TURKISH MUSIC DICTIONARY

A B C D E F G H I K L M N O P R S T U V Y Z

Abdal

The name of a people, living mostly in Central and Southern Anatolia, who work chiefly as musicians and sieve makers.

Abdal Davulcuları

The name given to the group of Abdal musicians. Although referring only to the davul, the term actually applies to the duet of davul and zurna. These groups also occasionally include bağlama, violin, darbuka and cümbüş.

Abdal Düzeni

One of the many tunings of the instruments in the bağlama family; the tuning used by musicians referred to as abdals. Strumming downwards, the tuning is GAA (la sol sol).

Âb-ı Kevser

A makam of Turkish Classical Music. We have no examples of music in this makam, which we know only from references in written sources.

Acem

1. The F(fa) of the high upper octave in Turkish Classical Music.
2. A compound makam in Turkish Classical Music, which is produced by adding the basic scale of the makam Bayâti on dügâh (A/la) to a Çargâh pentachord transposed to acemaşîran (F/fa). It displays a descending character. Its tonic is dügâh (A/la), its dominants are nevâ (D/re) and acem (F/fa). Its suspended cadences are the flavors Hicâz transposed to acem (F/fa) and Segâh (B/si koma flat), and Nikriz transposed to çargâh (C/d0).

Acem Ağzı

The style of the traditional music of Türkmen or Azerbaijanis from Iran.

Acemaşîrân

1. F(fa) in the middle octave in Turkish Classical Music.
2. A makam used in Turkish Classical Music. Some theoreticians consider it a transposed (şed) makam. It is created by transposing the scale of basic Çargâh makam to the tone acemaşîrân. It is descending in character. Its tonic is acemaşîrân (F/fa), and its dominants are acem (F/fa) and çargâh (C/do). Its suspended cadences are the flavors Çargah transposed to neva (D/re) and çargâh (C/do) and Kürdî transposed to dügâh (A/la).

Acem Aşîran Düzeni

One of the many tunings of the instruments in the bağlama family. Strumming downward it is F(fa) D(re) A(la). It is also referred to as Müstezat Düzeni. (See Müztezat Düzeni).

Acem Bâzîr-Keşîde

A makam of Turkish Classical Music, of which there are no surviving examples today.

Acem-Bûselik

In classical Turkish music, a variety of the makam Acem. It is composed of Bûselik pentachord onto the Acem makam. Its tonic is dügâh (A/la) and its dominant is nevâ (D/re).

Acem-Irâk

In Turkish Classical Music, an old form of the makam Acem. No examples have survived to the present.

Acem-Kürdî

In Turkish Classical Music, a form of the makam Acem, formed by adding a Kürdî tetrachord to the basic Acem scale. Its tonic is dügâh (A/la), and its dominants are nevâ (D/re) and çargâh (C/do). Its suspended cadences are Bûselik transposed to kürdi (B/si 5 komas flat) and nevâ (D/re), and Çargâh on çargâh (C/do) (untransposed). It also includes the suspended cadences of the makam Bayatî. (See Bayatî.)

Acem-Tarab

In Turkish Classical Music, a variety of the makam Acem. It consists of an Uşşâk tetrachord transposed to the acemaşîrân of the basic scale of the Acem makam.

Acem-Uşşâk

In Turkish classical, a variety of the makam Acem. No examples have survived to the present.

Acem-Zemzeme

In classical Turkish music, a variety of the makam Acem. It was developed by Muallim İsmail Hakkı Bey, by adding a Sabâ tetrachord to the fundamental scale of the makam Acemaşîrân.

Acem-Zîr-Keşîde

In Turkish classical, a variety of the makam Acem. No examples have survived to the present.

Acıklı

A melancholy style of singing or playing.

Açış

In Turkish folk music, a free-meter instrumental section played before a rhythmic or free-meter folk song. Whatever instrument they are played on, the açış is a vehicle for performers to express themselves more personally. They are also known as yol gösterme ("showing the way") or ayak verme ("giving the ayak") (See Ayak.)

Açkı

Key. (See Anahtar.)

Ada Düdüğü

A type of fipple flute.

Afşar (=Avşar) Ağzı

A style unique to the Avşars, a Türkmen tribe living chiefly in the central regions of Anatolia. The term applies mainly to the Avşars' free-meter songs and heroic folk songs.

Afşar Beyleri

A form of free-meter song widespread in the Teke Region. The instruments accompany the song melodic or rhythmic patterns known as dem (See dem), which give Afşar Beyleri and similar pieces a polyphonic character.

Afşar Düzeni

A bağlama tuning used in western Anatolia and the Teke Region. Strumming downward, it is G(sol) D(re) A(la).

Ağır

Literally "heavy," a term used in Turkish classical and folk music to indicate a slow tempo. The term also shows up frequently in the names of folk music pieces, such as Ağır Bar, Ağır Zeybek, etc.

Ağır Aksak

Literally "heavy," a term used in Turkish classical and folk music to indicate a slow tempo. The term also shows up frequently in the names of folk music pieces, such as Ağır Bar, Ağır Zeybek, etc.

Ağır Bar

The slowest of the Bar dance melodies, which are widespread in Eastern Anatolia.

Ağırlama

The term given to slow folk dances such as halay and bar, as well as the entrance to the semahs of the Alevi-Bektashis.

Ağır Semâî

A non-religious musical form in Turkish Classical Music, used more in vocal than instrument pieces. The meter is of Sengîn Semâî, Ağır Sengîn Semâî, Aksak Semâî or Ağır Aksak Semâî of the Beste form (See Beste). In the classical fasıl order, it is performed after the second beste.

Ağır Yallı

The term for a common dance in Kars and the surrounding region, as well as the slow tempo of the melody which accompanies it.

Ağır Zeybek

The slowest of the zeybek dances and melodies of Western Anatolia.

Ağıt

A lament; a folk poetic and musical style used in praising one who has died or departed for a variety of resons; or telling of unfortunate social events such as a natural disaster. Found in nearly every region of Turkey and sung mostly by women, ağıts are free-meter and melancholy in nature. There are also rhythmic ağıts.

Ağıtçı

The term for women who sing laments. Professional lament singers, who still exist in many parts of Anatolia, are generally women who sing laments for a deceased person for a fee.

Ağız (Ağzı)

Literally "mouth," this term is used to refer to different regional singing styles. Turkey's many different regions all exhibit different styles, which are referred to by their region or their performers; for example, Afşar ağzı, Arguvan ağzı, Âşık (minstrel) ağzı, Kadın (women's) ağzı.

Ağız Kopuzu

(Lit. "mouth kopuz") - The Jew's Harp, Jaw Harp, consisting of a metal tongue between two ends of a piece of metal in a fork shape. This instrument is common among the Turkic peoples of Central Asia.

Ağızlık (Ağızlak)

The mouthpiece of a wind instrument.

Âhengî Aralık

Harmonic interval.

Âheng-i Tarab

A compound makam of Turkish Classical Music. Developed by İbrahim Vefâ Efendi, it is based on the fundamental scale of the makam Sûzinâk, with the addition of an Uşşâk tetrachord transposed to hüseynî aşîran (E/mi). This scale is also referred to as Sûzinâk-Aşîran. Its tonic is hüseynî aşîran (E/mi).

Âhenk

1. Accord, harmony.
2. A tune or melody.
3. Entertainment with music.

Ahenk Kapağı

The soundboard of a stringed instrument, or the wooden piece in a piano on which the strings resonate. Also referred to as ahenk tahtası, göğüs, göğüs tahtası, titreşim tahtası and rezonans tahtası

Akberî

A compound makam once used in Turkish Classical Music. No examples have survived to the present.

Ak-Dügâh

A compound makam once used in Turkish Classical Music. No examples have survived to the present.

Akışta (=Hakışta)

A dance of Eastern Anatolia which is danced between women and men, as well as the piece which accompanies this dance.

Akort (=Uygu, Düzen):

A tuning of a musical instrument

Aksak

In Turkish Classical Music, a nine-beat minor usûl, composed of the joining of the usûls Sofyan and Türk Aksağı. There are variations as well, such as Ağır Aksak, Yürük Aksak and Orta Aksak.

Aksak Usûl (=Aksak Olçü)

Literally "lame" meter, the term used to refer to asymmetric meters combining groups of two and three beats. A significant portion of both the classical and folk Turkish repertoires is comprised of these types of meters.

Aksak Semâî

1. In Turkish Classical Music, a non-religious vocal musical form. Taking its name from the Ağır Semâi, which is counted in the Ağır Semâî usûl, it thus displays the same characteristics as the Ağır Semâî form (See Ağır Semâî).
2. . A ten-beat minor usûl used in Turkish Classical Music, composed of two joined Türk Aksağı meters. It also has variations such as "Curcuna" and "Ağır Aksak Semâî."

Aksak Semâî Evferi

A ten-beat minor usûl used in Turkish Classical Music, composed of two joined Türk Aksağı meters.

Alaturka

Turkish style; a term used during the past century to define Turkish Classical Music. The term was also used by some to describe the Turkish lifestyle.

Alay

See Halay

Amel

A vocal form once used in Turkish music. No examples have survived to the present. According to some musicologists, the words of such pieces were written in Persian.

Amel-i Usûl

A major usûl of Turkish Classical Music. No examples have survived to the present.

Ana Dizi

1. In Turkish Classical Music, the scale from which all scales are assumed to have developed.
2. One of the systematic theories put forth by Turkish folk music scholars, according to which the most commonly encountered scale in Turkish folk music is a variant on the scale of the makam Hüseynî.

Anahtar (=Açkı)

Cleff.

Ana ölçü "Main meters.

The two- and three-beat fundamental meters.

Ana Perde "Main Tone"

the term commonly used among folk musicians for the tonic.

Anarmoni

Dissonance

Anarmonik (=Sesdeş) notes

Two notes with the same value but different names, such as C# and Eb, etc.

Ana Usûl (Main Usûl)

One of three different metric structures used in Turkish folk music: two-, three- and four-beat meters.

Anber-Efşân

A compound makam used in Turkish Classical Music. Developed by Sheikh Abdürrahhim Künhî Dede, it is composed of the basic scale of the makam Nihâvend with the addition of the basic scale of the makam Sultânî Yegâh. It is of a descending-ascending character. Its tonic is yegâh (D/re), and its dominants are nevâ (D/re), dügâh (A/la) and rast (G/sol). Its suspended cadences are the flavors Bûselik from çargâh (C/do), Çargâh from kürdî (B/si five komas flat), Kürdî and Hicâz from dügâh (F/fa), Bûselik and Nikrîz from rast (G/sol), Çargâh from acemaşîrân (F/fa) and Kürdî from hüseynî aşîrân (E/mi). Hicâz on nevâ (D/re) and Nikrîz on çargâh (C/do) may sometimes, though rarely, also be suspended cadences.

Araban (=Arabân)

1. A makam used in Turkish Classical Music. Some theoreticians define it as a transposed (şed) makam. It is a variant of Şedd-i Araban which resolves on nevâ (D/re) instead of yegâh (D/re). It is of a descending character. Its tonic is nevâ, and its dominant is dügâh (D/re). Its suspended cadences are the flavors Bûselik and Hicâz from gerdâniye (G/sol) and Nikriz, Bûselik and Rast from rast (G/sol).
2. A type of free meter song of Southeast Anatolia, as well as the makam in which these songs are sung.

Arabân-Bûselik

A variant of the makam Araban. It is formed by the addition of a Bûselik pentachord from rast (G/sol) to a Hicaz tetrachord from yegâh (Re/D).

Arabân-ı Cedid

A variant of the makam Araban.

Arabân-Kürdî

A variety of the makam Araban believed to have been developed by İsmail Dede Efendi, it is also referred to as Şevk-i Cedîd and Zevk-u Tarab. It resolves with the Kürdî tetrachord of the basic scale of the makam Bayatî Arabân. The tonic of this makam is dügâh (A/la) and its dominant is nevâ (D/re).

Arabân-Nigâr

A compound makam of Turkish Classical Music. No examples have survived to the present.

Arabesk

1. A concept of "Arab Style," which came to Europe via Anadalusia, appearing first in architecture and later in music and the performing arts.
2. A Turkish genre of music, based on the structure of Turkish folk music with the addition of elements from other musical cultures, which appeared as a reflection of societal change brought by Turkey's modernization process between 1930 and 1950, and the new attitudes which came with it. The economic upheavals between 1950 and 1980, societal identity conflicts, political events, the split between village and urban culture and the isolation brought by class difference prepared the commercial ground for the development of this genre.

Ara deyi

Interlude.

Aralık

Interval.

Ârâm-ı Cân

A makam used by Turkish Classical Music composers of the Selim III school.

Ârâm-ı Dil

Aranağme

Chorus, refrain. The term is used mainly by urban musicians.

Arap

The name for percussion instruments such as zilli maşa (cymbal tongs) and tef (tambourine) in Central Anatolian provinces such as Tokat, Çankırı and Konya.

Arazbâr

A compound makam of Turkish Classical Music, formed by adding a Rast pentachord from çargâh (C/do) and a Beyatî scale from dügâh (A/la) to the Beyâtî scale from Nevâ (D/re). It is descending in character. Its tonic is dügâh (A/la), and its dominants are gerdâniye (G/sol) and nevâ (D/re). Its hanging motifs are the flavors Bûselik and Hicâz on gerdâniye (G/sol), Nikrîz on acem (F/fa), Uşşâk and Hicâz on nevâ (D/re), Nikrîz and Rast on çargâh (C/do) and Segâh and Eksik Ferahnâk on segâh (B/si one koma flat).

Arazbâr-Bûselik

A variation on the makam Arazbâr used in Turkish Classical Music. It was devised by Sultan Selim III, by adding a Bûselik pentachord or tetrachord over (in place of) the dügâh (A/la) at the end of the basic scale of Arazbâr.

Arazbârek

A variant of the makam Arazbâr used in Turkish Classical Music.

Arazbâr-Zemzeme

A variant of the makam Arazbâr used in Turkish Classical Music, made by adding a Kürdî tetrachord to the basic Arazbâr scale.

Arfana

A musical gathering or festivities held in many parts of Anatolia. The word is believed to originate from the joining of two Arabic and Persian words; it also appears in other forms such as ; Arfene, Erfâne, Erfene, Afrana, Elfana and Ferfene.

Argun (=Argul)

A folk wind instrument constructed by joining two pieces of thin cane and attaching a mouthpiece to the upper end. The word is common in the Hatay region. There are similar instruments in various parts of Anatolia known by different names.

Arguvan Ağzı

The musical performance style of Malatya's Arguvan region.

Arıza (=Değişim)

The collective terms for sharp, flat and natural symbols used as accidentals or within the key signature.

Armonika

A folk instrument with bellows, available in many styles, mostly played by immigrants from the Caucasus region. Not the same as the harmonica, it is a type of accordion.

Asma durgu (Asma karar)

A suspended cadence; a note giving the impression of a temporary resolution. (See: Durgu/Karar)

Âşık

A folk minstrel; the general name given to folk musicians who perform their own or others' poetry, sometimes only as poetry but usually setting it to music and with instrumental accompaniment. Found not only in Anatolia but in many places throughout the Turkic world, they are known by different names but fulfill the same function.

Âşık ağzı

The singing style of the âşıks, and the whole of pieces based on this style..

Aşîran

In Turkish Classical Music, the abbreviated name for both the note hüseynî-aşîran (E/mi) and the makam Hüseynî-Aşîran.

Aşîran-Bûselik

See Bûselik-Aşîran.

Aşîran-Mâye

A variation of the makam Aşîran used in Turkish Classical Music, formed by adding an Uşşâk tetrachord transposed to hüstynî-aşîran (E/mi) to the scale of the Bûselik-Aşîran scale. It is descending in character. Its tonic is hüseynî-aşîrân (E/mi) and its dominants are hüseynî (E/mi) and dügâh (A/la).

Aşk-Efzâ

A makam used in Turkish Classical Music defined by some theoreticians as a transposed (şed) makam. It was devised by Suphi Ezgi, by transposing the makam Kurdî to hüseynî aşîrân (E/mi). Using no sharps or flats, it is descending-ascending in character. Its tonic is hüseynî-aşîrân, and its dominant is dügâh (A/la).

Aşula

A folk song, melody, tune. The term is commonly used in the region stretching from Tokat sough to Mersin and Adana; variants are Aşule and Asula.

Atışma

Literally a "throwing back and forth," this term refers to spars between âşıks, held within strict rules. Most atışmas are with instrumental accompaniment and within a particular melodic framework. Although they are known from many areas, they are especially popular among the âşıks of Northeastern Anatolia.

Atma Türkü

A type of antiphonal folk song, sung in quatrains, common in and around the city of Trabzon on the Black Sea.

At Üstü

Lit. "on horseback," a type of melody sung by aşıks of Northeast Anatolia. They are mostly sung in a high range, and the poetry is usually in an 11-syllable meter, sometimes with an added syllable.

Avaz

Voice, melody, makam.

Âvâz (Âvâze)

A term used to classify makams in Turkish Classical Music.

Avaz etme

To play/sing a piece, to perform.

Âvâz-ı Zenbûr

A compound makam of Turkish Classical Music. No examples have survived to the present.

Avurtlak (=Avurtluk)

Around piece attached to the mouthpiece of a zurna, on which the mouth rests.

Ayak

1. In folk poetry, the term for rhyme; also called uyak.
2. In folk music, a melodic pattern.
3. In âşık literature and music, a theme or subject.
4. A scale.
5. In some forms, a term used to fine different groups of melodies.

Ayak açma

Lit. "Opening the ayak;" the subject of an atışma between aşıks, and the opening of the atışma with some words about the subject.

Ayaklı mani

A word-play based quatrain with a missing first line. This term is most common in Istanbul and its surroundings. Though "mani" is defined as a "quatrain," and must have at least four lines, the number of lines may be as high as ten. They are written on a wide variety of subjects.

Ayak tutmak

Lit. "to hold the ayak;" to provide an instrumental opening or accompaniment to a sung melody.

Ayak vermek

Lit. "to give the ayak." The setting by one aşık of the particular tune to be used an atışma by the rest of the pacticipating âşıks.

Aydın

A nine-beat usûl used in Turkish music. See Aksak.

Aydos(t)

A common type of bozlak used in Central Anatolia, common among the professional musicians in the Abdal tribe. The lyrics begin with the exclamation, "Aydost," a shortening of the words "Ayıt dost," meaning "say/sing, friend."

Ayırtı

The collective Turkish term for all the nuance symbols in written music.

Âyîn

A religious genre of music influenced by Turkish classical and Islamic music. In Turkish and Arabic, the term also is used for worship ceremonies or religious services of faiths other than Islam, such as a Christian church service.

Âyîn-han

In Turkish Classical Music, a person who sings an âyin.

Âyîn-i cem (=Cem, Cem Ayini)

The worship ceremonies of Alevi-Bektashi communities, of various types and lengths, which include music, dance, and the distribution of lokma (food). The âyîn-i cem may contain differing genres of music and literature according to its purpose ranging from the nevruziyye held for Nevruz, the spring solstice festival, to the mersiye, played in cems commemorating the Kerbela massacre.

Âyîn-i Şerîf

The highest religious form of Turkish Classical Music; the musical work performed in the Mevlevî order for their semâ ceremonies, known as mukaabele

Azerî ağzı

The term for the musical style typical of Azerbaijan.

Azrâ

A compound makam of Turkish Classical Music. No examples have survived to the present.