makamı.
g-Bayatî Makamı.
h-Hüseyni Makamı.
i-Karciğar Makamı.
j-Hüzzam Makamı.
k-Acem Aşiran Makamı.
l-Muhayyer Makamı.


Avaz, Aydos, Beşiri, Bozlak, Çukuova, Dağbaşı, Divan, Eğin, Elezber, Garib, Gerali, Gurbet havası, Hoyrat, Hoyrat, İbrahimî, Kalenderî, Kayabaşı, Kerem*, Maya, Müstezad, Nevruzi, Tatyan, Türkmanî, Yol havası ve Yüksek hava diye adlandırılan parçalar ve bir kısım ağıt lar, kısmen yahut tamamiyle bu grupta mütalaa edilir. Uzunhavalar yörelere göre farklı usluplarda icra edilirler ve Avşar, ağzı, Azeri ağzı, Eğin ağzı, Erzurum ağzı, Harput ağzı, Kerkük ağzı gibi isimlerle anılırlar.

http://www.tumata.com/makamlar.html
http://www.turkulerleerzurum.com/forum/showthread.php?t=147 skaalat lueteltu
http://www.trakyamuzik.net/serbest-konular/2486-turk-musikisinde-hangi-makam-hangi-hastaliga-iyi-g.html

Unknown dromoi:
http://www.studio52.gr/info_gr.asp?infoID=00000w86
http://www.music-bazaar.com/main.php?page=album&id=11869&lfs=gr
http://www.studio52.gr/info_gr.asp?infoID=00000hbl jne.

   
Εναλλακτικά κουρντίσματα (ντουζένια) του μπαγλαμά / τζουρά / τρίχορδου μπουζουκιού (Thanks στον Γιώργο Ρούσσο)  
Ευρωπαϊκό ή Ευρωπέικο D - A - D
Αράπικο ντουζένι (για δρόμο Χουσάμ) B - G - D
Ραστ ντουζένι (για δρόμο Ραστ) A - C - G
Καραντουζένι (κούρντισμα της φυλακής) G - A - D
Αντίκα ντουζένι A - E - A
   
http://portal.kithara.gr/modules.php?name=News&file=article&sid=141
These string groups can be tuned in a variety of ways, known as düzen. For the bağlama düzeni, the most common tuning, the courses are tuned from top downward, A-G-D. Some other düzens are Kara Düzen (C-G-D), Misket Düzeni (A-D-F), Müstezat (A-D-F), Abdal Düzeni, and Rast Düzeni.  

Bağlama tunings

(wikipedia s.v. Bağlama)
The douzeni used on today's three course instruments is generally D-A-D' (Re-La-Re'), which Markos Vamvakaris called evropaikos (european). Markos said it can be used to play all the dromous.  He also stated that the arampien douzeni (B-G-D) was chosen for housam,  rast douzeni ( A-C-G) for rast dromo, etc.   Other douzenia include karadouzeni (G-A-D') and anikta (A-E-A').
Κουρντίσματα

Κουρδισματα οργανων
http://www.nrompogianakis.com/el/koyrdismata.php

References

Κριωνάς, Γιώργος  (2003). Μέθοδος για τρίχορδο μπουζούκι - μπαγλαμά - τζουρά.
http://en.wikipedia.org/wiki/Makam
Arabic maqamat
http://alsiadi.com/maqamat.html
, a different model
uses strange intervals and accidentals but has rare maqams.
turath.org a neat notation, which I will follow.
http://www.turath.org/Resources/MaqamTrans.htm
Arabic Maqam World
http://www.maqamworld.com/
Arab Music
List of Maqamat
Maqam Transpositions
[Ministry of National Education]
MÜZİK ALETLERİYAPIMI: MÜZİKTE SİSTEM VE MAKAMLAR
http://cygm.meb.gov.tr/modulerprogramlar/kursprogramlari/muzik_aletleri/moduller/muzikte_sistem_makamlar.pdf
Bates, Eliot. 2008. "Introduction to greek rebetika and smyrnaiikan music." http://www.musiq.com/rebetika/index.php, accessed 30.8.2008.
Bates, Eliot. 2007. "Introduction to Turkish and Arab makam (maqam) systems." http://www.musiq.com/makam/index.php, accessed 5.8.2007.
Beken, Münir and Karl Signell. "Confirming, delaying, and deceptive elements in Turkish improvisation," Māqam Traditions of Turkic Peoples, Elsner and Jähnishen, eds. Berlin:trafo, 2006. ISBN 3-89626-657-8 http://www.umbc.edu/eol/makam/2008Kongre/confirming.html
Marcus, Scott Lloyd (1989). Arab music theory in the modern period, Ph.D. dissertation, University of California, Los Angeles. Published by U.M.I. 300 N. Zeeb Rd., Ann Arbor, MI 48106.
Dariush Tala'i: Intégrale de la musique savante Persane. The integral repertory of Persian art music. Radif. Volume II
http://www.alsur.fr/assets/files/pdf/alcd117.pdf
Dariush Tala'i: A new Approach to the theory of Persian Art Music.
http://240edo.tripod.com/sitebuildercontent/sitebuilderfiles/radif.pdf
Kees van den Doel: Playing technique of the Persian ney [Accessed 28.8.2010]
http://members.shaw.ca/persianney/technique.html

Bibliography

Παγιάτης,  Χαράλαμπος 1992a. Λαϊκοί Δρόμοι. Fagotto.
Παγιάτης,  Χαράλαμπος 1992b.  Οι Λαϊκοί Δρόμοι και η πρακτική τους εφαρμογ. Fagotto.
Μαρακομιχελάκης,  Μ. Μέθοδος Μαντολίνου, σύγχρονου διδασκαλία του οργάνου



Σμύρνη
πολη
Τα τραγούδια της Πόλης
Τραγούδια της Κωνσταντινούπολης, της Βιθυνίας και της Προποντίδας: Πολίτικα
Συγγραφέας  : Κωνστάντζος Γιώργος
Υπεύθυνος Σειράς  : Κωνστάντζος Γιώργος
Εκδότης  : Fagotto
Έτος έκδοσης  :  2001
ISBN  :  960-7075-67-6

  
Οι λαϊκοί δρόμοι και η πρακτική εφαρμογή τους
Χ. Παγιάτης, Χαράλαμπος
POPULAR SCALES AND ITS PRACTICAL APPROACH
H. Payatis
960-7075-18-8

ΛΑΪΚΟΙ ΔΡΟΜΟΙ   
Χ. Παγιάτης
POPULAR SCALES
H. Payatis
960-7075-19-6

ΤΑ ΤΡΑΓΟΥΔΙΑ ΤΗΣ ΣΜΥΡΝΗΣ: ΤΑ ΛΑΪΚΑ (A)  
Τα τραγούδια της Σμύρνης: Τα λαϊκά
Αρχείο Ελληνικής Μουσικής Γ. Κωνστάντζος
SMYRNA'S SONGS: POPULAR (A)   
G. Konstantzos   
960-7075-48-X

Τα τραγούδια της Σμύρνης: Τα Λαϊκά Β' 
Αρχείο Ελληνικής Μουσικής Γ. Κωνστάντζος
SMYRNA'S SONGS: POPULAR (B)   
G. Konstantzos   
 960-7075-63-3

Τα τραγούδια της Σμύρνης: Τα παραδοσιακά 
Αρχείο Ελληνικής Μουσικής Γ. Κωνστάντζος
Τα τραγούδια της Σμύρνης
SMYRNA'S SONGS: TRADITIONAL   
G. Konstantzos   
960-7075-68-4

Τραγούδια της Κωνσταντινούπολης, της Βιθυνίας και της Προποντίδας:
Αρχείο Ελληνικής Μουσικής Γ. Κωνστάντζος
Τα τραγούδια της Πόλης
CONSTANTINOPLE'S SONGS: URBAN SONGS   
G. Konstantzos  
960-7075-67-6


Οι μουσικοί τρόποι στην ανατολική Mεσόγειο 
Μ. Μαυροειδής 
960-70-75-47-1

 
Aydemir, Murat 2010. Turkish Music Makam Guide. Pan Yayıncılık: İstanbul.
 

"ραστ", ειτε σε "νιαβεντ", ειτε σε "κιουρδι"

Δρόμος

Κλίμακα

Κύριες συγχορδίες

Δευτερεύουσες συγχορδίες

Χιτζάζ

Re, Re#, Fa#, Sol, La, La#, Do, Re

D, Gm, Cm, Eb

D7, F#dim

Χιτζαζσκιάρ

Re, Re#, Fa#, Sol, La, La#, Do#, Re

D, Gm, A, Eb

C#dim, F#m

Πειραιώτικος

Re, Re#, Fa#, Sol, Sol#, La, Sib, Do#, Re

D, Eb, A, G#dim

C#dim, F#m

Ματζόρε

Re, Mi, Fa#, Sol, La, Si, Do#, Re

D, G, A, A7

Em, F#m, Em, Bm, C#dim

Ραστ

Aνιούσα κλίμ.: Re, Mi, Fa#, Sol, La, Si, Do#, Re

Κατιούσα κλίμ.: Re, Do, Si, La, Sol, Fa#, Mi, Re

D, G, Am, Cm

Em, F#dim, Bm, D7

Χουζάμ

Re, Fa, Fa#, Sol, La, Si, Do#, Re

D, G, A, A7, Dm

F#m, Bm, C#dim

Δρόμοι Mινόρε

 

 

 

Σεγκιάχ

Re, Fa, Fa#, Sol, La, La#, Do#, Re

D, G, A, A7, Dm

C#dim, Bm, F#m

Κιουρδί

Re, Mi, Fa, Sol, La, Si, Do, Re

Dm, Gm, C

Em, F, Bdim, Am, G7

Διατονικό (Νησιώτικο) Miνόρε

Re, Mi, Fa, Sol, La, La#, Do, Re

Dm, Gm, C

Em, F, Bdim, Am, G7

Ουσάκ

Re, Re#, Fa, Sol, La, La#, Do, Re

Dm, Gm, Cm, Eb

F, Bb

Σαμπάχ

Re, Mi, Fa, Fa#, La, La#, Do, Re

Dm, F, F#, C

Am, Bb,

Καρτζικιάρ

Re, Mi, Fa, Sol, La, La#, Do, Re

Dm, G#dim, C

F, Bdim

Νιαβέντ

Re, Mi, Fa, Sol#, La, La#, Do#, Re

Dm, G#dim, A

F, Bb, C#dim

http://portal.kithara.gr/modules.php?name=News&file=article&sid=132

Δρόμοι


 

Δρόμος
I
II
III
IV
V
VI
VII
VIII
Διαστήματα
Βασική
Συγχ.
Άλλες συγχορδίες
 Π.χ.
Αρμονικό μινόρε D E F G A Bb C# D 2-1-2-2 - 1-3-1
Dm
 A, Gm, Bb
Καρτσιγάρ D E F G Ab B C D 2-1-2-1 - 3-1-2
Dm
 G, C, Em
Κιουρντί D E F G A B C D 2-1-2-2 - 2-1-2
Dm
 G, F, C, Am, Em
Λοκρικός D Eb F G Ab Bb C D 1-2-2-1 - 2-2-2
Dm
 Gm, Cm, Bb, Eb
Λυδικός D E F# G# A B C# D 2-2-2-1 - 2-2-1
D
 A, Bm
Ματζόρε D E F# G A B C# D 2-2-1-2 - 2-2-1
D
 A, G, Em
Μινόρε D E F G A Bb C D 2-1-2-2 - 1-2-2
Dm
 Gm, F, C, Am, Bb
Μιξολυδικός D E F# G A B C D 2-2-1-2 - 2-1-2
D
 G, C, Am, Bm, Em
Νιαβέντ D E F G# A Bb C# D 2-1-3-1 - 1-3-1
Dm
 A, Bb
Ουσάκ D Eb F G A Bb C D 1-2-2-2 - 1-2-2
Dm
 Gm, F, Cm, Bb, Eb
Πειραιώτικος D Eb F#, G G# A Bb C# D 1-3-2-1 - 1-3-1
D
 Gm, Eb
Ποιμενικός D E F G# A B C D 2-1-3-1 - 2-1-2
Dm
 F, Am
Ραστ (ανοδική) D E F# G A B C# D 2-2-1-2 - 2-2-1
D
 A, G, Em
Ραστ (καθοδική) D E F# G A B C D 2-2-1-2 - 2-1-2
D
 G, C, Am, Bm, Em
Σαμπάχ D E F Gb A Bb C Db 2-1-1-3 - 1-2-1
Dm
 F, Am, Bb
Σεγκιάχ D E# F# G A B# C# D 3-1-1-2 - 1-3-1
D
Ταμπαχανιώτικος D E F# G A Bb C# D 2-2-1-2 - 1-3-1
D
 A, Gm
Χιτζάζ D Eb F# G A Bb C D 1-3-1-2 - 1-2-2
D
 Gm, Cm, Eb
Χιτζαζκιάρ D Eb F# G A Bb C# D 1-3-1-2 - 1-3-1
D
 Gm, Eb
Χουζάμ D E# F# G A B C# D 3-1-1-2 - 2-2-1
D
 G
Χουσεϊνί (ανοδική) D E F# G A B C D 2-2-1-2 - 2-1-2
D
 G, C, Am, Bm, Em
Χουσεϊνί (καθοδική) D E F G A Bb C D 2-1-2-2 - 1-2-2
Dm
 Gm, F, C, Am, Bb
 
Οι παρακάτω παρουσιάζονται με επιφύλαξη, δεν μπόρεσα να διασταυρώσω την ορθότητα των πληροφοριών:
 
Μπουσελίκ ίδιος με Μινόρε
Νεβά ίδιος με Κιουρντί
Νικρίζ D E F G# A B C# D 2-1-3-1 - 2-2-1
Dm
 A
Ουζάλ D Eb F# G A B C D 1-3-1-2 - 2-1-2
D
 G, Cm
Σουζινάκ D E F G# A Bb C D 2-1-3-1 - 1-2-2
Dm
 F, Am, Bb
Χιουμαγιούν ίδιος με Χιτζάζ

 


 

Συνώνυμα ονόματα δρόμων
Ουσάκ Φρυγικός


Πρώτος
Χουσεϊνί (καθοδ.) Αιολικός Μινόρε Νησιώτικος

Κιουρντί Δωρικός



Ραστ (καθοδ.)
Χουσεϊνί (ανοδ.)		 Μιξολυδικός


Πλάγιος του πρώτου
Ραστ (ανοδ.) Ιωνικός Ματζόρε

Πλάγιος του τετάρτου
Νικρίζ



Πλάγιος του τετάρτου χρωματικός
Χιτζάζ



Πλάγιος του δευτέρου
Σεγκιάχ



Λέγετος
Σαμπάχ



Βαρύς



Ηπειρώτικος Ποιμενικός

 

Σημείωση: Δυστυχώς, πολλές από τις παραπάνω συνωνυμίες δεν είναι 100% εξακριβωμένες. Επίσης, στα ονόματα και στις νότες των δρόμων, υπάρχουν πολύ μεγάλες διαφορές ανάμεσα στα διάφορα βιβλία μεταξύ τους αλλά και με την πρακτική των λαϊκών μουσικών. Προσπάθησα όσο μπόρεσα να διασταυρώσω τις πληροφορίες, όσο αυτό ήταν δυνατό, αλλά δεν αποκλείεται να υπάρχουν κάποια λάθη ή ανακρίβειες. Γι αυτό είμαι ευγνώμων για κάθε στοιχείο ή υπόδειξη που μπορείτε να στείλετε. Αν έχετε κάποιες πληροφορίες να προσθέσετε ή να διορθώσετε, στείλτε ένα e-mail.

 

 
Σχετικοί Σύνδεσμοι
· Ενότητα: Θεωρία και πράξη
· Άρθρα του to_skripto
Δημοφιλέστερο άρθρο Θεωρία και πράξη:
Συγχορδίες της κιθάρας

Βαθμός Άρθρου
Μέσος βαθμός: 4.63
Ψήφοι: 33
Πείτε την γνώμη σας γι αυτό το άρθρο:

Θαυμάσιο
Πόλύ καλό
Καλό
Κανονικό
Κακό


Επιλογές

 Εκτύπωση  Εκτύπωση

 Προώθηση  Προώθηση

http://portal.kithara.gr/modules.php?name=News&file=article&sid=250

http://wiki.kithara.gr/%CE%94%CF%81%CF%8C%CE%BC%CE%BF%CE%B9_%CE%BA%CE%B1%CE%B9_%CE%A4%CF%81%CF%8C%CF%80%CE%BF%CE%B9_-_%CE%9C%CE%B9%CE%B1_%CF%83%CF%85%CE%B3%CE%BA%CE%B5%CE%BD%CF%84%CF%81%CF%89%CF%84%CE%B9%CE%BA%CE%AE_%CF%80%CE%B1%CF%81%CE%BF%CF%85%CF%83%CE%AF%CE%B1%CF%83%CE%B7

http://www.freewebs.com/greek-guitar/Thewria%20kai%20praksi%20-%20dromoi.pdf

Δρόμοι και Τρόποι - Μια συγκεντρωτική παρουσίαση 

Αρμονικό μινόρε=Nihavend
Ποιμενικός= Nikriz


 

Δρόμος
I
II
III
IV
V
VI
VII
VIII
Καρτσιγάρ D E F G Ab B C D > D E F G A(b) Bb C D
Karcığar D E- F G Ab B C D
Κιουρντί D E F G A B C D > D Eb F G A Bb C D
Kürdî D Eb F G A Bb C D
Νιαβέντ D E F G# A Bb C# D > D E F G A Bb C# D
C
Nihavend C D Eb F G Ab B(b) C
Ουσάκ D Eb F G A Bb C D = E(b)
Ραστ  D E F# G A B C#(n) D D E F(#) G Ab(n) B C D
C
Σαμπάχ D E F Gb A Bb C Db
Σεγκιάχ D E# F# G A B# C# D > F# G A B# C# D E# F#
Segâh??? C D E F G A B C
Χιτζάζ D Eb F# G A Bb C D
Χιτζαζκιάρ? D Eb F# G A Bb C# D = A(b)
C
Χουζάμ? D E# F# G A B C# D > D E# F# G(#)? A Bb C#(n)? D Bb http://rebetiko.sealabs.net/wiki/mediawiki/index.php/Χουζάμ
E
Χουσεϊνί  D E F#(n) G A B(b) C D D E F G A B(b) C D
 
Μπουσελίκ ίδιος με Μινόρε
Νεβά ίδιος με Κιουρντί
Νικρίζ D E F G# A B C# D =
C
Ουζάλ D Eb F# G A B C D =
Σουζινάκ D E F G# A Bb C D C D E- F G Ab B C Ar. ja Tr.
Χιουμαγιούν ίδιος με Χιτζάζ A Bb C# D E F(#) G A TR
Νεβεσερί  D Eb F Gb A Bb C Db(n)
C

 


 

Συνώνυμα ονόματα δρόμων
Ουσάκ Φρυγικός


Πρώτος
Χουσεϊνί (καθοδ.) Αιολικός Μινόρε Νησιώτικος

Κιουρντί Δωρικός



Ραστ (καθοδ.)
Χουσεϊνί (ανοδ.)		 Μιξολυδικός


Πλάγιος του πρώτου
Ραστ (ανοδ.) Ιωνικός Ματζόρε

Πλάγιος του τετάρτου
Νικρίζ



Πλάγιος του τετάρτου χρωματικός
Χιτζάζ



Πλάγιος του δευτέρου
Σεγκιάχ



Λέγετος
Σαμπάχ



Βαρύς



Ηπειρώτικος Ποιμενικός




Bayati
3/4 3/4 1 1 3/4 3/4 1
C D- Eb F G A-(b) Bb C
D E- F G A B-(b) C D
E F+ G A B C+(n) D E
F G- Ab Bb C D-(b) Eb F
G A- Bb C D E-(b) F G
A B- C D E F+(n) G A
B C+ D E F# G+(n) A B


Uşşak
  3/4 3/4 1 1 1/2 1 1
C D- Eb F G Ab Bb C
D E- F G A Bb C D
E F+ G A B C D E
F G- Ab Bb C Db Eb F
G A- Bb C D Eb F G
A B- C D E F G A
B C+ D E F# G A B

yegâh g nevâ g' ramal g''
aşıran a hüsseynî a'
ırak b- evc b-'
rast c' gerdaniye c''
dügâh d' muhayyer d''
segâh e-' segâh? e-''
çargâh f' çargâh? d''

Potentially useful links:
Tanbur frets
http://www.uweb.ucsb.edu/~ederer/misc/instruments/images/53TET_Turkish_Tanbur_Frets.pdf
http://www.uweb.ucsb.edu/~ederer/misc/instruments/images/nautilus_chambered_ederer.jpg

http://corcianaz.blogspot.com/2007/12/trk-musikisinde-perdeler.html

Blog
http://corcianaz.blogspot.com/2007/12/nazariyat-4-rast-makami.html

Fequency of notes in use: not all theoretical notes occur n art music
http://www.gefad.gazi.edu.tr/window/dosyapdf/2002/1/2002-1-175-181-13m.cihatcan.pdf

53 ET
http://en.wikipedia.org/wiki/53_equal_temperament
"Thus, 53 equal temperament is for all practical purposes equivalent to an extended Pythagorean tuning."

Bağlama tunings
http://www.turkuler.com/baglama/duzen.asp
http://www.khafif.com/rhy/saz/  Extensive site on saz.

It also has a fretting chart which is useful:
http://www.uweb.ucsb.edu/~ederer/misc/instruments/images/53TET_Turkish_Tanbur_Frets.pdf
It covers the 53 possibilities in an octave. However, not all of them are in use. The corresponding Arab theory has only 24 steps.

He suggests the following fretting for the lavta but I've usually seen it with tanbur fretting.
http://www.uweb.ucsb.edu/~ederer/misc/instruments/images/Just-Intonation-Lavta-Frets-and-Perdes-Names.jpg

This is what the bağlama uses. It's rare with the lavta.

http://www.turkulerle.net/baglamadersleri/1.gif

The bağlama has many tunings. This picture is from the point of view of the audience. It's quite new to me.
http://brotkrumenspur.de/wp-content/uploads/2007/09/baglama_duezeni_big.gif
But there are mistakes. G+ cannot be on the same fret as C# and Eb.
Different tuning
http://www.thomasvoigt.de/en/saz.html

http://www.turkuler.com/baglama/duzen.asp


Trichordo tuning:
http://wiki.phantis.com/index.php/Bouzouki
dd' a d' (D3/D4 A3 D4). The tuning in the image is D4/D5 A4 D5

Saz tunings from different sources:
http://www.turkuler.com/baglama/duzen.asp
alt= 1st string; karar=tonic (final). Karadüzen (=bozuk düzeni) can have more acceptable tonics.
Baglama düzeni is arapien in Greek. I don't read either language, but I have dictionaries to check key words.

http://www.turkulerle.net/nota-yerleri.html
Fret location calculator:
http://www.turkuler.com/5/5.asp
Actual pitches in Hz:
http://www.turkuler.com/baglama/akort/akor.asp
http://yavuz_eren.sitemynet.com/akort.htm (mirror?)
Sizes of instrumenst with pitch (tel boyu=scale length):
http://www.turkuler.com/baglama/boyut.asp

I believe there's a mistake in the following page. Üst (top) and alt (bottom) have changed places, and in the bozuk düzeni the pitches have followed.
http://www.turkuler.com/baglama/baglama.asp
Unfortunately these images have been copied all over.

Tunings again:
http://www.tayfungurgen.8m.com/akort.htm
With a link to four makams and their associated seyir, with MIDI. The MP3s are often not accessible.

Flash baglama (karadüzen). You can try quarter tones with this. Not re-entrant.
http://www.tayfungurgen.8m.com/saz_cal.html

g' d' a' bozuk düzen

Pois


http://www.neyzen.com/karcigar.htm music for the ney
hijaz, karcigar rast ussak hicazkar hüzzam saba segah usak s
Çârgâh; Bûselik; Kürdî; Rast; Hüseynî; and Hicaz, Uşşâk, Segâh, Hicazkâr, Karcığar, Nihâvend, Sabâ
http://www.imn.htwk-leipzig.de/~wswg/Y/Y/mutleit.pdf


Apulinkkejä
Gerdaniye:
http://www.eksd.org.tr/makamlar/gerdaniye_makami.php


/music_in_turkey.html

Cemil taksim
http://userpages.umbc.edu/~signell/makam/audio/cemil_taksim.mp3
nuotit?
http://userpages.umbc.edu/~signell/makam/cemilbey.html

OPersialainen teoria
http://gfax.ch/literature/Margaret%20Caton%20-%20The%20Concept%20of%20Mode%20in%20Iranian%20Music%20(Shur).pdf

Valtavasti kaikkea
http://gfax.ch/literature/

http://www.murataydemir.com.tr/site/

Tools
Harmony chart
http://guitarteacher.com/wp-content/uploads/2009/02/harmony_chart2.gif
Circle of Fifths
http://en.wikipedia.org/wiki/File:Circle-of-fifths.svg

Links
Makamlar Internette http://www.makamlar.net/makamlar.html
The turkmuzigi.web.tr/sit is useful, because it gives tonics (red), dominants (blue) and leading tones (green) [dead 8.4.2011]
http://www.turkmuzigi.web.tr/turk-sanat-muzigi/makamlari.html
http://ikv-wien.com/htm-tr/ktm-makamlar-basit-tr.html Describes the seyirs verbally in Turkish in a rather concise and formulaic manner.
ESENDERE KÜLTÜR VE SANAT DERNEĞİ
http://www.eksd.org.tr/turk_sanat_muzigi/makamlar.php

Contemporary Turkish
Makam Practice
Signella, Karl
http://lit.gfax.ch/Turkish%20Music--Karl%20Signell%20-%20Contemporary%20Turkish%20Makam%20Practice.pdf


Ozan Yarmand
http://www.scribd.com/doc/46064396/79-Tone-Tuning-amp-Theory-for-Turkish-Maqam-Music
http://www.ozanyarman.com/files/doctorate_thesis.pdf

Μπουσελίκ=Μινόρε D E F G A Bb C D
Bûselik D E F G A Bb C~C# D
Νεβά=Κιουρδί  D E F G A B C D ½ 1 1 1 ½ 1 1 Virhe
Neva D E- F  G A B- C D ¾ ¾ 1 1 ¾ ¾ 1 variants


Marcus 778: modulation occurs freely among maqamat which share the same tonic. This means that the tonic is important.

The bouzouki is basically a mandolin maker's saz (http://lutherie.gr/bouzouki_d/bouz_doc_e.htm). But the situation is more complicated (Pennanen)
Ρυθμοί
http://portal.kithara.gr/modules.php?name=News&file=article&sid=144
Δρόμοι-2
http://portal.kithara.gr/modules.php?name=News&file=article&sid=131
Οι κλίμακες της Βυζαντινής Mουσικής, κατά την Μουσική Επιτροπή του 1881
http://portal.kithara.gr/modules.php?name=News&file=article&sid=729
Τομπάζης Γεώργιος: ΛΑΪΚΟΙ ΔΡΟΜΟΙ
www.tompazis.gr
Μαυροειδής, Μάριος 1999: ΟΙ ΜΟΥΣΙΚΟΙ ΤΡΟΠΟΙ ΣΤΗΝ ΑΝΑΤΟΛΙΚΗ ΜΕΣΟΓΕΙΟ,  Fagotto.
http://www.fagottobooks.gr/details.php?isbn=960-70-75-47-1