Musical Analyses of Halil Karaduman's Hüzzam, Uşşak, and Zavil Makam Taksims

Abstract

This study aims to examine and analyze the musical and technical aspects of the qanun improvisations performed by Halil Karaduman in the Hüzzam, Uşşak, and Zavil modes. The study employs the "descriptive analysis" method from qualitative research approaches. The population of the research consists of Halil Karaduman's improvisations, while the sample includes the artist's improvisations performed in the Hüzzam, Uşşak, and Zavil modes. In the analysis of the data, the improvisations performed by Halil Karaduman in the Hüzzam, Uşşak, and Zavil modes from his albums were transcribed, and their musical and technical analyses were conducted. The analysis revealed that in the Hüzzam mode improvisations, the Kaba Irâk and Tiz Nevâ pitches were used; in the Uşşak mode improvisations, the Kaba Râst and Tiz Muhayyer pitches were utilized; and in the Zavil mode improvisations, the Yegâh and Tiz Muhayyer pitches were performed. Additionally, it was found that there were 7 pitches used outside the modal notes in the Hüzzam and Zavil mode improvisations, while 5 pitches were used outside the modal notes in the Uşşak mode improvisations. The analysis concluded that in the Hüzzam mode improvisations, the starting pitch is Râst, with transitions to Müstear and Hüseynî modes in accordance with the Hüzzam mode progression, and the final pitch is Segâh. In the Uşşak mode improvisations, the starting pitch is Dügâh, with transitions to Segâh, Tâhir, Acem, and Araban modes, and the final pitches are Dügâh and Nevâ. For the Zavil mode improvisations, the starting pitch is Tiz Bûselik, with a transition to the Nikrîz mode, and the final pitch is Râst. Additionally, it was found that the modal transitions identified in Halil Karaduman's improvisations are predominantly constructed in harmony with the principles of modal progression.