Uşşak below, Rast colour above — balanced, broad-breathed. Same notes as Hüseyni, a different path through them.
Nevâ makam puts Uşşâk below and a Rast colour above: an Uşşak tetrachord on the karar plus a Rast pentachord on Neva, resolving on perde Dügâh (A). It uses the same notes as makam Hüseynî but travels through them differently.
From perde Dügâh, the Nevâ dizi runs through these degrees across one octave. A degree is labelled with a core perde name where it lands exactly on one, and with its degree number otherwise. The letters are the koma value of each interval: T = tanini (9), K = büyük mücennep (8), S = küçük mücennep (5), B = bakiye (4), A = artık ikili (12). Press play the scale — every perde sounds at its true position in the 53-koma octave, microtonally, not rounded to a piano key.
The dizi lands on these named core perdes: Dügâh, Segâh, Çârgâh, Nevâ, Hüseynî, Evc, Gerdâniye. The degrees in between carry no core perde name and are shown by number.
Turkish music is written for one reference tuning (Bolâhenk); differently sized instruments transpose it down — Süpürde by a whole tone, Kız by ≈ a fourth, Mansur by ≈ a fifth. The written perdes don't change, only the sounding pitch.
The same seven steps drawn against the core perde lines, so you can see the melodic shape and exactly which degrees sit between the piano keys.
Each dot is a degree's true koma height above the karar. Reddish dots don't sit on a core perde — they fall 'between the keys'. Turkish scores write these with the koma / mücennep accidentals.
Nevâ makam is assembled from the Uşşak tetrachord below and the Rast pentachord on Neva above, meeting on one shared perde. What defines the makam is not only the scale but its karar (Dügâh), its güçlü (Nevâ), and its seyir (ascending-descending).
Nevâ has a mixed seyir that moves up and down around the middle of the scale, resting often on the güçlü Neva. The shift from the plaintive Uşşâk tetrachord below to the brighter Rast pentachord above gives the makam its open, settled feel.
Hüseynî's scale, but travelled through the middle rather than top-down, with the brighter Rast half emphasised.
Uşşak below, Rast colour above — balanced, broad-breathed. Same notes as Hüseyni, a different path through them.
Heard in: the Neva pieces of the classical fasıl.
Makams from the same family — they share material and are told apart by seyir and güçlü:
Nevâ makam puts Uşşâk below and a Rast colour above: an Uşşak tetrachord on the karar plus a Rast pentachord on Neva, resolving on perde Dügâh (A). It uses the same notes as makam Hüseynî but travels through them differently.
In the Arel-Ezgi-Uzdilek system the koma steps are 8 + 5 + 9 + 9 + 8 + 5 + 9 — 53 koma in all, one full octave. Named: K – S – T – T – K – S – T.
Nevâ makam resolves on perde Dügâh; its secondary centre of gravity (güçlü) is perde Nevâ. Its seyir (melodic path) is ascending-descending.
Hüseynî's scale, but travelled through the middle rather than top-down, with the brighter Rast half emphasised.
Nevâ is grouped here under "Resolving on Dügâh", and shares material with Bûselik, Kürdî, Uşşâk, Hüseynî, Karcığar, Bayati. These are told apart not by their scale but by their seyir and güçlü.
This scale is given in its standard Arel-Ezgi-Uzdilek / conservatory form and is checked to close the octave at 53 commas. There is always a small gap between what the theory writes and what a performer plays.
Back to the Turkish Makam tool for all seven çeşni, the perde ruler and the 20 makams; for the history of makam and maqam see the Middle Eastern Music lesson; for Western scales, the Scale Library.