Train your ear for makam the way a conservatoire does: first the koma intervals, then the çeşni, then the dizi of each makam, then its seyir. Every note is played at its exact Arel-Ezgi-Uzdilek pitch, not rounded to the piano.
Intervals: two notes, and you name the step between them — bakiye (4 komas), küçük mücennep (5), büyük mücennep (8), tanini (9) or artık ikili (12 or 13). Çeşni: a four- or five-note group — Çârgâh, Bûselik, Kürdî, Rast, Uşşâk, Hüseynî, Hicaz or Nikrîz. Dizi: a makam's scale from its karar up to the octave. Seyir: three short phrases — the opening gesture, a half cadence on the güçlü and the closing descent to the karar.
Intervals and çeşni start on a different perde each time — Rast, Dügâh, Segâh or Çârgâh — so you learn the shape, not one pitch. After each answer you see the steps in komas and a link to the makam's own page. The score counts only this visit and is not saved.
Some makams share exactly the same dizi: Uşşâk and Bayati, Hüseynî and Nevâ, Hicaz and Uzzâl, and — a step apart in pitch but with the same intervals — Çârgâh and Mâhur, Kürdî and Kürdîlihicazkâr. Played as a bare scale they cannot be told apart, so the dizi drill offers each pair as one answer. What separates them is the seyir: where the melody starts, which note it rests on as güçlü, and which way it moves. The seyir drill asks for them one by one.
The dizi is played rising only. Several makams use different perdes on the way down, and a rising scale is the form every makam is written in.
Every pitch comes from the same Arel-Ezgi-Uzdilek data as the Turkish Makam pages: the octave is 53 equal komas, Rast is 196 Hz in Bolâhenk, and the ahenk menu lowers everything to the pitch your instrument plays at. The seyir phrases are schematic sketches built from each makam's karar, güçlü and direction — not quotations from compositions — so they teach the outline, not a repertoire.
Is this the same as a conservatoire entrance exam?
It trains the same skill — hearing makam intervals and modal melodies — but it is a practice
tool, not a copy of any exam. Entrance exams also include dictation and performance; the
Dictation Trainer covers the Western part of
that.
Why can't I tell Uşşâk from Bayati in the dizi drill?
Because their scales are identical; nobody can from the scale alone. That is why the dizi
drill joins them into one answer, and the seyir drill — where the güçlü and the direction
differ — asks for them separately.
Why do the notes sound out of tune next to a piano?
They are in tune — in 53 komas. Segâh, Eviç and the other perdes that fall between the piano
keys are played where Arel-Ezgi-Uzdilek theory puts them. Performers bend some of them
further; the theory is the reference here.
Is my score saved?
No. It counts the questions you answer on this visit and resets when you leave the page.
Nothing is sent anywhere.