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<blockquote data-quote="orkun zafer özgelen" data-source="post: 88061" data-attributes="member: 393">You are right. Nasır Dede as a Ney player preferred to explain second degree according to the Ney. But Kantemir as a Tanbur player choosed the same way. However lets not forget he was going to the Mevlevi Tekkes and very close relationships with Mevlevi ones. And in his edvar when he explained the Fasıl group, he placed Tanbur players first line and then Ney players second line. He respected Mevlevi music and Mevlevi figures as we see.&nbsp; On the other hand, Haşim Bey is the breaking point in the theory. He explained the makams comparing to westerns music modes like: &quot;Rast makam referred to G major&quot;. So maybe there was a need to indicate detailed pitches to compare them to tonal music. Because when you show a makam via a mode, you definitely have to play it on the Piano, so maybe because of that Haşim Bey changed the way of explaining pitches. Actually he was a unique character in makam music theory who brought new terms to Turkish music such as çeşni, modes.</blockquote>

[QUOTE="orkun zafer özgelen, post: 88061, member: 393"] You are right. Nasır Dede as a Ney player preferred to explain second degree according to the Ney. But Kantemir as a Tanbur player choosed the same way. However lets not forget he was going to the Mevlevi Tekkes and very close relationships with Mevlevi ones. And in his edvar when he explained the Fasıl group, he placed Tanbur players first line and then Ney players second line. He respected Mevlevi music and Mevlevi figures as we see. On the other hand, Haşim Bey is the breaking point in the theory. He explained the makams comparing to westerns music modes like: "Rast makam referred to G major". So maybe there was a need to indicate detailed pitches to compare them to tonal music. Because when you show a makam via a mode, you definitely have to play it on the Piano, so maybe because of that Haşim Bey changed the way of explaining pitches. Actually he was a unique character in makam music theory who brought new terms to Turkish music such as çeşni, modes. [/QUOTE]

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