Turkish Makam in Microtonal MIDI Tuning Setups

The Turkish Makam system plays a transformative role in custom microtonal MIDI tuning setups by providing a sophisticated, mathematically rich framework that challenges the limitations of standard 12-tone equal temperament (12-TET). By integrating historical comma-based intervals into digital audio workstations (DAWs) and hardware synthesizers, the Makam system enables musicians to produce authentic Middle Eastern micro-intervals and explore non-standard harmonic relationships. This article explores how Makam intervals are structured, how modern MIDI standards accommodate them, and the technical mechanisms used to deploy them in microtonal music production.

The Micro-Interval Foundation of Turkish Makam

Traditional Western music divides the octave into twelve logarithmically equal semitones. In contrast, Turkish classical music traditionally divides the whole tone into nine smaller units known as commas (koma), commonly formalized in the Arel-Ezgi-Uzdilek (AEU) system using a 53-tone equal temperament (53-EDO) approximation.

In this system:

• A whole step is divided into 9 commas.
• Standard intervals include the bakiye (4 commas), mücenneb-i sağir (5 commas), mücenneb-i kebir (8 commas), and tanini (9 commas).
• Key notes, such as the neutral second found in makams like Rast or Uşşak (often labeled Segâh), fall directly between Western major and minor intervals.

Because these notes do not align with Western semitones, they serve as a primary benchmark for testing and utilizing custom microtonal scales in digital instruments.

Technical Implementation via MIDI Standards

To use Makam tuning in a digital environment, producers rely on specific protocols that override default 12-TET pitch tables:

1. Scala Files (.scl and .kbm): Scala is the standard file format for microtonal definitions. A Makam scale is defined in an .scl file using exact cents or mathematical ratios representing commas. An accompanying .kbm file maps these specific pitches to physical MIDI keyboard keys, reallocating standard black-and-white keys to comma-adjusted degrees.
2. MIDI Tuning Standard (MTS): MTS allows real-time sys-ex (system exclusive) messages to re-tune individual MIDI note numbers to fractional-cent precision. Systems like MTS-ESP by ODDSound allow central control over an entire DAW, forcing all compatible plugins to adhere to Makam intervals simultaneously.
3. MIDI Polyphonic Expression (MPE): Modern synthesizers without native microtuning support often use MPE to achieve Makam tunings. By assigning micro-pitch offsets to individual voices via polyphonic pitch bend, MPE enables polyphonic playing within a Makam scale without pitch conflicts.

The Challenge of Context-Dependent Tuning (Seyir)

In live performance, Makam music is melodic rather than harmonic and relies on a melodic progression known as seyir. In authentic performance, pitch is dynamic: an artist may sharpen or flatten a note slightly depending on whether the phrase is ascending or descending, or to evoke a specific emotional tension.

In custom MIDI setups, Turkish Makam pushes digital music beyond static microtonal scale mappings. Advanced MIDI implementations achieve dynamic Makam expression by:

• Mapping pitch bends to foot pedals or mod wheels for real-time inflection.
• Using programmatic MIDI scripts (such as Max for Live or Kontakt scripts) that adjust note frequencies automatically depending on the previous note played.
• Switching tuning tables on the fly using MIDI program change messages to accommodate modulations between different makams.

Artistic Significance in Modern Production

Beyond cultural authenticity, the Turkish Makam provides contemporary electronic and avant-garde producers with an established alternative to standard Western scales. It offers a structured approach to microtonality with centuries of developed theoretical practice, sparing producers the need to construct microtonal systems from scratch. By integrating Makam tunings into custom MIDI environments, digital musicians expand their palette with microtonal tension, unique melodic paths, and psychoacoustic resonance that 12-TET cannot replicate.