Today or the following days you might listen to Dede Efendi's ayin in makam sabâ, which is usually performed with a peşrev by the Tambur player Osman Bey, a descendant of the Ağa dynasty of musicians, which composed an earlier version of Sabâ ayin-ı şerif:
https://www.concertzender.nl/programma/bonum-est-613/
For everybody, interested in the tradition Mevlevi, I recommend the site "semazen.net" which has plenty of precious material:
The poetry performed during the sema and their Persian prototype can be studied here:
http://www.dar-al-masnavi.org/saba.html
The compositions in makam sabâ had also a strong impact on Gregorios the Protopsaltes' compositions in echos varys. In his late years, he became a student of Dede Efendi:
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Great. Thanks
By the way, would you be able to specify the structure of the main modes they use, please?
If you follow the last link to my essay for the International Council of Traditional Music, you have three seyirler by Turkish musicians. These are small melodic models which are used to memorize the basic structure of a certain makam - in this case makam sabâ.
Rauf Yekta Bey was not only a traditional dervish composer, but also the founder of the first conservatory for music at Istanbul. He was responsible for the transcription of most ayinler of the Mevlevi tradition into staff notation, and his seyirler in this odd valse rhythm were all published in his article "Turquie" of the "Dictionnaire du Conservatoire de Paris" (published during the 1920s). The 3 examples here are taken from Karl Signell's book, and you have another version published by Keltzanides in his "Didactic Method for Makamlar" (called "for Arabo-Persian external music").
Dede Efendi's composition does not leave this makam, but he used, like in the peşrev by Osman Bey, a second basis note on fret arak (SI), while the traditional seyir of the makam is based on fret dügah (RE). It does not matter that makam singers are used to sing without ison, it rather proves that they know it so well that they can do without.
According to Panayotes Keltzanides you could characterize the makam as a kind of Dorian (echos protos) or better mesos protos on FA, which has sometimes a soft chromatic tetrachord on F as well as on c one fifth higher. But the makam theorists do not define these tetrachords, but rather the sequence of two minor tones between D, E, F, and G flat (re, mi, fa, sol minore). The ethos of this makam is that it can express very deeply earthly sorrows. Traditional musicians are a little bit scared, and attracted as well, by this makam.
It is now an alternative interpretation based on Dede Efendi, that Gregorios the Protopsaltes integrates the melos of makam sabâ not as echos protos, as Keltzanides suggested it, but as diatonic echos varys with temporary changes to the chromatic genos (μεταβολὴ κατὰ γένον).
I hope that I managed to answer your question.