Scores

Makam – characteristics and notation

Modal system – Most of Michiel van der Meulen’s compositions are makam-based. A makam is a mode in Turkish/Ottoman art music, but the term may also refer to the modal system as a whole. Each makam has a unique combination of its intervalic structure (cinsler) and melodic progression (seyir), unlike western scales, which are defined by their intervalic structure alone. The most concise description of a makam is obtained by envisaging it somewhere inbetween mere tonal material and a fully-fledged melody.

The number of individual makams is estimated at about 600. Some 120 are for­mally defined, i.e., categorized and associated with repertoire. Only about 20 of these are widely used today.

Notation system – Makam intonation cannot be captured in standard western nota­tion, which is based on twelve-tone equal-tempered tuning. Michiel van der Meulen mostly uses the Turkish Arel-Ezgi system, which divides a whole tone in 9 commas (komanın). Accidentals are placed at the one (fazla), four (bakkıyye), five (küçük mücennep), eight (büyük mücennep) and nine (tanini) comma intervals (see below figure). Even though this system is more sophisticated than western notation, it can still only approxi­mate makam intonation, which is flexible, depending on melodic progression and tonal centre of gravity.

Pitch – Makams are noted at a set key, performers are expected to be able to transpose on the fly. The standard Turkish transposition Bolahenk is one fourth down or one fith up relative to Western concert key (G = D). Other often used transpositions include Kız (G = A), Mansur (G = G) and Süpürde (G = C).

Monophony – There is no harmony in traditional makam music. Western-style second voices and chords are incompatible with the subtlety of a makam’s cinsler, and chord progression rules and aesthetics clash with its seyir. Hence, accompaniment will generally not go beyond a drone or the occasional bass note produced by the lower melody instruments. Musicians play the same melody, contributing with the specific sound and register of their instrument and the ornamentation possibilities it offers. Richness is achieved by heterophony.

Interpretation – Scores of makam music are deliberately not very detailed: performers are expected to be familiar with the characteristic instrument-specific phrasing and embellishments (çeşni).

Further reading – The Turkish Music Makam Guide¹ by Murat Aydemir is a recommended source for further information, which is provided in a very practical way, with scores and audio examples. Dutch readers are referred to Traditionele Turkse kunstmuziek² by Wouter Swets. Large makam sheet music collections can be found on Neyzen.com and Nota Arşivleri.
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