Sun’îmakam taksim · fretless guitar v3.91
Sun’î improvises taksims over example makams of Turkish music. The generation is random, yet the seyir (melodic
direction) and the pull toward the güçlü (dominant) and karar (final) are fixed,
so every run is different but recognizably the same makam. Pitches come from the AEU 53-comma
system and are voiced with true microtones. Try Hicaz , then Uzzal : identical
scale, different dominant. Name a piece, Save it as a small file, and Open it later to replay
it exactly.
Green = güçlü (dominant / half-cadence pull) · Red = karar (final / tonic) ·
Blue = perde currently sounding · Amber + italic = geçki (borrowed) perde while sounding.
Comma values are shown between perdes. In the note list below the ribbon: faded names = pest/tiz register
(outside the home octave), — = a breath between sections; hover any note for its exact comma value.
Engine: arc-form cell composer. Ten melodic cells arranged over a fixed 16-slot repeat
skeleton; each cell is an arch-contour stepwise walk whose resting perdes snap to
asma karar (secondary-cadence) perdes, closing with the
yeden → durak (leading-tone → tonic) formula. Save stores the exact note sequence,
so Open + Play reproduces a piece identically. The voice is a sampled acoustic guitar, pitch-shifted
to the exact makam commas, so it plays true microtones (fretless). v3.89: the 13 basit makams of
Arel-Ezgi-Uzdilek theory (Özkan, Türk Mûsıkîsi Nazariyatı ve Usûlleri , Ötüken, 1984), with cadence weights,
geçki rules, yeden pitches, and çarpma densities verified against the SymbTr corpus (Karaosmanoğlu, ISMIR 2012).
Guitar samples: tonejs-instruments (CC-BY 3.0). v3.90: iOS background playback (screen-lock keepalive + lock-screen controls via Media Session). v3.91: lock-screen progress bar tracks each taksim arc (Media Session positionState).
Composed on the fly by Sun’î — an artificial composer (a ney that became a guitar). fî-mâ-kân, eser-i Sun’î .