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Miras-ı Saz

Lesson 9 / 19 · First makams

Hüseyni

A makam with Dügah (A) as its tonic and Hüseyni (E) as its dominant; close to Uşşak, but moving in a higher register.

  1. Read the makam page

    Its scale, tonic and dominant pitches, structure and seyir.

  2. Listen to the scale

    Ascending and descending scale: keep the tonic in your ear.

  3. Test your ear

    Five questions: which makam does the scale being played belong to? Get at least four right.

  4. Play and get scored

    Turn on the microphone and slowly play or sing the scale from tonic to tonic. We measure how many commas each pitch deviates; 70% or more passes.

  5. Play a piece in this makam

    Play a piece from the sheet music archive and follow the score.

Lesson notes

Structure

It is formed by joining the Hüseyni pentachord (K S T T) on Dügah with the Uşşak tetrachord (K S T) on Hüseyni; in the upper register, Eviç is used.

Melodic progression (seyir)

It follows a descending-ascending melodic path (seyir): it starts around the dominant Hüseyni and comes to rest on Dügah.

In the dictionary

A makam whose karar is Dügah and whose güçlü is Hüseyni (E). It carries the Uşşak color; its seyir begins around the güçlü, uses Eviç in the high register, and mostly uses Acem when descending. Dictionary entry

Example pieces from the archive (41 in total)

The Hüseyni makam page: scale, seyir and all its pieces

Related concepts

  • Hüseyni: The main pitch a tanini above Neva; written as E in Western notation. It is the güçlü (dominant) pitch of the makams Hüseyni and Buselik; an octave below it is called Hüseyni-aşiran.
  • İnici-çıkıcı seyir (descending-ascending path): A type of seyir in which the melody starts from the güçlü pitch or the middle of the scale, wanders between the high and low registers, and then reaches the karar. Makams such as Beyatî and Hüseyni are of this type.