To hear a traditonal version by Zerap Kuzy - https://www.youtube.com/watch?

v=Krq-m_1M05k
https://sarkilarnotalar.blogspot.com/2011/11/ben-bir-kucucuk-sevdali-kustum.html

Makam Huseyni

Huseyni is one of the oldest makams. It has a history of at least six centuries. It has meanings like
‘Little sweetheart’

Emotional-Psychological Effects

Gives the feeling of peace; induces kindness, silence and relaxation.

It has a refreshing feeling.
Due to its secret pentatonic structure it gives feeling of self confidence and determination and because of
this it is beneficial for the autistic and spastic patients.
Unifies people with nature.

https://en.wikipedia.org/wiki/Turkish_makam

The Turkish makam is a system of melody types used in Turkish classical music and Turkish folk music.
It provides a complex set of rules for composing and performance. Each makam specifies a unique
intervalic structure (cinsler) and melodic development (seyir).Whether a fixed composition (beste, şarkı,
peşrev, âyin, etc.) or a spontaneous composition (gazel, taksim, recitation of Kuran-ı Kerim, Mevlid, etc.),
all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul

Turkish Classical Music and Turkish Folk Music are both based on modal systems. Makam is the name of the
scale in classical music, while Ayak is the name of the scale in folk music. Makam and Ayak are similar;
following are some examples:

Yahyalı Kerem Ayağı : Hüseyni Makamı

Garip Ayağı : Hicaz Makamı
Düz Kerem Ayağı : Karcığar Makamı
Yanık Kerem Ayağı : Nikriz Makamı
Muhalif Ayağı : Segâh Makamı
Tatyan Kerem Ayağı : Hüzzam Makamı
Misket Ayağı : Eviç Makamı
Bozlak Ayağı : Kürdî Makamı
Kalenderi Ayağı : Sabâ Makamı
Müstezat veya Beşirî Ayağı : Mahur Makam

https://playwithmakam.com/huseyni/

Hüseyni est le makam le plus utilisé de la musique d’Anatolie.

Hüseyni désigne à la fois :

Le makam Hüseyni, c’est à dire la gamme et les règles qui le composent.

La note Hüseyni (Mi), 5ème note du mode
Le pentacorde de Hüseyni

STRUCTURE DU MAKAM HÜSEYNI

Tonique : Dügâh (La)

Dominante : Hüseyni (Mi)
Octave : Muhayyer (La aigu)
7ème/sous tonique : Rast (Sol grave)
Altérations : Segah (Si 1 koma bémol) et Eviç (Fa# aigu)
Construction : Pentacorde de Hüseyni à partir de La (Dügâh) + Tétracorde de Uşşak à partir de Mi (Hüseyni).

RÈGLES D’UTILISATION DU MAKAM HUSEYNI (SEYIR)

1. Introduction de la mélodie : cadence sur la dominante

2. Développement :

Insister sur la dominante

Utiliser la partie basse du makam (la pentacorde)
Cadence sur la dominante (Mi)
Cadence sur la tierce (Do)

3. Conclusion de la mélodie : cadence sur la Tonique

Modulations possibles :

Utilisation de Acem (Fa) en descendant

EXEMPLE D’UTILISATION DU MAKAM HÜSEYNİ

La partition ci-après est un seyir, c’est à dire un exemple d’utilisation des règles du makam.
There are 7 Turkish Makam scales which are almost identical to Western modes in structure
Çargâh is similar to Ionia, Hüseyni to Dorian, Kürdi to Phrygian, Pencgah to Lydian, Yegâh to Mixolydian,
Buselik to Aeolian, and Dilkeşhaveran to Locrian.
WHAT ARE MAKAMS? – EDWARD HINES https://www.hinesmusic.com/ICS1.html

In the West, the evolution of church modes eventually lead to the use of major and minor scales in
composition. The added development of equal temperament enabled Western composers to fully develop
and exploit the vertical component of a musical composition, harmony simultaneously with the linear
component, melody.

Arabic and Turkish compositions have retained a melodic based modal approach of the past. In classical
writing, the Arabic system of modes is referred to as Maqamat while the Turkish term is Makam. Both
systems are non-harmonic, linear philosophies of musical composition, with the inclusion of drones when
needed. The distinction--and the art--of the Middle Eastern approach is primarily found in the development
of that linear process, which includes microtones and melodic ornamentations. This includes a fundamental
microtonal interval known as a Pythagorean comma (24 cents, approximately one-eighth of a whole-tone of
200 cents). Commas are added or subtracted from whole tones and half tones which are common to both
Middle Eastern and Western musicians. The result is a series of modes, linear in approach, which contain
musical intervals--and colors--not found in the Western tempered system. For example, it is not possible to
accurately play a Saba Makam on a Western piano without retuning it to be out of tune to Western standards.

It is fair to say that harmonic thinking of the West did not make its way into the Middle East
until the early 19th century and of course is pervasive in the pop culture world of contemporary music.

It is also worth noting that the natural overtone series is not tempered, but does contains microtonal intervals
This is the basis of the Pythagorean thinking.

Finally, composers such as John Cage in his Works for Prepared Piano, modify the tempered system of the
piano to create new and unusual sounds including microtones.

The classical music traditions of Turkish, Arabic and Western music are all based on the same musical
theories of scale building credited to the ancient Greek Pythagoras.Over the centuries the three traditions
followed a separate path of development, each of which is now recognized as a form of high art, but each
with a distinct musical 'dialect.'

By the time of J.S. Bach, Western classical music had developed into a system of tuning known as equal
temperament, where the musical octave is divided into 12 equally spaced half-tones. These tones are easily
visible on any piano or fretted guitar. Equal temperament enables Western composers to create works using
complex harmonies and polyphony.

Arabic classical music went through an important period of early development during the 9th through the
12th centuries when the Arabs ruled large parts of the Middle East, North Africa and southern Europe.
Arabic scholars made significant contributions in studying and interpreting the works of the ancient Greeks;
the Arabic system of modes known as maqamat came out of these early studies. In Arabic maqamat, the
octave is divided into 24 equally spaced quarter-tones. Classical Arabic composers show skill in the
development of these quarter-tones not through harmony or polyphony (as in the West), but through melody
To Western ears trained in 12 tone equal temperament, these quarter-tones can sound odd at first and are
sometimes referred to as micro-tones.

While Turkish classical music went through a parallel period of early development with the Arabs, the high
point in the development of the Turkish classical style is during the Ottoman Empire period from the 15th
through the 20th centuries. In Turkish makams, the octave is not divided equally, but proportionally using
whole-tones, half-tones, quarter-tones and even smaller tones. In theory, there are 24 tones in the Turkish
octave, however in practice there are probably 31 and perhaps more. Like Arabic composers, Turkish
classical composers show skill in the melodic development of makams through melody. Turkish makams
closely reflect Pythagorean thinking in the use of proportional tuning. The eighth-tone is equal to 1
Pythagorean Comma (approximately 23 cents), which plays a crucial role in micro-tonal pitch development
within any mode. The Yeni Makam Series of composer Edward J. Hines is a series of chamber works which
synthesize Western compositional technique with the ancient theory of both Turkish makams and Arabic
maqamat. To accomplish this objective, in Yeni Makam the whole tone (200 cents) is divided into half tones
(100 cents) and quarter-tones (50 cents). The quarter-tone is then divided again, this time into eighth-tones
(25 cents). The eighth-tone is only a 2 cent difference from an authentic Pythagorean comma (23 cents) which
is imperceptible to the ear. In this way, a single musical composition can explore whole-tones, half-tones,
quarter-tones and eight-tones which are now common to all three musical traditions.

Examples of Turkish Makams as Notated in the Yeni Makam Series of Composer Edward J Hines
note: the accidental signs of the yeni makam series are innovations and modifications of current modal
practice.

Scale Basics: Scales based on Pythagorean principles are a series of whole-tones and half-tones which
progress up and down. In the West, the familiar Do-Re-Mi-Fa-Sol-La-Ti-Do describes a complete scale
(major) where the most important note Do, the tonic, begins and ends the scale. The next most important
note is called the dominant and is the fifth note of the scale (Sol). 2. Turkish Accidentals: In Turkish classical
music, whole-tones and half-tones are approximately the same size as Western whole-tones and half-tones,
and function the same way within the scale. However, the Pythagorean comma (approximately one-eighth
tone) plays a critical role as it is used to augment or diminish whole-tones (creating 'smaller' and 'larger'
whole-tones) as well as half-tones. Pitches can also be adjusted by more than one comma, resulting in
quarter-tones and even three-eighths tones

Turkish Tetrachords: Following the example of the ancient Greeks, Turkish makams are the combination of
two four-note groupings called tetrachords. Through the use of accidentals, a series of tetrachords, each
with a different characteristic (and name) can be created. Unlike the West, the dominant (D) will sometimes
be located within the tetrachord itself. The following examples are the basic tetrachords (and pentachords)
of Turkish classical music:
Turkish Makams: By joining tetrachords and pentachords, complete scales and modes are created. There
are thousands of musical examples of works written using hundreds of different makams in the literature of
Turkish classical music. Makam names vary according to pitches used as well as general direction of
the melodic flow. Thus makams are really rules of composition and not just scales. Here are just a few
examples:
Arabic Maqamat: Arabic maqamat are based on a 24 note octave which includes whole-tones, half-tones
and quarter-tones. As in Turkish makams, Arabic maqamat have different names according to pitch and
melodic direction. It is interesting to note that the Arabic Bayyati is like the Turkish Huseyni and Ussak
(Bayati). Nahawand is the same as the Turkish Puselik and the Western minor scale. Ajam Ashiran is the
same as the Turkish Cargah and the Western major scale. The Arabic Hijaz and Turkish Hicaz are very
close in sound as are Kurd and Kurdi.