Equal Temperament in Turkish Music

Dr. Nail Yavuzoğlu1

The most important institution which shall serve the development and
expansion of Turkish music is, first and foremost, the TRT. No matter how
deeply conservatories are technically involved in this service, the percentage
of the population which they can reach happens to be dramatically small. The
role to be played by radio and television broadcasts on the cultural
development of the nation and on the education of the public is truly very
important. The TRT institution has many missions, in preserving existing
values, not permitting disintegrations and degenerations, holding authority
on issues of evaluation and direction with a correct policy, being open to
innovation and science, supporting serious research by practices which
protect and promote the artist, maintaining archives of both recordings and
sheet music in order to ensure the transfer of existing values into next
generations, and in many basic issues such as these, and based on all of these,
in contributing to the development and progress of the art of Turkish music.
However today, this institution is in the position of a government agency
which bears the responsibility for degeneration, disintegration and struggle
for survival of Turkish music, as much as educational institutions
(conservatories), let alone being not able to ensure this whole structure,
because of the policy it follows.
How healthy and modern is the performance of Turkish music being
performed both in mass communication institutions and in educational
institutions today? If there are some problems in a performance, where
should the causes and solutions of these looked for? What are the differences
between the practice and the theories that came from the past? Is there a
standardization of instruments, if not what are the reasons of this lack? Is
Arel-Ezgi-Uzdilek system, which is in application, the true system of Turkish
music? How and to what extent do the problems of this systems affect
performance and education? What are the criteria for the existence of a
methodology in education? What is and what should be the position of
Turkish music in world music?
While, in terms of Turkish music, there are so many problems to be
solved in mass communication and educational institutions, the goal should
be to evaluate, perform, preserve, help survive and introduce and expand to

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İTÜ TMDK Öğretim Görevlisi.

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both today’s and tomorrow’s people, this magnificent heritage which has
been transferred to present from the past, in the best manner.
All these mistakes and incorrect practices which were and has been
made throughout the history cause today’s Turkish music performance in
mass communication institutions and bodies and educational institutions
alike, to go on somehow, in a loosely manner, far from being an element of
pride and to be in a struggle with problems ranging from the system and
contexts of makam to instruments and usuls, because system and
performance cannot integrate.
Education, the problems of Arel-Ezgi-Uzdilek system, which is agreed
and employed by mass communication institutions, and the reflection of
these problems on education and on performance, have been talked about so
far by many performers, musicologists and educators. The problems of this
system and opposing ideas are considered below, in paragraphs.

1- There is not any difference between the obtaining of the Arel-Ezgi

system and the obtaining of the Pythagorean system, however in Arel-Ezgi
system, a certain number of perfect fifths and fourths are superimposed,
without its reason described with some logical explanation. The reason for
the association of these with the numbers 11 and 12 is unknown. Besides, that
the system is constructed of not just perfect fifths and fourths, but a certain
number of perfect fourths and a certain number perfect of fifths, cannot be
described in explanations to get the 24 tones. The proportions shown on the
system as Bakıyye, Küçük Mücennep and Büyük Mücennep, do minutely
correspond with the ratios of the Pythagorean system. In any way, the biggest
problem faced in practice is the difference between the description and the
execution of the sounds in the register referred to as Mücennep register.
Thinking of these tones as one comma different from one another suggests
that 24 tone system is actually the beginning of the proceeding to 12 tone
system. Besides, there is no evidence to prove the number 24. Dr. Suphi Ezgi
says that this system was taught to them by Rauf Yekta, but he stresses that
he did not make any scientific explanations. Later, Ezgi and Arel showed this
record which they saw in a script first referred to as “Şeyh Mabub Edvarı”,
then as “Murad-name” and later speculated to be derived from “El Matla” of
Şeyhi; “There is also another order, it is of twenty four tones” as the biggest
evidence for the system, but they did not take the sentence that completes
this record; “such order is called düzen-i muhalif” into account. As is known,
“düzen-i muhalif” means an order against the true order. It is obvious that 24
tone is not and cannot be the true order, moreover it is not much clear and

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accurate, whether the aforementioned script refers to division of eighth, or
number of frets on some instruments.2
2- The idea which holds that the system is a natural system derived
totally from nature, is totally wrong. Its naturalism is true to a some extent
because it is a copy of the Pythagorean system. However, arbitrarily made
arrangements distort this naturalism, and despite they should build a bridge
with performance, they deny the existence of performance.
3- No piece of music written in the Çargâh scale, which is considered
the main scale and which the system is built on, can be found in the classical
repertory. The Çargâh makam as referred to in old books, appears to be quite
a different makam. Musicians of the past adopted the Uşşak scale as the
number 1 type, makam and scale, later the Rast makam was adopted and
maintained as the main scale up until Arel’s time. Supporting of the Çargâh
makam as the main scale against the Rast makam, is facing us again as a bad
comparison of Turkish music with western music. Arel has said that, B key in
Rast is written with comma flats, and for that reason this makam does not
contain primary tones. Here, there is an important point that he missed. The
primary tone, of ney, one of the most important, characteristic instruments of
Turkish music, is not Buselik, but Segâh tone. Also, since the earliest times,
Segâh tone has been adopted as the third degree within the main scale and
written with accidentals only in the Arel-Ezgi system. At this point, two major
mistakes were done. First is the adoption of the name Çargâh as a wrong
makam and second the adoption of scale which does not exist in Turkish
music.
4- Basic çeşnis have been dealt with incompletely and wrongly, many
çeşnis which gave their names to Turkish music makams, such as Hüzzam,
Karcığar, and old Çargâh etc. were not taken within the system, most of those
taken were employed wrongly in order to adjust them to the system. For
example: diminished Segâh pentachord, Diminished Saba tetrachord...
5- Accidentals used in the system are not enough and new accidentals
are required at several points. System cannot close because of its structure of
“gayri müsavi” intervals which are not equal to each other, basic çeşnis and
scales cannot be transposed over every tone. Moreover at many points new
accidentals are needed. Anyway, Arel himself gives the possible
transpositions in numbers in descriptions of makams. In this system tones
belong to Turkish music do not exist, besides the system cannot reveal an
integrity in itself even with existing tones.

2
Tura, Yalçın, Türk Mûsikîsinin Mes’eleleri, Pan Yayıncılık, İstanbul, 1988, p. 58

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 6- Because the system physically stands on the Pythagorean system,
performing Turkish music is not possible with a tanbur or kanun made
according to these calculations. Anyway there is no instrument today, made
according to this system. For that reason, standardization in instruments
cannot be possible, and the most important aspect within a system continues
far from scientific research ground, with visual experiment and differences
among individuals. Differences are observed, in different keys between every
instrument, to speak in detail, in basic çeşnis on the different registers of the
same instrument. That is to say, the Arel system exists only in theory.
Whereas in practice, many systems and insensible quests for systems by
every instrument maker are transforming the destiny of Turkish music which
could survive to this day, and are serving to its extinction in time.
7- Notation cannot do more than bearing a symbolic value. It sheds
light, just like the neumas in the Medieval Period, to perform only for persons
who know the works already. Despite this, there are different writing
manners of works and there is no solid evidence to their accuracy. Because
Mücennep register is taken wrongly, the çeşnis such as Hüzzam, Uşşak,
Karcığar, Çargâh etc., which employ the tones in that register, are shown with
the accidentals of the Hicaz interval despite they have no relation, and no
accidental or note is provided to distinguish them from Hicaz. Those people
who do not know this music are misdirected, whereas those who do choose to
play as they know without caring about sheet music. Makams are written
symbolically in an only way, but performed in many different manners for
several reasons. A sheet music, written with, in mind, the manner in which it
is to be played, cannot be played even by the best performers. The reason for
this is that, such an education could have not been improved. After all, it is
only a dream to conduct science based education with this system.
8- Style has not been dealt with in writing; even the basic principles of
Turkish music have not been researched seriously. Everything has been and
continues to be presented as hidden in a mystery. In Turkish music, every
performer has a style. That is, a written note is interpreted differently by
every performer, embellished with assorted embellishment signs; even the
rhythmic structure is greatly altered. It is not possible for a composer to
recognize his/her work under these circumstances. Besides, many composers
cannot show the details which they want to show or the style requires on the
sheet music, so to speak they lay the ground for the performer to play
according to his/her wish. Moreover, even though these are indicated, they
are welcomed by nobody, because their execution will require more effort.

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 9- One of the biggest defaults in this system is considering makam and
scale as the same thing, and making big mistakes in classification and
description. It is highly difficult and impossible to understand the makams,
which are instructed as to be memorized and cannot be determined with a
causality relation and composing works with them, even perform them with
such theory. Only the performance of musicians who trained in a long term
master and apprentice relationship, can survive despite these dire
circumstances.
10- When theory is discussed, the way of comparing with western
music has been chosen, every çeşni, even every makam which show a tiniest
similarity between the two systems have been compared. On one hand, the
similarity of Turkish system to western music has been presented as a matter
of pride, while on the other the superiority of this system over western music
has constantly been tried to be imposed.
11- Absence of a constant reference tone has prevented the
development of the concept of tonality in Turkish music, thus the
instruments, beyond their respective sonic ranges and human voices, without
a scientific classification, have found themselves in the middle of
performance. All instruments and voices have to perform an individually
written melody, even it was written beyond their sonic ranges. Kemençe plays
one octave higher when it cannot go lower in the low register and soprano
assumes the freedom to make octave alterations when she encounters any
note beyond her register. It is not that there is no point in this. All voice
groups, such as Soprano, Alto, Tenor and Bass perform on the same tone
within a choir, despite there are differences of great proportions between
their registers.
12- A systematic classification of usuls has not been done. Which usuls
are considered küçük usul and according to what reason, cannot be
explained. Descriptions of most usuls are incorrect because the relation
between their degrees could not be realized. The relation between the melody
and the usul could not be determined, thus many great usuls cannot be used
today and face the treath of extinction.
13- The difference between theory and practice has also led to the
separation of folk music, which is the other aspect of Turkish music, and art
music. These two genres have approached and employed separately with
different writing and basics. We cannot make these critics for folk music,
since there is no tonal system, no basic çeşnis, no scales, or ayaks, as the
musicians of this genre say, to criticize. There are no significant documents to

5
put this music on certain basics. Issues such as a constant reference system,
fretting of instruments and usuls are in need of a solution.
14- There is neither systematic, nor methodology in education.
Although, education appears to be in the scope of the same system in terms of
theory, solfege, instruments or voices, the difference between theory and
practice has become the battleground of educators who speak the same
language in their own respective ways. Those people, who, in conflict even on
the simplest issues and teach this system, are at the same time the most
zealous advocates of the system.
15- Despite all, this system is the most important element which
ensured Turkish music to enter academic institutions, have a conservatory
established and have a specialized education. However it has completed its
mission. We believe that, if those people who established this system were
alive today, they would be aware of these defects and act according to the
requirements of science. We believe that we should act, thinking that if those
people who established this system were alive today they would be aware of
these deficits and do according to scientific ways. We believe this issue should
be considered in an unbiased manner with the future of Turkish music in
mind.
As is seen, the main problem is that issues regarding Turkish music
need a solution immediately. Solution to all the aforementioned problems
will come later, depending on this. A building which is not based on a firm
foundation is faced with the threat of collapsing in the slightest quake.
Instead of living with the fear of a quake and doing nothing we must start
scientifically based research and reach to a solution immediately. Thus,
realization of a more up to date, steady performance which we will be proud
of, is going to make way for new riches and our music will take its deserved
place in world music.

Pythagoras of Samos, the scientist believed to live in the years 540-510 BC,
suggested a theory by superimposing fifths over one another and discovered
one of the basic systems of music. According to this theory, with
superimposed fifths it is not possible to return to the same tone. By
superimposing fifths over one another we approach to the note we started by
3,678 cent, in the 53. fifth. It is agreed that, there are 53 commas within an
octave, because it is the point in which two notes of the same name come
close at most. The same note we reach after 12 fifths is 23,48 cents higher.
The equal temperament system, today employed in the whole world, was
implemented by dividing this 23,48 cents into 12, and then, by tuning down

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each note by 1,95 cents. Of course, by setting out from the idea of assuming a
ratio with a difference of one comma even in the middle ♯ and , an evenly
divided semitone.

First of all, let us consider this basic system which we acknowledge as

a natural system and which also includes systems such as 17 tone , 24 tone
etc. used up to these days. The system including 53 commas is obtained by a
step-by-step progression of taking intervals of fifths and fourths usually,
starting from any note. After the 53 note scale, no new note, which may
create fifths and fourths with the others, can be added to the scale. (Rather,
there are minute differences which human hearing cannot distinguish
between the newly added notes and the previous ones. Therefore these are
sensed as new sounds.)3
The most basic point we should primarily indicate here is that, based
on diapason, the general tone of Turkish music is G. This tone is called
Bolahenk tuning.

According to diapason, it is written thus;

3
Zeren, Ayhan, Müzik Fiziği, Pan Yayıncılık, 1995, p. 305.

7
 It is written four tones above or, it sounds four whole tones below
where it is written. For that reason, this method, which has been used so far,
will be considered and all descriptions will be made between Neva and Tiz
Neva which come from the tradition and form the basis of Turkish music
notation.

Written

Sounded

Also, the most important point to consider is that, as a result of not

taking the note A as 440 Hz, scales and makams are written starting from the
same note on the staff, and when they are required to be performed on
different tones, transposition is done by the performer, given that notation
remains constant. Anyway, the system being used does not allow makams to
be written over every note.
Let us show the aforementioned 53 note scale on the staff in order of
derivation. This notation has been developed by us and chosen among those
most simple and comprehensible of existing graphics in the world. The
sign is used to sharpen the previous tone 1 comma and the sign to
flatten the next tone 1 comma. The signs are constant
signs, employed within the quarter tone notation in score writing software.

53 tone scale as shown on the staff in order of derivation

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 Order of derivation

Frequency ratios (in fractions)

Frequency ratios (in decimal numbers)

Order of derivation

Frequency ratios (in fractions)

Frequency ratios (in decimal numbers)

Order of derivation

Frequency ratios (in

fractions)

Frequency ratios (in decimal

numbers)

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Order of derivation

Frequency ratios (in

fractions)

Frequency ratios (in decimal

numbers)

Order of derivation

Frequency ratios (in

fractions)

Frequency ratios (in

decimal numbers)

Now let us successively arrange these tones in order of sharpness. If we

analyze the positions of these tones with respect to order of derivation, we see
how 17 tone, 24 tone, 31 tone and all the other system appear within these 53
tones. Tones are shown, as in the previous example, in:
a) Accidentals
b) Order of derivation
c) Frequency ratios (fractions)
d) Frequency ratios (decimal numbers).

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11
Let us consider the interval of second in 53 tone natural scale.

Between the intervals two different comma values occur,

a = 1,04 comma
b = 0,088 comma. If these two values are joined at the middle point, that is,
the 53 comma system is composed of equal 53 commas, which means
tempered, despite natural ratios are distorted, a progress is ensured in
transposition and many basic issues. However it will bring about such results
as;
a- a difference between the the
b- division of the whole tone into 9, an odd number
c- a disambiguity in the concept of enharmony in accidentals, and putting
frets on instruments as tiny as cannot be used, although the system can be
transposed over all timbres. We do not think it is necessary to go into details
of this subject.
Let us temper, or equalize, the comma, which occurs in a whole tone, within
itself and take it as our point of departure.

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Let us take a new ratio between the fourth and the fifth commas, and get the
ninth comma closer to the eighth.

Hence we get the whole and semitones of present equal temperament

system. With this system Turkish music cannot be performed. As we will see
below, we need new intermediate tones in order to perform especially Rast,
Uşşak and Hicaz çeşnis.
Let us have a minor third interval.

Let us divide in the middle, this interval of 300 cents, into two.

We derive the interval which we use in Uşşak çeşni.

When we divide this interval into two;

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an interval of 75 cents occurs and this is the interval which we use in Rast
çeşni. The 25 cent interval between 75 and 100 cents gives us the equivalent
of 1 comma in terms of cents. These divisions can go on. The even division of
the intervals within a second shows that a whole tone is made up of 8
commas or timbres, each of them composed of 25 cents.

1) just in the middle of a minor third interval, 3Q (three quarter tones)

2) just in the middle of 2 3Q’s, 3SQ (three semi quarter tones)
3) just in the middle of H (semitone), Q (quarter tone)
4) just in the middle of Q, SQ (semi quarter tones), do exist.

A whole tone is divided into 8 evenly divisible equal fragments, instead of 9.

Let us now consider how far these calculations differ from the natural system.

Comma value

Cent

Comma

The fourth comma gets higher, the sixth comma gets lower and thus the fifth
comma disappears. The arrangement is done at this point.

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 Comma Ratios Comma Tempered Difference
in the 8 comma
system
1 1.0125 1 1.011 0.001
2 1.024 2 1.029 0.005
3 1.041 3 1.044 0.003
4 1.0534 4 1.059 0.006
5 1.066
6 1.08 5 1.074 0.06
7 1.097 6 1.09 0.007
8 1.1 7 1.1 0
9 1.125 8 1.1225 0.003

As is seen, the difference in frequency ratios between, the tempered

system including 8 commas and the natural system, is 0 - 0,008. These ratios
are not frequency differences which the ear can sense. For instance, let us
have a look at the frequencies and their differences between 5SQ tones in
16/15 timbre which the deviation is at the most.

Equivalents of these frequency

ratios in Hz according 440 A

Their difference is 3.52 Hz. It is an interval of, approximately 12-13

cents. A good ear can hear the difference of about 12-13 cents as a difference
in colour, not as a new tone. Let us have a general look between the relation
between cent and Hz.

10 cents 2,54 Hz
6,25 cents 1,6 Hz
12,5 cents 3,25 Hz
25 cents 6,5 Hz
50 cents 13 Hz
100 cents 26 Hz

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 A difference of approximately 26 Hz is required, in order to sharpen a
note a semitone. Dividing a whole tone into 8 has closed the Turkish music
system and made it a closed system by allowing transposition over every
note.

BIBLIOGRAPHY

Açın, Cafer, Enstruman Bilimi, İstanbul, 2002

Arel, Hüseyin Sâdettin, Türk Musikisi Nazariyatı Dersleri, Milli Eğitim
Bakanlığı Yayınları, İstanbul, 1969
Ayan, Özata, Enstrumantasyon Açısından Tanbur, İ.T.Ü.T.M.D.K. Bitirme
Ödevi, 1993
Bardakçı, Murat, Maragalı Abdülkadir, Pan Yayıncılık, İstanbul, 1986
Ezgi, Mehmet Suphi, Ameli ve Nazari Türk Musikisi I-V, İstanbul Belediye
Konservatuarı Yayınları, 1933-1953
Gürmeriç, Şefik, Türk Musikisi Nazariyatı Ders Notları
Karadeniz, M. Ekrem, Türk Musikisi Nazariye ve Esasları, Türkiye İş Bankası
Kültür Yayınları, İstanbul, 1982
Kutluğ, Yakup Fikret, Türk Musikisinde Makamlar, Yapı Kredi Yayınları,
2000
Özkan, İsmail Hakkı, Türk Musikisi Nazariyatı ve Usulleri, İstanbul, 1984
Özüstün, Yavuz, Türk Musikisi Nazariyatı Ders Notları
Rigden, J. S., Physics and the Sound of Music, John Wiley and Sons, New
York, 1985
Terhard, E., Zick. M., Evaluation of the Tempered Tone Scale in Normal,
Stretched and Contracted Intonation, Acustica, 1977
Tura, Yalçın, Türk Mûsıkîsinin Mes’eleleri, Pan Yayıncılık, İstanbul, 1988
Uzdilek, Salih Murat, İlim ve Musiki, Kültür Bakanlığı Yayını, İstanbul, 1977
Yekta, Rauf, Türk Musikisi, Pan Yayıncılık, 1986
Yılmaz, Zeki, Türk Musikisi Dersleri, İstanbul, 1988
Zeren, Ayhan, Müzik Fiziği, Pan Yayıncılık, 1995
Zeren, Ayhan, Müzikte Ses Sistemleri, Ankara, 1978

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