Makam Ferahfezâ
Ferahfezâ is a compound makam whose name — meaning "joy-increasing" — describes the expansive, uplifting character that distinguishes it within the Ottoman repertoire. It combines elements of Buselik and Hicaz with an inici-çıkıcı (descending-ascending) seyir that begins in the upper register and opens out.
Structure
Attested Ferahfezâ is built on a Rast karar with a complex çeşni combination:
- Lower region: Buselik pentachord on Rast
- Upper region: Hicaz tetrachord providing the characteristic augmented second
- Karar: Rast
- Güçlü: Neva
- Seyir: İnici-çıkıcı — descending from the upper register before opening into ascending phrases
Attested The combination of Buselik's minor-inflected quality with Hicaz's dramatic augmented second creates the emotional contrast that gives Ferahfezâ its distinctive character — a movement between tenderness and brightness that the name "joy-increasing" captures.
Seyir character
Practice Ferahfezâ performances typically:
- Begin around Muhayyer or Tiz Segâh (upper register)
- Introduce the Hicaz augmented second early
- Descend through the middle register, emphasizing Neva as güçlü
- Explore the Buselik character of the lower region
- Return through ascending phrases to conclude at karar
Attested The makam's inici-çıkıcı seyir means it begins with drama (the descending approach from above) and resolves into warmth (the ascending conclusion). This emotional arc made it a favored choice for composers seeking expressive range within a single piece.
Repertoire
Attested Ferahfezâ is well represented in the late Ottoman and early Republican repertoire. Its combination of emotional complexity and structural clarity attracted composers working in both instrumental and vocal forms.
Practice For students, Ferahfezâ is an advanced study because it requires fluent command of both Buselik and Hicaz elements, plus the ability to manage a complex seyir that moves through multiple registers.
Where to go from here
A component makam: Hicaz. Another compound makam: Nihavend. The classification system: Simple, Transposed, and Compound Makams. Melodic path: Seyir.
Sources
- Karl Signell, Makam: Modal Practice in Turkish Art Music (Asian Music Publications, 1977)Textbook / peer-reviewed
- İsmail Hakkı Özkan, Türk Musikisi Nazariyatı ve Usulleri (Ötüken, 2006)Textbook / peer-reviewed
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