Shoud we, to this day from Abdulkadir – the famous composer-music theorist born in the city of Maraga within the boundaries of Azerbaijcan more than six centuries ago and styled Hadje (Teacher) ibn el-Gaybi – embark on a surreal journey toward the Ottoman capital of Istanbul following the trail of a crescent, so too would we occasion our ears with the profuse maqam savours belonging to the Turkic sphere of culture and art. Such maqams/mugams as Rast, Hüseyni, Segah, Us¸s¸ak, Hicazkar, Saba – which were during this period shaped in the hands of the Turk to acquire their remarkable quotidian structures – have been and continue to be the subject of both native and foreign investigations & studies of countless numbers. The maqam phenomenon which has imprinted its seal on almost every route across the lands of Middle East and which has left its profound mark in the hearts of myriad nations, is practically an inexhaustible musical treasure trove with its singularly distinguished microtonal soundscape. Be that as it may, serious problems have arisen in the expression of maqams through staff notation – and through the established theories based upon it – which has been adapted since the past two centuries under the influence of Western music. Under the blight of native Westernist music trends, it can be observed that in many countries, foremost of all Turkiye, we fall short of conserving and advancing the makam/mugam heritage in its genuine pristine form. As such, during these recent times where terminological disarray and executional inadequacy, or even decline, is much felt, an increase in various theoretical pursuits and efforts is witnessed. Herein, the prime concern surfaces in the form of redefining maqam pitches & intervals, re-specifying the scales, and establishing the particulars of melodic procedure via heeding practice – with music education serving as an underpinning. However, instances of discovering the reasons for stagnancy are rarely chanced upon. Circumstances naturally warrant questioning howcome the established theoretical model is so badly at odds with practice. The author of this paper has sought a foremost scholarly answer to this question in his Doctorate dissertation and has therein presented a 79-tone theoretical trial as a solution to the aforesaid bottlenecks. He has furthermore introduced, in several of his writings and a new book, low-resolution to voluminous tunings based on diverse mathematical constructs and optimizations that may assist in the expression of maqams as well as pave the way for contemporary microtonal polyphony endeavours. The author, who has applied his theoretical studies to a qanun, to various compositions and to sample playbacks, wishes now to place a contribution – by demonstrating novel pursuits and tools that can serve to express our maqams – that he hopes will leave their mark for centuries to come from the Bosphorus to the realm of Maraga.