TURKISH MUSIC DICTIONARY
Gakgili (=Gakgirli)
The name for a lively zeybek tune danced in the Isparta region. Containing all the unique melodic and dance characteristics of the Teke region, these tunes are mostly played and sung at women's celebrations, who use pots, baking pans, basins and other such kitchen implements to keep rhythm. Gakgili tunes are in a 2+3+2+2 rhythm.
Galata
The name for hoyrat-style uzun havas sung in the Gaziantep and Şanlıurfa regions.
Gamz-edâ
A compound makam once used in Turkish Classical Music. No examples have survived to the present.
Garb Müziği
Western music. Though it is a European-centered music, the term applies to American musi as well.
Garîb Hicâz (Hicâz-ı Garîb)
In Turkish Classical Music, the name given by certain 20th-century composers to the makam Hümayun, due to the emphasis on the note Si/B.
Garip
A folk music makam taking its name from Âşık Garip. Usually sung in the uzun hava style, these tunes appear in differing styles from region to region. Rarely, they may also be sung as rhythmic pieces. They may also have differing names according to region and the subject of their lyrics; for example, Kesik Garip, Ova Garibi, Engin Garip, Ağır Garip, Garibin Urum'a Gidişi, etc.
Garip Havası
The name for uzun havas of the Teke region, in the area around Muğla/Milas. Also known as Gurbet Havası (songs of exile)
Gayda
1. Colloquially, a term meaning tune, melody or makam. In addition to terms like hafif gayda (light gayda), or ağır gayda (heavy gayda), they may also bear personal names like Emine'nin gaydası (Emine's gayda). They all refer to a melodic pattern. See. Kaide
2. A bagpipe played in Thrace and surrounding regions.
Gaval
The term for the tef (tambourine) in Azerbaijan and the Kars region of Turkey. There are two types, with and without cymbals.
Gazâl
A compound makam of Turkish Classical Music. No examples have survived to the present.
Gazel
In Turkish Classical Music, a secular vocal form. Either a few lines or an entire literary poem written in the gazel form (or sometimes other forms as well) is sung extemporaneously within a certain makam but in free meter. In other words, it can be considered a type of taksim (See Taksim) sung with lyrics. Just as gazels may be performed as a form in and of themselves, they also be sung after or within the meyân (See Miyan) section.They are also frequently punctuated with exclamantions such "Of," "Aman," "Medet," "Ey," etc.
Gazel-Hân
A performer of gazels.
Geçici Geçki
See Süreksiz Geçki.
Geçici Karar
See Asma Karar.
Geçki
1. Modulation; a change of mode.
2. In Turkish Classical Music, a switch to a different makam during the progression of the makam. During the geçki, if the performer remains in the new makam for a short time only, then returns to the original and true makam, then it is known as a süreksiz geçki (temporary geçki); if the performer does not return to the original makam but stays on the new makam, it is called a sürekli geçki (permanent/lasting geçki). Geçki may be made between both similar makams and widely differing makams.
Gelin Ağlatma Havası
Lit. "Tune for making the bride cry." Sad songs sung at weddings and especially on the henna night, about the bride leaving her home.
Gelin Götürme Havası
Lit. "Bride-taking song" - A bridal march, a melody played on davul and zurna while the bride is being taken on horseback or on a cart from her family's home to that of her new husband. With differing melodies/patterns according to region, these tunes are known by different names referring to putting the bride on the horse or specifically to bringing her out of her family home. In addition, certain tunes such as Cezayir, Sivastopol and Ey Gaziler are generally played as bridal marches.
Gelin Okşaması
Lit. "Bride stroking," these are folk songs in praise of the bride's fine qualities, sung when her hands and feet are being washed and the henna applied.
Gerdâniye
1. In Turkish Classical Music, Sol/G in the high octave.
2. A compound makam used in Turkish Classical Music, created by adding the scale of the makam Hüseynî on dügâh (La/A - in its place) to the scale of the makam Rast on rast (Sol/G - in its place). It is descending in character. Its tonic is La/A, and its dominants are gerdâniye (Sol/G) and nevâ (Re/D). Its suspended cadences are the flavors Bûselik transposed to gerdâniye (Sol/G), Uşşâk transposed to muhayyer (La/A), Râst and Bûselik transposed to nevâ (Re/D), Çargâh and Pençgâh transposed to çargâh (Do/C), and Râst on râst (Sol/G), and the diminished or full Ferahnâk pentachord on segâh (Si/B one koma flat), the Segâh trichord and the notes hüseynî (Mi/E) segâh and râst.
Gerdâniye-Aşîrân
A variant of the makam Gerdâniye in Turkish Classical Music. It is created by adding the Hüseynî fourth to the scale of the makam Gerdâniye.
Gerdâniye-Bûselik
A variant of the makam Gerdâniye in Turkish Classical Music. It is created by adding the Bûselik pentachord to the scale of the makam Gerdâniye. Its tonic is dügâh (La/A).
Gerdâniye-Büzürk
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Hicâz
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Hüseynî
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Irâk
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Isfahân
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Küçek
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Kürdî
A variant of the makam Gerdâniye in Turkish Classical Music. It was created in 1780 by Sultan Selim II, by the addition of the Kürdî tetrachord to the Gerdâniye scale. Its tonic is dügâh (La/A).
Gerdâniye-Nevâ
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Nigâr
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Nikriz
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Rast
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Rehâvî
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Uşşâk
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Gerdâniye-Zengûle
A variant of the makam Gerdâniye in Turkish Classical Music. No examples have survived to the present.
Geşt-ü Güzâr-ı Bahâr
A compound makam of Turkish Classical Music. No examples have survived to the present.
Gevende (=Gevande/Gevender)
The local term for musicians who play davul-zurna or other instruments in the regions of Adıyaman, Şanlıurfa and Mardin.
Geveşt (Gevâşt)
1. The tone Fa/F five komas sharp or Si/B four komas flat.
2. A compound makam of Turkish Classical Music. It's tonic is segâh (Si/B one koma flat) and its dominant is mahûr (Sol/G four komas flat).
Geveşt-Bûselik
A variant of the makam Geveşt once used in Turkish Classical Music. No examples have survived to the present.
Geveşt-Büzürk
A variant of the makam Geveşt once used in Turkish Classical Music. No examples have survived to the present.
Geveşt-Gerdâniye
A variant of the makam Geveşt once used in Turkish Classical Music. No examples have survived to the present.
Geveşt-Hicâz
A variant of the makam Geveşt once used in Turkish Classical Music. No examples have survived to the present.
Geveşt-Hüseynî
A variant of the makam Geveşt once used in Turkish Classical Music. No examples have survived to the present.
Geveşt-Isfahân
A variant of the makam Geveşt once used in Turkish Classical Music. No examples have survived to the present.
Geveşt-Küçek
A variant of the makam Geveşt once used in Turkish Classical Music. No examples have survived to the present.
Geveşt-Nevâ
A variant of the makam Geveşt once used in Turkish Classical Music. No examples have survived to the present.
Geveşt-Rehâvî
A variant of the makam Geveşt once used in Turkish Classical Music. No examples have survived to the present.
Geveşt-Uşşâk
A variant of the makam Geveşt once used in Turkish Classical Music. No examples have survived to the present.
Gevherî
1. A special name used in the Ankara region for the Central Anatolian tune "Çiçekdağı."
2. An âşık makam in common use in Eastern and Northeastern Anatolia.
3. A folk makam in which Âşık Gevheri sang his deyiş. Also known as Gevheri Makamı or Gevheri Ayağı.
Gezek
A type of folk celebration with music and dance held in around Bursa, Uşak, Afyon and Isparta.
Gezinme (=Gezinti)
The general term for an improvised instrumental passage among the main notes of a tune. Although such passages are usually free-meter, rhythmic examples can also be encountered.
Gezinti
A type of taksim. See Taksim.
Gıcek (=Gicek, Gijek, Gıycak
The general name for upright spike fiddles of different sizes and constructions played in many regions throughout the Turkic world. Definitely Central Asian in origin, this instrument resembles the kabak kemane, with two strings stretched over a carved wooden body.
Gıdâ-yı Rûh
Lit. "Food of the soul," an instrument used in Turkish Classical Music invented by Prince Korkut in the 16th century. We have no information about the technical specifications of the instrument.
Gırnata
A folk/colloquial word for the clarinet.
Girift
A Turkish wind instrument which resembles the ney, made of reed, with four to six joints and a range of one and a half octaves. The only known virtuoso on this instrument was Giriftzen Âsım Bey.
Gonca-i Râ'nâ
A makam used in Turkish Classical Music, created by adding a Hüseynî pentachord transposed to yegâh (Re/D) to the makam Heftgâh on segâh (in its place). Its tonic is yegâh (Re/D).
Govend
The general name for slow tempo dance tunes played in the Eastern and Southestern Anatolian regions.
Göçürme (=Göçürüm/Göçerim)
1. To arrange a piece written for any instrument or voice for performance by another instrument or ensemble.
2. Another name for the şed (transposition) in Turkish Classical Music, achieved by transposing all of the "flavors" or scales of a simple or compound makam to another note.
Göğüs
Lit. "breast," the soundboard of stringed instruments, and the frame/hoop of percussion instruments.
Göğüs Deliği (=Gülgün)
Lit. "Breast hole," the sound hole in the soundboard of a stringed instrument.
Gön
The skin of percussion instruments.
Guba Kerem
One of the âşık makams of Eastern Anatolia. In addition to being the most common of the kerem havası, its other important characteristic is that it is sung in the yedekli koşma meter
Gumuz
A local colloquial form of the word kopuz. See Kopuz.
Gurbet Havası
Lit. "Song of exile." A type and style of uzun hava sung in the Teke region. There are different styles of these free-meter songs according to their instrumental accompaniment. The accompanying instrument (bağlama, kaval or kabak kemane) may begin with a free-rhythm introduction, or it may play a rhythmic melody, then hold a drone as the uzun hava is being sung. This type of uzun hava is sung mostly by men, on subjects such as exile, separation and death.
Gurûrî
A compound makam once used in Turkish Classical Music. No examples have survived to the present.
Güçlü
Lit. "Strong." In Turkish Classical Music, name given to the tone where the flavors of the trichords, tetrachords and pentachords overlap. These tones at the overlap point reinforce the feeling of remaining in the makam during performance. Although it is similar to the dominant in western music, its function is not entirely the same.
Güfte
Lyrics.
Gülbânk
1. A religious form of Turkish Classical Music.
2. Among the Bektashis, a prayer sung with a melody.
Gül-Bûse
A compound makam of, created by Cinuçen Tanrıkorur.
Güldeste
A compound makam used in Turkish Classical Music, created by adding the basic scales of Rûhnüvâz and Mahûr to the Zîrgûle'li Hicâz transposed to Bûselik (Si/B). It is descending in character. Its tonic is râst (Sol/G), and its dominant is hüseynî (Mi/E).
Gülistân
A compound makam once used in. No examples have survived to the present.
Gülizâr
A compound makam once used in Turkish Classical Music.
Gülnârî
A compound makam once used in Turkish Classical Music.
Gül-Rûh
A compound makam used in Turkish Classical Music, created by Abdülbâki Nâsır Dede by adding the basic scale of the makam Râst to the scale of the makam Isfahân.
Gülşen-i Vefâ
A compounded makam used in Turkish Classical Music, created by Vefa Efendi by adding the scale of the makam Yegâh to the basic scale of the makam Hicâz. Its tonic is yegâh (Re/D).
Gülzâr
A compound makam used in Turkish Classical Music, created by adding an Uşşâk tetrachord transposed to hüseynî aşîrân (Mi/E) to the basic scale of the makam Râst. Its tonic is hüseynî aşîrân (Mi/E).
Güreş Havası
Lit. "Wrestling tune." The name for the whole repertoire of tunes played in order to enliven and encourage wrestlers at sporting events in Anatolia and Thrace.
Güvende
1. Folk songs that accompany dances in the Bursa region.
2. The name given in some Alevi-Bektashi communities to those who play saz and sing deyiş. Alson called zakir.
Güzelleme
A musical and literary term for poems read to praise any person, animal or natural object, and the melodies that accompany them. A güzelleme may be sung for a sweetheart, but güzellemes have also been written for horses, birds, mountains, meadows and rivers.