Şamil İSMAYILOV

The maqam theory of Turkish Music has a unique maqam structure and pitch understanding.

At the same time, as seen in the main sources written on maqam theory, the theoretical knowledges of Turkish Music has been given within the framework of certain terms and concepts.

In this context, although the term “ev, hâne (musical pitch)” is widely used in theory books and treatises, which contain information about the maqam theory of Turkish Music, it refers to a certain understanding.

Until today, studies on Turkish Music theory have been insufficient to reveal the principles of the system and the basis of the maqam understanding, consisting of the derivatives of certain informations.

The fact that the meaning of special concepts in the main sources on maqam theory is not known enough and and the insufficient emphasis on the relations and consistencies within this system has caused the main principles of the maqam theory of Turkish Music not to be revealed until today.

As shown by our long and deep researches, the system that forms the basis of the maqam theory of Turkish Music is based on three main structures called “yegâh, dugâh and segâh”.

This study has been prepared to systematically base the basic structures and relations of Turkish Music makam theory.

It has been shown by this study for the first time the fact that the foundations of the maqam theory of Turkish Music are based on three main structures called “yegâh, dugâh and segâh”.

The study is important in terms of confirming with the characteristics of these three structures

the formation of Turkish Music maqam scales, transition and flavor structure in Turkish Music, and the logic of modal transposition in Turkish Music.

In the study, it were used qualitative methods such as archive scanning, source scanning, comparison and analysis.

Keywords: The Maqam Theory of Turkish Music, Understanding “Ev, Hâne (Musical Pitch)” in Turkish Music, Music Theory Books, Music Treatises, “Yegâh, Dügâh, Segâh” Main Pitches