TURKISH MUSIC DICTIONARY

A term used for various sections of the kasîde form in Turkish Classical Music. There are also kasîdes that are independent of the kâside form and sung in a manner close to that of gazels. See. Gazel.

A 20-beat major usûl used in Turkish Classical Music, compsed of one meter of Sofyân, two of Yürük Semâî and one more Sofyân. It is used in forms such as peşrev, ilâhî and beste.

In the context of Turkish music, a term for a popular musical style which appeared in the 1900s, free of the rules of classical song forms and composed with lyrics and simple, easy-to-remember melodies.

In a quick, lively, frenetic manner. A term for excited or frenetic playing in dance tunes.

See Tekerleme.

The name for a type of uzun hava sung by the Farsak (Varsak) trıbe of Southern Anatolia. They are mostly in eight-syllable hece form, but there are Farsaks set to other rhythmic patterns as well. See Varağı.

A type of Turkish Classical Music performance in which pieces in a variety of forms are played in increasingly rapid tempos. The classıcal order of forms in a fasıl concert is taksim, peşrev, kâr, birinci best, ağır semâî, yürük semâî and saz semâîs. Today however, the order is kâr, beste, ağır semâî and yürük semâî. Sometimes however a köçekçe is played instead of the saz semâîsi, and forms such oyun havası, longa and sirto forms are sometimes added at the end.

See Aralık.

A fasıl ensemble. See Fasıl.

See Koma.

A 16-beat major usûl used in Turkish Classical Music, composed of four measures of Sofyân in a row, and used in forms such as peşrev, kâr and beste. It is alled "Fer'i Muhammes" because it derives from the usûl Muhames.

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

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

A compound makam used in Turkish Classical Music. It is created by adding the basic scale of the makam Acemaşîrân and a Bûselik scale transposed to yegâh (Re/D) to the scale of the makam Acem. It is descending in character. Its tonic is yegâh (Re/D), and its dominant is acem (Fa/F). Its suspended cadences are the flavors Çargâh on çargâh (Do/C - in its place), Kürdî transposed to dügâh (La/A), Uşşâk and Hicâz; Bûselik and Hicâz transposed to nevâ, which are also suspended cadences of the makam Bayâtî; Nikrîz transposed to çargâh, the Segâh trichord on segâh (Si/B one koma flat) and the Ferahnâk pentachord.

The term used in the Uşak region for the Bozuk/Kara Düzen saz tuning.

A compound makam of Turkish Classical Music, created by adding a Hicaz tetrachord transposed to nîm Hicâz (Do/C four komas sharp), a Ferahnâk pentachord transposed to segâh (Si/B one koma flat), a Rast pentachord transposed to dügâh (La/A) and a Ferahnâk fifth on ırak (Fa/F four komas sharp - in its place), to a Rast pentachord transposed to nevâ (Re/D). In the progression of the makam, the Ferahnâk pentachord is also used as Eksik Ferahnâk. The makam has a descending character. Its tonic is ırak (Fa/F four komas sharp), and its dominants are nevâ (Re/D) and Evc (Fa/F four komas sharp). Its hanging cadencs are Kürdi, Uşşâk and Hicâz transposed to dügâh (La/A), the flavors Çargâh transposed to acemaşîrân (Fa/F), Bûselik and Hicâz transposed to nevâ (Re/D), which are also the suspended cadences of the makam Bayâtî, Nikrîz transposed to çargâh, the Segâh trichord on segâh (Si/B one koma flat) and the Ferahnâk pentachord.

A variant of the makam Ferahnâk used in Turkish Classical Music, created by Neyzen Doğan Ergin. It is created by adding an Uşşâk tetrachord transposed to hüseynî aşîrân (Mi/E) to the Ferahnâk scale.

In Turkish Classical Music, a five-note scale pattern formed so as to creat a perfect fifth, from the note ırak.

A makam used in Turkish Classical Music, considered by some theoreticians to be a transposed (şed) makam. It was created by Hüseyin Saadettin Arel by transposing the basic scale of the makam Kürdîto yegâh (Re/D). Its tonic is yegâh (Re/D), and its dominant is Sol/G.

A compound makam used in Turkish Classical Music.

A compound makam used in Turkish Classical Music. Some theoreticians consider the scale of this makam to be identical to those of Ferahnümâ (See Ferahnümâ) and Ferahzâr (See Ferahzâr).

See Fer'.

A compound makam used in Turkish Classical Music. According to some theoreticians, this name was given to the makam in honor of Sultan Murat IV's second conquest of Baghdad in 1639.

A compound makam used in Turkish Classical Music. According to some theoreticians, this name was given to themakam in memory of the 1521 conquest of Belgrade.

A compound makam used in Turkish Classical Music.

A compound makam used in Turkish Classical Music.

See Durak Üstü.

The name for a genre of dance tunes (oyun havası) performed in dancing and drinking parties in Çankırı and the surrounding region.

The name of a famous dance tune of the Ankara region. Its real name is Hüdayda; however, it is known by this name as well.

A saz tuning used in the Ankara region. The lowest string is La/A, the middle string is Re/D and the upper string is Fa/F sharp.

A fife.

The name for a special type within the instrumental peşrev and saz semâîsi forms of Turkish Classical Music. It is known by this name, which literally means "catalogue peşrev," because the makam changes with every hane. With this characteristic, resembles the vocal form Kâr-ı Nâtık.

An instrument once used in Turkish music. Some theoreticians believe that it is the same as the kâsât invented by Abdülkâdir Merâgî.

A type of dance tune from the Trabzon region. It is believed to have received this name from the shoulder shimmies of the male dancers (< fingildemek - to shimmy the shoulders).

A 28-beat major usûl of Turkish Classical Music. It is composed of two measures of Sengin Semâî and four of Sofyân. Derived from the usûl Firenkçin, it is used in the beste form.

A 12-beat minor usûl of Turkish Classical Music composed of two measures of Semâî and three of Nîm Sofyân. It is used in forms such as peşrev and beste.

Local dances. In addition to the dances accompanied by music, one can also add ring dances done by children as well. (Transl. note: The Turkish word oyun means both "dance" and "game.") Though this term is in common colloquial use, the word dans has also become widespread.

The general term for the genre of music created by the people and maintining the general characteristics of folk culture. It may be divided into religious and secular types; the secular type comprises the great majority of the genre. Turkish folk music is very diverse in terms of regional variety, instruments used and the subjects of songs.