I didn't read all the posts, but perhaps can add something to the original question.
Firstly, it is important to drop the Western note names - this only leads to confusion. Secondly, drop the notion of SCALE... this is a Western
concept that doesn't fit in with makam theory.
In makam theory you have note names. Rast, Dugah, Segah etc etc, and depending on the tuning system you are playing in, the whole system can be
transposed. For example MANSUR, KIZNEY, BOLAHANK, YILDIZ etc etc.
Then you have tetrachord and pentachord...
You have tonics, dominants, and octaves... each one of these 3 notes can be the most important in the makam.
Finally you have the seyir, which is the "path, or grammer" of the makam which determines its direction.
Also important to mention is the notes which shift position depending on melodic direction.
Regarding transposition, the only time this applies is when you change tuning system, and in this case you shift the ENTIRE MAKAM SYSTEM to another
place. There is no such thing as a transposed makam, although the incorrect modern theorists will try to tell you this exists.... they are trying to
simplify things but they are wrong. Within one tuning system you can have several makams which seem to have the same scale but start from different
points - they will NEVER have exactly the same SEYIR... the grammar will always be different.
furthermore, it is also possible to have several makams which seem to have the same scale and DO have the same tonic... but again the seyir will be
different, also the dominant can be different, or the octave might be the most important note. |