The aim of this Makam Guide is to make Turkish classical music more accessible, so that it can inspire musicians who would not otherwise have the opportunity to properly study this grand tradition. It is intended for practical use by musicians of any discipline.
After a brief introduction to the general philosophy and traditional training that Turkish music requires, Master Murat Aydemir adapts his established teaching method to concise definitions and supports these by recordings. Through this adaptation, the guide distinguishes itself from other Turkish music publications and emphasizes the importance of the master-apprentice relationship.
The Makam Guide presents makams in a manner that makes them more comprehensible and establishes a foundation upon which musicians will be able to imitate and use them.
Sixty different makams are recorded and analyzed, each traditionally beginning with an improvisational intro called the taksim, followed by a section from a piece that exemplifies the makam in question. Futhermore, each recording is fundamentally transcribed, providing users with a framework for proper improvisation within the makams.
The aim of this Makam Guide is to make Turkish classical music more accessible, so that it can inspire musicians who would not otherwise have the opportunity to properly study this grand tradition. It is intended for practical use by musicians of any discipline.
After a brief introduction to the general philosophy and traditional training that Turkish music requires, Master Murat Aydemir adapts his established teaching method to concise definitions and supports these by recordings. Through this adaptation, the guide distinguishes itself from other Turkish music publications and emphasizes the importance of the master-apprentice relationship.
The Makam Guide presents makams in a manner that makes them more comprehensible and establishes a foundation upon which musicians will be able to imitate and use them.
Sixty different makams are recorded and analyzed, each traditionally beginning with an improvisational intro called the taksim, followed by a section from a piece that exemplifies the makam in question. Futhermore, each recording is fundamentally transcribed, providing users with a framework for proper improvisation within the makams.
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