A 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 A makam of Turkish Classical Music. 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.

B Bâd-ı Sabâ A compound makam of Turkish Classical Music. No examples have survived to the present. Bâd-ı sabâ A dance tune of the Ankara region, with a slow 2/4 meter. Bağlama A stringed folk instrument with a pear-shaped wooden body and a long neck, played either with a plectrum called a tezene or with the bare fingers. Its name is rumored to come from the frets, which are tied onto the neck (bağlamak = to tie). Found in almost every region of Turkey, it is played with different techniques/styles (tavır) from region to region. In Anatolia, the bağlama is also frequently called the saz. See Saz. Bağlama Family The family of instruments composed of various sized bağlamas. Although known by a great variety of names, the most common names from large to small are: Divan, Bağlama, Tambura and Cura. Bağlama Tuning A tuning of the bağlama most common among the Turkmen of Western Anatolia and the Alevi-Bektashi communities. The lowest string to the floor is A(la), the middle is D(re) and the top is E(mi). Bağlamak To sing a folk song to write a composition. Bağlantı The refrain of a song; also called nakarat or kavuştak. Bağrıyanık An uzun hava (free-meter folk song) of the Elazığ region. Bahâr A compound makam of Turkish Classical Music. No examples have survived to the present. Bahâriye A genre of Turkish Classical Music composed to words that describe the spring. (Bahar = spring). The words of these songs generally contained words of praise for the Sultan or statesmen of the time, and the pieces were presented to these figures.

Bahr-i Nâzik (=Evc-i Bahr-i Nâzik) A compound makam of Turkish Classical Music. Based on surviving examples, some theoreticians consider this makam to be a form of Hicâz with a transition in the Segâh scale or a part of it. Bakiyye The symbol for a four-koma sharp or flat in Turkish Classical Music, abbreviated to "B." Bakiyye Bemolü A four-koma flat. Bakiyye Diyezi A four-koma sharp. Balaban A woodwind instrument played in the Azerbaijan region, similar to the mey of Turkey and the duduk of Armenia. Bam Teli A thick string producing a low tone. Bar A type of folk dance of Northeastern Anatolia; the tune that accompanies this dance. Bar Havası The melody that accompanies a bar dance Barak Ağzı An uzun hava singing style of the Turkmen tribes of the area to the southeast of Gaziantep. Barak Havası The musical repertoire unique to the Barak. Barana In Balıkesir and its surroundings, a celebration with music and dance. In these types of celebrations, the music is played in a particular order; in a form of suite, which is to be observed in every type of musical celebration. Barana havası The repertoire unique to the Barana. Basit İsfahân A simple makam used in Turkish Classical Music. Its tonic is dügâh (A/la) and its dominant is nevâ (D/re). It is ascending-descending in character. Basit Makam See Simple Makam.

Baş övme havası A folk song or quatrain sung at wedding, praising the good and beautiful qualities of the bride. Başpâre The mouthpiece used on some Turkish instruments, made of ivory, horn, or various woods such as ebony and palisander. Baş Taksim A type of taksim used in Turkish Classical Music, played before the peşrev in order to accustom the listener to its makam. Thus it is of the same makam as the peşrev to be played. Batak In Turkish Classical Music, the piece played by a single instrument. (See Karabatak) Bayâtî (=Beyâtî) 1. The name given to today's nîm hisâr pitch in the Edvâr of Safîyüddîn Urmevî. 2. A simple makam of Turkish Classical Music. It is composed of a Bûselik pentachord from nevâ (Re/D) added to (in place of) an Uşşâk tetrachord from dügâh (La/A). Though it resembles the makam Uşşâk, it departs from it with certain features. It is ascending-descending in character. Its tonic is dügâh (La/A), and its dominant is nevâ (Re/D). Its suspended cadences are, as in the makam Uşşâk, the note Segâh, the Segâh and Ferahnâk pentachords. What distinguishes it from the makam Uşşâk is the notes nevâ (Re/D) and çargâh (Do/C), as well as the flavors Hicâz transposed to nevâ (Re/D) and Nikrîz transposed to çargâh). Bayâtî Arabân In Turkish Classical Music, a variation of the makam Bayâtî, composed of adding the Bayâtî scale from (in place of) the dügâh (La/A) onto a Zirgûle'li Hicaz scale on nevâ - which is known as the Arabân scale). It is descending in character. Its tonic is dügâh (La/A), and its dominants are muhayyer (La/A) and nevâ (Re/D). Its suspended cadences are Bûselik from gerdâniye (Sol/G), Zirgûle'li Hicâz from nevâ, Hicâz and Bûselik, Nikriz from çargâh (Do/C), çeşnis of Segâh or Eksik Ferahnâk on segâh (Si/B one koma flat) and a Segâh third on segâh. Bayâtî Arabân Kürdî See Arabân Kürdî Bayâtî-Buselik In Turkish Classical Music, a variety of the makam Bayâtî developed by Zekâî Dede Efendi (1825-1897). It is composed of a Bûselik tetrachord or pentachord on a basic Bayâtî scale. Its tonic is dügâh (La/A), and its dominants are nevâ (Re/D) and hüseynî (Mi/E). Bayâtî-Hisâr A variant of the makam Bayâtî. No examples have survived to the present.

Bayâtî Isfahân A variant of the makam Bayâtî. It is still used in the music of Azerbaijan. Bayâtî Rûy-i Acem A variant of the makam A variant of the makam Bayatî. No examples have survived to the present.. Bayâtî-Kürdî A variant of the makam Bayâtî, constructed by adding a Kürdî tetrachord to the basic scale of the makam Bayâtî. It is still used in the music of Azerbaijan. Bayâtî-Sultânî A variant of the makam Bayâtî. Its tonic is dügâh (La/A). It is still used in Arab music. Bayâtî-Şîrâz A variant of the Bayâtî of Turkish Classical Music. It is mostly used in folk music. Bayram Salâtı See Salât. Beg (=Bey Havası) Another name for a Harput maya (See Maya). Bek The mouthpiece of a clarinet or saxophone. Bekar Accidental natural. Bektâşî Devr-i Revânı A 13-beat minor usûl of Turkish Classical Music, created by combining a measure of Sofyân, Türk aksağı and Sofyân. Used mainly in Bektâşî music, it also appears in some folk songs. Bektâşî Divanisi A type of divan in Northeastern Anatolia, one of the common âşık makams. Bektaşî Makamı An instrumental genre played in the area of Elbistan on a signle instrument. At cems, this piece is played before any other pieces, and is considered holy by the local people. Bektâşî Music The music of communities which belong to the Bektâşî sect. The genre is extremely broad and includes tens of varieties employing special makams and rhythms. It and Mevlevî music comprise the two most important tarikat (religious order) genres of Turkish music. Performed in the Ayîn-i Cem of the Bektâşî sect, this music is played especially in Islam, as well as parts of Anatolia and the Balkans. In terms of style, it is styled after the local folk music. In urban centers, the instruments of Turkish Classical Music are used, while in villages and small towns, it uses mainly bağlama, dîvan, tanbura and cura but also local instruments such as the violin and kabak kemâne.

Bektâşî Raksı See Raks Bemol A flat, or the sign indicating a flat. Bend-i Bûselik A compound makam of Turkish Classical Music devised by Sâdeddin Heper. Bend-i Hisar A compound makam of Turkish Classical Music. Devised by Ahmet Avni Konuk, it consists of a Sultânî Yegâh scale from yegâh (Re/D - in its place) added to the scale of the makam Hisar-Bûselik. Bengi A type of zeybek danced by men in the Balıkesir region; the melody that accompanies this dance. Bent In folk poetry, a section consisting of at least two lines, which contains the actual message of the verse. Beste 1. A composition. Though it is generally used in the sense of a consciously composed musical piece of any form, it is also used colloquially in to mean any piece of music, a folk song, a melody. 2. In Turkish Classical music, when this word is added in front of the name of a makam, indicates that the makam ends with the Irâk tetrachord. 3. In Turkish classical music, a secular vocal form. Bestes are composed in the style of a gazel upon quatrains; for this reason they are also called "murabba," which means "of four." The four lines of the quatrain are called Zemin-hâne, Nakarat-hâne, Miyân-hâne and Nakarat hâne respectively. They are generally set to major usûls. Besteci Composer. Beste Devr-i Revânı One of the 26-beat major usûls of Turkish Classical Music. It is composed of one measure of Türk Aksağı, two measures of Sofyân, one of Türk Aksağı and two more of Sofyan. Because Itrî's Nevâ Kâr is in this usûl, it is also referred to as the "Nevâ Kâr Usûlü." Beste-Hicâz A variant of the Hicâz makam used in Turkish Classical Music, composed of the basic scale of Hicâz with the addition of an Irâk tetrachord. According to some theoreticians, this makam has the same characteristics as the makam Rahât'ül-Ervâh. Beste-Hisâr A variant of the makam Hisâr used in Turkish Classical Music, composed of a Segâh tetrachord from ırak (Fa/f four komas sharp) added to the basic scale of the makam Hisâr.

Beste-Isfahân A variant of the makam Isfahân used in Turkish Classical Music. It is obtained by adding a Segâh tetrachord from ırak (Fa/F four komas sharp) to any of the scals of the makam Isfahân from dügâh (La/A). It is usually descending-ascending in character. Its tonic is ırak (Fa/F four komas sharp), and its dominants are nevâ (Re/D) and dügâh (La/A). Its suspended cadences are a Segâh and Eksik Ferahnâk pentachord from segâh (Si/B one koma flat), a Segâg third, çeşnis of Uşşâk and Rast from dügâh (La/A) and dügâh. Beste-Nevâ A variant of the makam Nevâ used in Turkish Classical Music, developed by Tanbûrî Abdülbâkî Gökçek. It consists of the basic scale of the makam Nevâ with the addition of an Irak tetrachord. Bestenigâr A compound makam in Turkish Classical Music, composed of the scale of the makam Sabâ from dügâh (La/A) with addition of the Segâh tetrachord from ırak (Fa/F four komas sharp), and is mostly descending-ascending, and sometimes ascending in character. Its tonic is ırak, and its dominants are çargâh (Do/C), dügâh (La/a) and segâh (Si/B one koma flat). Bestenigâr-Hisârek A variant of the makam Bestenigâr of Turkish Classical Music. No examples have survived to the present. Bestenigâr-Atıyk A variant of the makam Bestenigâr of Turkish Classical Music. Its tonic is dügâh (La/A). Bestenigâr-I Kadîm A variant of the makam Bestenigâr of Turkish Classical Music. Its tonic is dügâh (La/A). Beşirî A type of uzun hava sung in the regions of Urfa, Elazığ and Kerkük. Beşliler Pentachords, the name give to the scale patterns composed of five tones which form the scales of the makams in Turkish Classical Music. The Çârgâh, Bûselik, Kürdî, Rast, Hüseynî and Hicâz pentachords are the pentachords are basic components in the formation of the simple makams; from the standpoint of intervalic relationships, the Müsteâr, Hüzzâm, Nikrîz, Pençgâh, Ferahnâk and Nişâbur pentachords are the tetrachords in the same category which combine with them to form the compound makams. Beyit A two-line poetic whole, a distych, also known as bent in Turkish. Although they are more used in Divan literature, they also appear occasionally in folk literature. Beyne'l-Bahreyn A compound makam once used in Turkish Classical Music. No examples have survived to the present.

Beyzâ A compound makam once used in Turkish Classical Music. No example have survived to the present. Bezmârâ A compound makam once used in Turkish Classical Music. No example have survived to the present. Bezm-i Tarab A compound makam used in Turkish Classical Music, formed by adding the first pentachord of the makam Sabâ to the basic scale of the makam Nihâvend. (See Sabâ) Its tonic is rast (Sol/G), and its dominants are nevâ (Re/D), çargâh (Do/C) and dügâh (La/A). Bilür (=Bülür) The name used for various fipple and end-blown flutes of Eastern Anatolia. Birleşik Usûl (Compound Usûl) A type of usûl (meter) formed by the combination of at least two of the main usûls. Composed of 2- and 3-beat measures in Turkish Classical Music, usûls created with 5-9 different arrangements are to be found in folk music. Bişkur A type of ney, or end-blown flute, used by the Crimean and Kazan Turks. Boğaz Gaydası ("Throat bagpipe) A type of tune sung with the index and middle fingers of one hand pressed on the throat. This type of singing is practiced mostly in the Teke peninsula, especially by young shepherd girls. Boğma A bağlama playing technique in which the upper string is pressed with the thumb, and the middle and lower strings are pressed with the index finger. Bolâhenk A tuning used in Turkish Classical music. In this tuning, the tone dügâh (La/A in the middle octave) is transposed to nevâ (re/D of the upper octave). Boru The chief wind instrument of Mehter music. See Buul, Nefir. Bozlak A type of free-meter melody (uzun hava) found mostly in Central and Southern Anatolia. Bozlaks are known by different names according to their subjects and the structure of their melodies, such as Kırat Bozlağı, Türkmen Bozlağı, Aydost Bozlağı, etc. Bozlak Düzeni (Bozlak Tuning) A bağlama tuning most common among the Abdals of Central Anatolia. The low string is tuned to la/A, the middle string to la/A, and the upper string to sol/G.

Bozlamak (=Bozulamak) To cry out in anguish; the term bozlak is said to derive from this verb. Bozuk An instrument in the bağlama family. Forgotten in Anatolia today, it is rumored to have been played mostly in Central and Southern Anatolia. It is a predeccssor of the bouzouki played in Greece, however that instrument has changed considerably and is now quite different. Bozuk Düzeni (Bozuk Tuning) The name given to the tuning of the bozuk. The tuning is la/A, re/D and sol/G from bottom to top string. Buci Kopuz The high-pitched kopuz. Buhârî A compound makam once used in Turkish Classical Music, of which no examples have survived to the present. Bulgar(i) A small two-stringed family in the bağlama family played either with the fingers or with a plectrum. Some hold that its name refers from a bağlama played by the Bulgars, while others relate it to the fact that it is common in the Bulgar (Bolkar) Mountains of the Toros range. Bulgari Düzeni (Bulgari Tuning) A tuning of la/A on the lower string and mi/E on the upper string. Bunkar A stringed instrument used in Turkish Classical Music, invented by Şemsi Çelebi, son of Akşemseddîn-zâde Hamdullâh Hamdî Çelebî. Burgu Tuning peg. Also kulak, burgaç. Burguluk The pegbox of a stringed instrument. Burıngi ölüng A term for "song" in Kirghiz. Bûselik 1. The pitch si/B in the middle octave of Turkish Classical Music. 2. A simple makam of Turkish Classical Music. It has two types of scales. One is formed by adding a Kürdî tetrachord transposed to hüseyni (mi/E) to the Buselik pentachord on la/A (in its place); the other is formmed by adding a Hicaz tetrachord on hüseyni to the Bûselik pentachord on dügâh. It mostly exhibits an ascending, and sometimes ascending-descending

character. Its tonic is dügâh (la/A), and its dominant is hüseynî (mi/E) and sometimes çargâh (do/C). Its suspended cadences are the flavors Hicâz transposed to nevâ (re/D) and Nikriz transposed to çargâh (do/C), as well as the Uşşâk tetrachord transposed to hüseynî (mi/E). Bûselik-Aşîrân A variant of the makam Bûselik used in Turkish Classical Music. It displays two different types of scales. One consists of a Bûselik pentachord on dügâh (la/A, in its place) on top of a Hüseynî pentachord transposed to hüseynî, with the addition of a Hüseynî pentrachord transposed to hüseynî aşîrân (mi/E). The other is formed by adding a Hüseyini pentachord on hüseynî aşîrân to the Bûselik scale on dügâh. It possesses descending character. Its tonic is hüseynî aşîrân (mi/E), and its dominant is hüseynî (mi/E). Its suspended cadences are the flavors Bûselik, Hicâz, Çargâh and Nikrîz transposed to nevâ (re/D); Çargâh on çargâh (do/C), Bûselik and Hicâz transposed to dügâh (la/A); Nikrîz and Çargâh transposed to rast (sol/G); the Eksik Ferahnâk pentachord and Segâh trichord on ırak (fa a bakiye sharp), and a Rast pentachord transposed to yegâh (re/D). Bûselik Beşlisi (Bûselik Pentachord) In Turkish Classical Music, five-tone scale pattern formed by adding one whole tone to the Bûselik tetrachord on dügâh (la/A - in its place) (See Bûselik Dörtlüsü). Bûselik Dörtlüsü (Bûselik Tetrachord) In Turkish Classical Music, a four-tone scale pattern on dügâh (la/A) forming a perfect fourth. Bûselik-Gerdâniye In Turkish Classical Music, a variant of the Bûselik makam of which no examples have survived to the present. Bûselik-Geveşt In Turkish Classical Music, a variant of the Bûselik makam of which no examples have survived to the present. Bûselik-Mâye A variant of the makam Bûselik in Turkish Classical Music. Some theoreticians define it as a form of the makam Mâye (See Mâye) on bûselik (si/B). No examples have survived to the present Bûselik-Nevrûz In Turkish Classical Music, a variant of the Bûselik makam of which no examples have survived to the present. Bûselik-Selmak In Turkish Classical Music, a variant of the Bûselik makam of which no examples have survived to the present.

Bûselik-Şehnâz In Turkish Classical Music, a variant of the Bûselik makam of which no examples have survived to the present. Buvben The Kazakh name for the tambourine/tef. Bülür See Bilür Büyük Mücenneb An accidental symbol used in Turkish Classical Music to indicate an interval of eight komas. Its letter counterpart is "K." Büyük Mücenneb Bemolü (Flat) A symbol used in Turkish Classical Music to indicate an eight-koma flat. Büyük Mücenneb Diyezi (Sharp) A symbol used in Turkish Classical Music to indicate an eight-koma sharp. Büyük (Great) Usûl In Turkish Classical Music, the general term used to describe all the usûls from 16 to 124 beats long. Büzürk (Büzürg) A compound makam used in Turkish Classical Music, formed either by adding a Bûselik pentachord or Bûselik scale on dügâh (la/A - in its place) to a Hüseynî pentachord transposed to hüseynî (mi/E), and on top of this, a Çargâh pentachord transposed to rast (sol/G). It is descending-ascending in character. Its tonic is rast (sol/G), and its dominant is hüseynî (mi/E). Its suspended cadences are the flavors Kürdî transposed to hüseynî (mi/E) and of Bûselik transposed to nevâ (re); a flavor of Bûselik transposed to dügâh (la/A) and hüseynî aşîran with the leading tone hüseynî aşîrân. Büzürk-Gerdâniye In Turkish Classical Music, a variant of the makam Büzürk. No examples have survived to the present. Büzürk-Geveşt In Turkish Classical Music, a variant of the makam Büzürk. No examples have survived to the present. Büzürk-Mâye InTurkish Classical Music, a variant of the makam Büzürk. No examples have survived to the present. Büzürk-Nevrûz In Turkish Classical Music, a variant of the makam Büzürk. No examples have survived to the present.

Büzürk-Selmek In Turkish Classical Music, a variant of the makam Büzürk. No examples have survived to the present. Büzürk-Şehnâz In Turkish Classical Music, a variant of the makam Büzürk. No examples have survived to the present.

C Câm Dümbeleği See Dümbelek Can Direği (Lit. "soul/life column") The support column that runs from the neck through the body of certain stringed instruments; the dowelstick. Cânfezâ A compound makam used in Turkish Classical Music, also known as a variant of the makam Şevk-u Tarab. According to some theoreticians, it is created by adding a Kürdî tetrachord above the Sabâ scale from dügâh (la/A) and Acem-aşîrân scale from acem (fa/F) which create the Şevk-u Tarab. Some also hold that there are two different formulas for the Cânfezâ makam. One of these is to add an Uşşâk tetrachord transposed to hüseynî aşîrân (mi/E) to the scale of the makam Sabâ; and the other is to add a Çârgâh pentachord from acem-aşîrân (fa/F) to the basic Sabâ scale. The makam is descending-ascending in character. Its tonic is hüseynî aşîrân, and its dominants are dügâh (la/A) and çargâh. Cânkurtaran (Lit. In Turkish Classical Music, the name used to refer to an easily-played style of saz semâîsi and peşrev. In later years this was replaced by the medhal form. See Medhal. Cem Gathering, refers especially to religious gatherings. See Ayin-i Cem Cenâze Salâtı (Salâsı) See Salât, Salâ Ceng-i Harbî (=Çeng-i Harbî) 1. A ten-beat minor usûl used in Turkish Classical Music, consisting of two measures of Nim Sofyan followed by two of Semâî. It has been used in marches, as well as some bestes and in the fourth vers of saz semâîsis. 2. A type of melody used in Anatolia to excite the spectators of sports competitions such as wrestling and javelin throwing contests. 3. An individual stroke on the davul. Cenkleme The name for one of the Köroğlu melodies. Cerr One of the usûls used in Turkish Classical Music. No examples have survived to the present. Cerr-i Hafîf An usûl once used in Turkish Classical Music. No examples have survived to the present.

Cezayir The general name for a repertoire of Turkish folk songs on the subject of Algeria, and dances dedicated to this country, which are to be found in almost every corner of Anatolia. Cezrî Hâl See Kök Hâli. Cır A term for folk songs, makams and melodies, used mostly by the Tatars, also ır. Sung on a variety of subjects, cırs are most often performed as wedding songs and concern this subject. Cırlak A term for a strong, high pitched sound. Ciğa Pun, poems in which words are imbued with new/different meanings. Cigalı Tecnis An âşık makam of northern Anatolia. Cimon (=Zimon) A wind instrument made by hollowing out a twig from a tree, mostly encountered in Rize and Artvin provinces. It is used mostly by children and is a sort of toy instrument. Cim Teli The thin unwound strings used on a bağlama. Cinas Puns, the art of making puns. See Hoyrat, Ciğa. Cin Deliği (=Şeytan Deliği) 1. (Lit. Demon/Devil's hole) 2. The small unfingered holes on the ends of kavals and zurnas. Cins In Turkish Classical Music, a fourth Cirit Havası The special repertoire played for folk javelin (cirit) events. Clarinet (Klârnet) A woodwind instrument that began to gain importance in western music especially toward the late 17th century, and assumed its present form largely in the 18th century. Later constructed of metal as well, the clarinet entered Turkish music around the beginning of the 20th century. The clarinet is divided into three groups; the soprano, alto and bass.

Collection (Derleme) The collection of all aspects of folk culture within a discipline defined by a specific set of rules. Such activities have been in progress among various Turkish societies since the beginning of the 20th century. Music collection is a separate branch of specialization, and in addition to a broad knowledge of music and repertoire, requires specialized analytical training. Cum'a Salâtı See Salât Cumhûr 1. In religious music, the term for a section performed in unison. See Cumhur İlahi 2. The general term for a piece being sung by the entire ensemble. Cumhûr İlâhî 1. In Turkish Classical Music, an ilahi composed for choir in unison. 2. An ilahi sung together. Cura The smallest member of the bağlama family. Cura Davul A small-diameter folk drum played mostly in and around the provinces of Adana, Gaziantep and Trabzon. Cura Düzeni A tuning for instruments in the with two courses of strings, consisting of la/A for the lower string and mi/E for the upper string. Cura Zurna A small zurna played chiefly in and around the city of Trabzon in the central Black Sea region. Curcuna A ten-beat usûl used in Turkish Classical Music, composed of two joined Türk Aksağı usûls. It is used in şarkı, türkü, ilâhî and dance tunes, as well as the fourth verse of saz semâîsis. Curcuna Evferi A ten-beat minor usûl in Turkish Classical Music that is formed by changing the place of the last two beats of Curcuna. It is used only in some places in a piece rather than throughout. Cümbüş (=Cünbüş) 1. A stringed instrument used in classical Turkish music, invented in the 1930s by Zeynel Abidin Cümbüş and consisting of an aluminum body with a plastic or skin face, and a fretless neck. As the aluminum body gives it a powerful sound, it is used in open-air performance at weddings and other such festivities. 2. An Ankara term for a musical gathering.

Cümle A musical phrase.

Ç Çağana 1. A wind instrument (üflemeli çalgılar) used in 17th-century Turkish Classical Music. 2. A percussion instrument used in Turkish Classical Music, played in pairs by çengis (female dancers), a type of metal castanet/finger cymbal. Çağırmak (=Çığırmak) To sing a türkü or mani. Çağırtma Düdüğü (Çığırtma Düdüğü) See Çığırtma, Düdük. Çalgı A general term for a musical instrument. In Anatolia, the verb çalmak means to strike anything with the hand or another item, or brush the hand over, and it is very likely from this usage that the word developed. Popular in rural areas in the sense of "musical instrument," the term has only in recent years come into use in urban centers. In the old days, the terms "saz" or "alât-ı musiki" were used in the cities. Çalgıcı A player of any instrument, used chiefly for professional performers. After the point where this profession began to be disparaged in society, the term mahalli sanatçı ("local artist") became widespread. Çalgılama To arrange a piece instrumentally. Çalgı Müziği Instrumental music (with no vocal accompaniment). Çalgıcı An instrumentalist. Çalmak Verb. Colloqualliy, to strike anything on something else; in music, to play a musical instrument. Also the source of the word çalgı (See above). Çalpara An instrument consisting of a pair of tongs with one or more pairs of cymbals on the ends. Çamşıhı Ağzı (Çamşıhı Style) The style of singing uzun hava in the Çamşıhı region of Sivas.

Çapçak An instrument used in Turkish Classical Music. According to Merâgî, it is the Turkish name for the mûsîkar-ı hıtâyî of East Turkistan (See Mûsîkar-ı Hıtâyî). It consists of neys arranged side-by-side and blown with a brass pipe. Çargâh 1. The high Do/C in Turkish Classical Music 2. A simple makam used in Turkish Classical Music, formed by adding a Çargâh tetrachord from Sol/G to a Çargâh pentachord on çargâh (Do/C) or kaba çargâh (low Do/C). It is ascending and ascending-descending in character. Its tonic is çargâh (Do/C), or kaba çargâh (low Do/C), and its dominant is rast (Sol/G) or gerdaniye (Sol/G). Çargâh-Acem A variant of the makam Çargâh used in Turkish Classical Music. No examples have survived to the present. Çargâh Beşlisi Çargâh Pentachord. In Turkish Classical Music, an array of five notes formed by adding one tanini (whole tone) to a çargâh tetrachord on kaba çargâh (low Do/C) or çargâh (Do/C). Çargâh Dörtlüsü Çargâh Tetrachord. In Turkish Classical Music, the array of four notes from kaba çargâh (low Do/C) or çargâh (Do/C) to form a perfect fourth. Çârgâh-Gerdâniye A variant of the makam Çargâh used in Turkish Classical Music. No examples have survived to the present. Çargâh-Mâhûr A variant of the makam Çargâh in Turkish Classical Music, formed by adding the basic scale of the makam Mâhûr to the basic scale of Çargâh. Çârpâre (=Çalpara) A percussion instrument used in Turkish Classical Music. Originally it consisted of four pieces of hard wood held two in each hand like castanets, which were played in the performance of dance tunes and köçekçes, both by singers and köçeks (male dancers dressed as women). In later years, it was replaced by a pair of metal cymbals. Çarpma A type of ornament consisting of a quick tap on the first tone above the main note thus emphasizing the main note. Çâr-Târ (Lit. "Four String") A fretted stringed instrument played with a plectrum used in 17th-century Turkish Classical Music.

Çâr-Usûl A variant on the 124-beat usûl Darbeyn used in Turkish Classical Music. It is formed by the combination of the usûls Nîm Sakıyl, Sakıyl, Fâhte and Berefşân. Çatal Lit. "Fork" - the use of the words of one piece or folk song in another piece. Çehâr-Âgaazin A compound makam used in Turkish Classical Music, created by Santûrî Edhem Efendi by adding a scale of the makam Zengûle from dügâh (La/A - in its place) onto the basic scale of the makam Sûz-i Dil. Its tonic is La/A, and its dominants are hüseynî (Mi/E) and bûselik (Si/B). Çenber A 24-beat major usûl used in Turkish Classical Music, consisting of a combination of two Sofyân, two Yürük Semâî and one Sofyân. It is frequently used in such genres as Peşrev, kâr, beste, tevşîh and ilâhî. Çeng (Çenk) A type of harp with varying numbers of strings used in Turkish Classical Music up until the 18th century. Çengî 1. The name used for a player of the çeng (See above.) 2. The term for female dancers in various parts of Anatolia. Çeng-i Harbî See Ceng-i Harbî Çengî Takımı A troupe of çengî dancers. Çepik Hand clapping Çeşte A folk instrument, assumed to be stringed, mentioned in 13-century texts in connection with the kopuz. Based on the fact that it appears in the poetry of Yunus Emre, some researchers believe it was used in mystic music. Çevgân A percussion instrument used in classical Turkish Mehter music, constructed by attaching a hoop adorned with rattles, cymbals and chains to a long staff. It is played by the person leading the Mehter group, by hitting the end of the staff on the ground. Çığırtma A common folk wind instrument played in Elazığ and its surroundings as well as the Teke region. It is an end-blown flute made of an eagle wing or stork leg bone

Çıldır Divanisi An âşık makam common in Kars and the surrounding region. Çıngırak Rattle, a type of bell used in Turkish music. Çırpma A bağlama picking technique in which the pick is drawn upward over the strings. Çifte Lit. "double." A folk instrument consisting of two cane pipes, each with a single reed, tied together. One of the pipes has at least five holes; the other may have an equal number of holes, only one or two, or even no holes at all, in which case it serves only as a single-note drone. Çifte Düdük Another name used for the çifte in some regions. Similarly, the instrument is sometimes known as çifte kaval. Çifte Düyek A 16-beat major usûl used in Turkish Classical Music, composed of two Düyeks, and used mostly in 16/4. It is frequently in forms such as peşrev, kâr, beste, tevşîh and ilâhî. Çifte Kaval See Çifte Düdük. Çifte Nağra (Nağara) The common name for the double nakkare, a percussion instrument used in Turkish Classical Music. See Nakkare. Çifte Nakkare See Nakkare. Çifte Sofyan A 16-beat major usûl used in Turkish Classical Music, formed by combining the usûls Sofyan and Türk Aksağı. Çiftetelli A type of folk dance most common in western Anatolia, and the lively tune that accompanies this dance, generally in 4/4. Çiftetelli tunes are a product of urban culture but over the last fifty years have spread throughout almost all of Anatolia, and are less common among rural people.

D Dâğî A term used by city people to define a local singing style. Compound terms exist, such as Dağî Hüseynî, Dağî Hicaz, Dâğî Şarkı, Dâğî Türkü. Dâğî Beyâtî A compound makam once used in Turkish Classical Music, of which no examples have survived to the present. Dâğî Köçekçe The name given to folk songs of a local nature taken from the Köçekçe repertoire. Dâire A folk percussion instrument. See Def. Dâire-zen A person who plays dâire. Damaak (Damak) A makam once used in Turkish Classical Music, of which no examples have survived to the present. Dambıra See Tambura. Dan Kazakh for tef/def. Dânişverân A compound makam of Turkish Classical Music, of which no examples have survived to the present. Darabân Stroke. Dap 1. Uzbek and Kirghiz for def/tef 2. A stroke on a percussion instrument. Also called darb. Darb 1. The term for each stroke of the right and left hands on the knees in the usûls of Turkish Classical Music. 2. A musical form in Turkish Classical Music. Darb-engîz A 10-beat minor usûl used in Turkish Classical Music.

Darbeniyye A 33-beat usûl of Turkish Classical Music used only in the music of Yavuz Yektay, formed by the combination of Türk Aksağı, Semâî, Müsemmen, Evfer and one more Müsemmen. Darbeyn Usûlleri The name for "double" usûls in Turkish Classical Music, created by playing two of the major usûls one after the other, once or twice. This type of usûl is mostly used in forms such as peşrev, kâr and beste. The darbeyn usûls encountered in various works include: 1 Fer-1 Muhammes; 1 Nîm Sakıyl-1 Berefşan; 1 Devr-i Kebîr-1 Berefşân; 2 Remel-1 Muhammes; 2 Frengî Fer-2 Devr-i Kebîr; 3 Frengî Fer- 1 Berefşân; 2 Remel-2 Muhammes; 2 Devr-i Kebîr-2 Berefşân; and Nîm Sakıyl-Sakıyl-Fahte. Darb-ı Cedîd A 14-beat usûl of Turkish Classical Music created by Abdülkâdir Merâgî. Darb-ı Fetih (Zarb-ı Fetih) An 88-count major usûl used in Turkish Classical Music. According to some theoreticians, it is a combination of 1 Sofyân, 1 Yürük Semâî, 3 Sofyân, 3 Yürük Semâî, 2 Sofyân, 1 Yürük Semâî, 3 Sofyân, 3 Yürük Semâî, 2 Sofyân, 1 Yürük Semâî and 1 Nîm Hafîf. According to others, although it was originally created by Abdülkâdir Merâgî as a 98-beat usûl, it later came to be used in Ottoman music as an 88-meter usûl composed of 1 Sofyan, 1 Yürük Semâî, 5 Sofyân, 2 Yürük Semâî, 1 Sofyân, 1 Yürük Semâî, 5 Sofyân and 1 Nîm Hafîf. It shows up in certain works in the peşrev and beste forms as well as military music. Darb-ı Hüner A 38-beat major usûl used in Turkish Classical Music, created by Varda Kosta Ahmet Ağa of 4 Sofyân, 1 Yürük Semâî and 4 Sofyân. No examples have survived to the present. Darb-ı Kasîr An usûl of Turkish Classical Music. No examples have survived to the present. Darb-ı Kumriyye A five-beat minor usûl of Turkish Classical Music. Darb-ı Peşrev A minor usûl used in Turkish Classical Music. No examples have survived to the present. Darb-ı Şâhî A minor usûl used in Turkish Classical Music. No examples have survived to the present. Darb-ı Tavîl A minor usûl used in Turkish Classical Music. No examples have survived to the present. Darb-ı Türkî (Türkî Darb) An 18-beat major usûl used in Turkish Classical Music composed of 1 Yürük Semâî and 3 Sofyân. It is used in religious forms such as tevşîh, salât, ilâhî and na't, as well as secular forms such as kâr, best and şarkı.

Darbuka A goblet-shaped drum made of metal or clay used in Turkish music. Also known by such local variations as dümbelek, dümbek, dümbeke, delbek and deblek. Darbü'l-Hadîd A14-beat minor usûl used in Turkish Classical Music. No examples have survived to the present. Darbü'l-Mietyen (=Devr-i Mieteyn) A 200-beat major usûl used in Turkish Classical Music. It was created by Abdülkâdir Merâgî in honor of Muhammed Mirzâ, grandson and successor of Timur. No examples have survived to the present. Darbü'l-Rebî A 24-beat major usûl used in Turkish Classical Music. No examples have survived to the present. Dâstan See Destan Dattiri The general name for a lively zeybek melody of the Isparta region. Davlunbaz (=Davulbaz) A large davul. Davul A drum consisting of a body from 45-90 cm wide with skin heads tied on with thick cord, and played with thick and thin beaters known as tokmak and çubuk respectively. The combination of davul and zurna is still an indispensible duo in many areas, played in open areas such as a square. These remain the two most common instruments of Anatolian Turkish music, used not only in celebrations but also for all manner of sporting events. Davul playing techniques change from region to region. Deblek See Darbuka. Dede A leader in the Alevi-Bektashi and Mevlevi orders. Among the Anatolian Alevis in particular, many dedes direct not only the religious ceremonies but also the musical practice of the gathering, singing playing deyiş, duvaz, semah etc. with their own bağlamas. Several dedes thus take on the duty of zakir. Dede Sazı The name for a small-sized bağlama common among the Alevis of Eastern Anatolia. See Cura. Def (=Tef) A frame drum of Turkish music, which may be with our without cymbals.

Def-zen A player of def. Dej The word for deyiş in the Tunceli region. Deli Hasanî A type of uzun hava common among the Turkmen of Iraq. Hoyrat. Dem A single pedal tone, a drone such as that held by the long pipe of a bagpipe. The pipes of the Black Sea do not use a drone pipe. Deme See Deyiş. Demece An antiphonal style of folk singing or atışma (musical sparring). Depki A stroke, a hit. Based on this word, percussion instruments are sometimes referred to as depki çalgılar. Deramed A short instrumental section played before a free-rhythm tune known as mugam. Mostly known from the music of Azerbaijan. Derbeder An âşık makam used in Northern and Eastern Anatolia. Derli An old term in Turkish Classical Musical circles now fallen into disuse, meaning "harmonious, concordant." Dersiz "Inharmonious, discordant." See Derli. Dervîş Borusu Lit. "Dervish Horn." A wind instrument made from an animal horn, rumored to be an imitation of the horn called a "sur" played by the angel İsrafil/Raphael. Although wind instruments producing a single tone are common in many religions, in the Islamic world they occur most often in the various orders. The derviş borusu cannot play melodies does not function as an accompanying instrument. Destan An epic poem, taking as its subject all manner of personal and societal events in the depths of history. With a variety of names according to their subjects, destans are also laments. Their musical characteristics change from region to region, but the great majority of them are in the free-rhythm uzun hava style.

Destgâh One of the various groupings of modes comprising the whole of Azerbaijan and Iranian music. Devîr In Turkish Classical Music, the term used for the whole of an usûl completed in one measure. Devre In Turkish Classical Music, a melody consisting of a few phrases. Devrecik A melody consisting of short phrases, a short phrase. Devr-i' Adl A 56-beat usûl used in Turkish Classical Music, developed by Abdülkâdir Merâgî in honor of Şâhruh. Devr-i Hindî A 7-beat minor usûl used in Turkish Classical Music, composed of the combination of the Semâî and Sofyân usûls. It is used in forms such as şarkı, ilâhi, türkü and köçekçe, as well as the fourth section of saz semâîs. Devr-i Kebîr A 28-beat major usûl used in Turkish Classical Music that consists of the combination of 1 Sengin Semâî, 2 Sofyân, 1 Sengin Semâî and 2 Sofyân usûls. Its velveleli variant is known as "Muzâaf Devr-i Kebîr." It is used in forms such as Kâr, tevşîh, ilâhî, Âyîn-i Şerîf, beste and peşrev. Devr-i Remel A 12-beat minor usûl used in Turkish Classical Music. No examples have survived to the present. Devr-i Revân (=Âyîn Devr-i Revânı) A 14-beat minor usûl used in Turkish Classical Music, which consists of the combination of 1 Semâî, 1 Sofyân, 1 Semâî and 1 Sofyân. It used in the first selâm in Mevlevî music, as well as in forms such as kâr, peşrev, beste, şarkı, ilâhî and tevşîh. Devr-i Şâhî A 60-beat major usûl used in Turkish Classical Music developed by Abdülkâdir Merâgî in honor of Sultan Ahmed Celâhir. No examples have survived to the present. Devr-i Tûrân A 7-beat minor usûl used in Turkish Classical Music, consisting of the combination of Semâî and Sofyân. It is used in forms such as şarkı, türkü, köçekçe and ilâhî, as well as the fourth hane of saz semâîs.

Deyiş 1. Colloquially, a term to mean "saying, telling." In this sense it has come to be used for all types of türkü, mani and melody. 2. In Alevi-Bektashi communities, it refers to a chiefly religious-mystic genre of song played at the beginning of the cem. As its words are mostly religious in nature, the music that accompanies is appropriate to the subject. 3. A type of poetry within the greater genre of folk music. The lyrics/poetic sections of genres such as mersiye, nevruziye and semah, especially in Alevi-Bektashi musıc. Deyişme The antiphonal singing of türkü and mani style melodies; the reciprocal atışma of âşıks. Deynek One name for the wooden beater used to play a davul. Dımıdan A type of dance performed in the Teke region; the melody that accompanies this dance. Dıngıra A general name used for instruments in the bağlama family, derived from the verb tıngırmak/tıngırdatmak. It is also said to be a folk dialect term for the tambura. See Tambura Dik 1. "Dik ses" (high tone), "dik perde" (high note/fret) are commonly used terms. 2. In Turkish Classical Music, the term used to indicate that a note is raised by a few komas, and used before the regular name of the note. Dik Acem In Turkish Classical Music, the high Fa/F one koma sharp or Sol eight komas flat. Dik Acem-Aşîran In Turkish Classical Music, Fa/F one koma sharp or Sol eight komas flat in the middle octave. Dik Basmak To play a note flatter than normal. Dik Buselik In Turkish Classical Music, Do/C one koma flat in the middle octave. Dik Geveşt In Turkish Classical Music, Fa/F eight komas sharp or Sol one koma flat in the middle octave. Dik Hicaz In Turkish Classical Music, Do/C eight komas sharp or Re/D one koma flat in the high octave.

Dik Hisâr In Turkish Classical Music, Re/D eight komas sharp or Mi/E one koma flat in the high octave. Dik Kürdî In Turkish Classical Music, La.A one koma sharp or Si/B 8 komas flat in the middle octave. Dik Mâhûr In Turkish Classical Music, Fa/F eight komas sharp or Sol/G one koma flat in the high octave. Dik Sünbüle In Turkish Classical Music, La/A one koma sharp or Si/B eight komas flat in the high octave. Dik Şehnâz In Turkish Classical Music, Sol/G eight komas sharp or La/A one koma flat in the high octave. Dik Zengûle (Zirgüle) In Turkish Classical Music, Sol/G eight komas sharp or la/A one koma flat in the middle octave. Dil 1. Lit. "tongue," the reed attached to wind instruments such as the zurna, reed or sipsi. 2. The fipple. Dil-Ârâ A compound makam in Turkish Classical Music, created by Ârif Mehmet Ağa. No examples have survived to the present. Dil-Âviz A compound makam in Turkish Classical Music, thought to have been devised by Abdülbâki Nâsır Dede. No examples have survived to the present. Dildâr A compound makam used in Turkish Classical Music, created by Abdülbâki Nâsır Dede by combining the basic scales of the makams Nevâ and Rast. Its tonic is rast (Sol/G). Dil-Efrûz A compound makam used in Turkish Classical Music. Its tonic is yegâh. Dilkeş-Haverân A compound makam of Turkish Classical Music. It is created by adding a Segâh tetrachord transposed ırak (Fa/F four komas sharp) or a section of the scale of the makam Irak onto the scale of the makam Hüseynî on dügah (La/A) (in its place). It is descending in character. Its tonic is ırak (Fa four komas sharp), and its dominants are hüseynî (Mi/E) and dügâh (La/A). Its suspended cadences are the flavors Bûselik transposed to nevâ

(Re/D), Çargâh transposed to çargâh (Do/C), a descending Rast on nevâ, a descending Pençgâh on çargâh and Hüseynî transposed to hüseynî (Mi/E), which are also the suspended cadences of the makam Hüseynî, as well as a Segâh trichord transposed to segâh (Si/B one koma flat), a full or diminished Ferahnâk pentachord and Segâh Dil-Keşîde A compound makam of Turkish Classical Music, achieved by adding the scale of the makam Ferahvezâ on yegâh (Re/D) to the scale of the makam Hüseynî on dügâh (La/A). It is descending in character. Its tonic is yegâh (Re/D), and its dominant is hüseynî (Mi/E). Its suspended cadencies are Çargâh on çargâh (Do/C), the flavors Hüseynî transposed to dügâh (La/A), the Segâh and Ferahnâk pentachord on segâh and Segâh trichord, which are also the suspended cadences of the makams Hüseynî and Ferahfezâ; as well as the flavors Bûselik transposed to nevâ (Re/D), Çargâh on çargâh (Do/C), Kürdî and Hicâz transposed to dügâh (La/A), Bûselik transposed to rast (Sol/G) and Çargâh transposed to acemaşîrân (Fa/F). Dil-Küşâ A compound makam in Turkish Classical Music, created by Ârif Ağa. Dilli Üflemeli Fipple flutes such as the düdüks and kavals found nearly everywhere in Anatolia. Dilli Düdük Another name for the dilli kaval, or fipple flute. Dil-Nevâz A compound makam in Turkish Classical Music. Dil-Nişîn A compound makam in Turkish Classical Music, comprised of the combination of the makams Hüseynî and Rast. Its tonic is rast (Sol/G). Dil-Rübâ A compound makam in Turkish Classical Music. No examples have survived to the present. Dil-Sûz A compound makam in Turkish Classical Music. No examples have survived to the present. Din Dışı Müzik (Secular Music) A category within Turkish Classical Music recognized by theoreticians, which may include all types of music considered "worldly" in their makams and usûls. These include instrumental forms written with no religious motive such as Taksîm, Peşrev, Medhal, Saz Semâîsi, Longa, Sirto, Oyun Havası and Aranağme, as well as vocal forms such as Kâr, Kâr-ı nâtık, Kârçe, Beste, Ağır Semâî, Yürük Semâî, Gazel, Şarkı, Türkü and Köçekçe. Secular music is not merely a formal classification of folk and classical music, it involves different styles as well.

Dinî Müzik (Religious Music) A category within Turkish Classical Music recognized by theoreticians. With subjects either overtly religious or touching on religious subjects, this music is designed to break through the resistance of the spirit, not only in terms of its lyrics but of its makam structure as well. The chief forms in this category include , Âyin, Na't, Durak, Mirâcîye, İlâhî, Tevşih, Şugûl, Ezan, Mahfel sürmesi, Tekbîr, Temcîd, Tesbîh, Salât, Selâm, Münâcaat and Mevlîd. In the music of religious orders and lodges, various instrumental forms may also be played with a religious purpose. Religious musical forms are not merely a formal classification but involve different styles as well. Dîvân 1. A form of Turkish music. Although it bears certain similarities to the şarkı form, it differs in terms of lyrics and style. Its folk literature form is derived from divan poetry. It usually consists of two sections, one unmetered and the other metered in a particular usûl. 2. An genre of uzun hava in Turkish folk music based on various forms of the hece and aruz meters. 3. A type of poetry in Turkish folk literature. 4. The complete collection of a poet's works; an anthology. Divanî The name given to divan by folk poets. There are various forms, such as Yerli Divanisi and Mereke Divanisi. Divan Sazı The largest of the instruments in the bağlama family. Diyez Sharp (#). Dizi Scale Doğaçlama (Doğmaca) 1. Improvisation 2. Vocal improvisation, especially by âşıks, who make up poetry on the spot on a subject they haven't thought about. In Northern Anatolia the term irtical is used with the meaning. In Turkish Classical Music, an instrumental improvisation is called a taksim, while a vocal improvisation is known as a gazel. See Doğmaca. Dombra A stringed instrument used in Kazakh music. With its three-cornered body, tied frets and silk or metal strings played with the fingernails, it resembles the dutar of the Tadjiks, Uzbeks and Kirghiz, but it is larger than the dutar. Dost-Gâhî A compound makam of Turkish Classical Music. No examples have survived to the present. Döğme Sazlar Syn. Vurmalı Çalgılar, percussion instruments.

Dörtleme In Turkish Classical Music, a quartet, or a piece written for four instruments or parts. Dörtlü See Tetrachord Döşeme The setting of words or poetry to music. Dövmek Beat, strike: To strike the face of a string instrument with the finger, or to strike a percussion instrument with the hand or a stick Dövülgenler Syn. Vurmalı Çalgılar, Depki Çalgılar, Percussion instrument. Duâ 1. Lit. "prayer," a genre in Turkish Classical Music and poetry. 2. The introductory section of some semahs. Dudak Değmez Lit. "The lips do not touch." A competitive practice in the Northern Anatolian âşık tradition, in which at least two âşıks sing their poetry without touching their lips, thus not pronouncing the labial consonants b, p and m. In order to produce a "penalty" for touching the lips, the âşıks generally hold a needle between the lips during this type of contest. Durak 1. The tonic. See Karar. 2. A religious vocal style of Turkish Classical Music, composed by setting kaside-type poetry praising the Creator to the usûl Durak Evferi. Durak Evferi A 21-beat major usûl of Turkish Classical Music, formed by the combination of one Türk Aksağı and four Sofyâns, thus far used exclusively in religious music. It is used in genres such as na't, durak, tevşih and mersiye. Dutar (=Dütar) A two-stringe, long-necked lute of the Central Asian Turkic peoples, played either with the fingers or with a pick. Duvaz (Duvaz İmam) A type of poetry in the Alevi-Bektashi belief system, usually in the koşma meter, containing the names of the twelve Imams. Duvaz İmam pieces are performed within melodic patterns unique to each region. Dübeyt A type of poetry and music within the Northern Anatolian aşık tradition. Düblek See Dümbelek.

Düdük A Turkish folk flute with six or seven holes. The same term is used for small kavals. They are mostly made from a willow twig as a toy for children. Although there are düküks carved from hard woods, they are called dilli düdük or kaval. As Evliya Çelebi stated in his Sehayatnâme, there were many players in 17th century Istanbul, and many different types, including kaba düdük, yelli düdük, arabî düdük, çığırtma düdüğü, macar düdüğü, mehter düdüğü, mızmız (mizmar) düdüğü, dangilü düdüğü and tulum düdüğü. It is still common today, especially among children. Dügâh 1. The name given to La/A of the middle octave in Turkish Classical Music. 2. A compound makam of Turkish Classical Music, created by adding a portion of the scale of the makam Nev'eser transposed to yegâh (re) to the scale of the makam Sabâ on dügâh (La/A). It possesses an ascending character. Its tonic is dügâh (La/A), its dominants are çargâh (Do/C) as well as dügâh (La/A), the dominant of the makam Nev'eser, transposed to yegâh. Its suspended candences are the same as those of the makams Sabâ and Zîrgûleli Hicâz as well as a flavor of Hicâz transposed to hüsaynî aşîrân (Mi/E). Dügâh-Bûselik A variant of the makam Dügâh of Turkish Classical Music, formed by adding the Bûselik pentachord to the basic scale of the makam Dügâh. Its tonic is dügâh (La/A), and its dominants are sabâ (that is, today's hicâz - Re/D 4 komas flat), and çargâh (Do/C). Dügâh-ı Acem A compound makam once used in, formed by adding the makam Acem to the basic scale of the makam Dügâh. This Dügâh is the same as the scale of today's Uşşâk makam. No examples have survived to the present. Dügâh-ı Hicâz A compound makam once used in Turkish Classical Music, formed by adding the scale of the makam Hicaz to the basic scale of the makam Dügâh. No examples have survived to the present. Dügâh-ı Kadîm Lit. "Old Dügâh." A compound makam once used in Turkish Classical Music. Some theoreticians have stated that it had certain characteristics similar to the scale of the modern Uşşâk makam. No examples have survived to the present. Dügâh-Mâye A variant of the makam Dügâh used in Turkish Classical Music. It is formed by adding the scale of the makam Segâh on segâh (Si/B one koma flat) onto the scale of the makam Uşşâk transposed to dügâh (La/A), and then once more adding the scale of the makam Uşşâk on dügâh (La/A). It is ascending in character, and its tonic is dügâh (La/A). Düğün Havası The general name for the entire body of melodies played in various regions of Anatolia on occasions such as weddings, henna nights, engagement parties etc.

Düm 1. In Turkish Classical Music, the syllable used to imitate the strong beats of an usûl. 2. The side or part of drums such as the davul, darbuka, kudüm etc. which produces the strong beat. Dümbelek The folk term for an instrument similar to the darbuka, mostly made of clay in darbuka form with a skin stretched over the top. Düvaz-İmam See Duvaz. Düyek A 9-beat minor usûl used in Turkish Classical Music, formed by joining two Sofyâns. Its 8/8 form has been used in nearly every genre of music both great and small, while its 8/4 form is used in forms such as peşrev, beste, şarkı and ilâhi. Düz 1. Lit. "Regular, even," the term used for even (2- and 4-beat) meters. 2. The name given to dances of the Halay and Bar form with only one section. Düzen A tuning of a string instrument. Düzenleme An arrangement. Düzenlemek (=Düzen vermek): To tune a stringed instrument. Düzüm An arrangement of strong and weak beats or section of an usûl which combine to form an usûl of Turkish music.

E Ebced Notası See Notation System. Ebû-Selik The old name for the makam Bûselik in Turkish Classical Music. Edâ Style. Edvâr The old name for books of Turkish, Persian and Arabic music theory. The word is the plural of the Arabic devr, meaning "cycle," and refers to the cyclical descriptions of the tones, makams and usûls that have come down through the different schools of musical theory. Efrûhîten A compound makam of Turkish Classical Music. Egit See Hegit. Eğin Ağzı The singing style of Erzincan's Kemaliye-Eğin province. The term is used chiefly to refer to the uzun hava style of the area. Eğri A stringed instrument played with a plectrum, used in Turkish Classical Music. Ehl-i Makam The name used, mostly by older people, for the most musically highest ranking people in musical gatherings which include religious/mystic discussions, mainly in Southern Anatolia and occasionally in central and western Turkey. These people are considered worthy of this title because of their mastery of style and the knowledge of old repertoire. El Aşırtmak "To pass the hand over;" a method of playing long-necked strings instruments by brushing the palm of the right hand over the strings. Elezber An old folk makam of the Elazığ and Urfa regions, and an uzun hava sung in this makam. The course of the makam Elezber contains elements of that of the makams Uşşâk, Hüseynî and Gerdâniye. Elifbâ Notası See Notation Systems

Engin Havası The term for songs sung mostly within a one-octave range. Tunes that go beyond an octave into the high register are called yüksek hava (high airs), which is very important information from the standpoint of folk etymology. Tunes known as engin hava include henna songs, some laments, deyiş etc. Erkân-ı Mûsiki In Turkish Classical Music, the name given in some edvars to the terennüm section of vocal works in the high forms such as kâr, beste and semâî. Erkek Ağzı Lit. "Male mouth/voice." The general name for songs of which the subject and singing style reflect the male character. Examples of genres known as "erkek ağzı" are koçaklama, yiğitleme (songs in praise manliness, heroic deeds) and those with obscene lyrics. Despite this, the themes of erkek ağzı songs and the women's counter part, kadın ağzı, often overlap. Still, the singing style is always different. Erzurum Ağzı The term for the singing style, including the local accent, of the city of Erzurum. The main characteristics of the Erzurum style are heavy vibrato and abundant syncopation. Erzurum Divanisi A melodic pattern in common use among the aşıks of Eastern Anatolia and the heavy style of divan sung in this melodic pattern. Es A rest. Esnetmek Vibrato. Evc (=Eviç) In Turkish Classical Music, the four-note scale pattern achieved by transposing the segâh tetrachord to the note ırak, in order to form a whole tetrachord. Evcârâ A makam used in Turkish Classical Music. Some theoreticians consider it a transposed (şed) makam, while others consider it a compound makam. The makam's basic scale is created by transposing the basic scale of Zirgûle'li Hicaz to ırak (Fa/F 4 komas sharp). Onto this scale, a Segâh and Müstear tetrachord or pentachord on eviç (Fa/F 4 komas sharp) is added. The makam is descending in character. Its tonic is ırak (Fa/F 4 komas sharp), and its dominants are eviç (Fa/F 4 komas sharp) and nîm hicâz (Do/C 4 komas sharp). Its suspended cadences are the flavors Müstear transposed to eviç (Fa/F 4 komas sharp), Hicâz transposed to nîm hicâz (Do/C 4 komas sharp), Nikrîz transposed to segâh (Si/B one koma flat) and sometimes Segâh transposed to nîm hicâz (Do/C 4 komas sharp). Evc-Aşîrân See Evc-Hûzî

Evc-Bûselik A variant of the makam Evc used in Turkish Classical Music, created by adding a Bûselik pentachord to the Evc scale. Its tonic is dügâh (La/A), and its dominants are evc and ırak Evc-Gerdâniye A variant of the makam Evc used in Turkish Classical Music, created by adding the scale of the makam Gerdâniye to the Evc scale. Evc-Hûzî A variant of the makam Evc used in Turkish Classical Music, created by adding the scale of the makam Hûzî to the Evc scale. Its tonic is dügâh (La/A). Evc-Isfahân A variant of the makam Evc used in Turkish Classical Music, created by adding the scale of the makam Isfahân to the Evc scale. Its tonic is dügâh (La/A). Evc-i Şevk A variant of the makam Evc used in Turkish Classical Music, created by Akın özkan. Its tonic is hüseynî aşîrân. Evc-Kürdî A variant of the makam Evc used in Turkish Classical Music, created by the addition of a Kürdî tetrachord to the Evc scale. It is believed to have been created by Sultan Selim III. Evc-Muhâlif A variant of the makam Evc used in Turkish Classical Music, and is created by adding the basic scale of any makam in the Hicâz family to the Evc scale. Its tonic is dügâh (La/A). Evc-Matlûb (Evc-Maklûb) A variant of the makam Evc used in Turkish Classical Music Evc-Mâye A variant of the makam Evc used in Turkish Classical Music. Evc-Nihâvendî A variant of the makam Evc used in Turkish Classical Music, created by adding the Nihâvend makam to the Evc scale. Its tonic is rast (Sol/G). No examples have survived to the present. Evc-Rûy-i Nevâ A variant of the makam Evc used in Turkish Classical Music. Evc-Sabâ A variant of the makam Evc used in Turkish Classical Music, created by adding the makam Sabâ onto the Evc scale. Evfer A nine-beat minor usûl used in Turkish Classical Music. It is created by combining Sofyân and Türk Aksağı with its three-count at the beginning. Its 9/4 form is known as

Mevlevî Evferî. It used used in the şarkı, türkü and ilâhî forms as well as Mevlevî ceremonies. Evfer-Mısrî A 19-beat major usûl found in Arab countries in which the Turkish Classical Musical system is used. Eviç See Evc. Evsat A 26-beat major usûl used in Turkish Classical Music, created by combinging one Türk Aksağı, two Sofyân, another Türk Aksağı and two more Sofyân. It is used in forms such as ilâhî, beste, şarkı and peşrev. Ezân The adhan, the call to prayer in Muslim societies. It is a form of religious music, sung at certain hours of the day from mosques in a way as to be heard outside, in various makams, in free meter. There are also composed ezâns. Ezgi 1. Melody, tune. 2. A general term for "music," used in many areas of Anatolia and including the concepts of melody, air, makam etc. In some areas the word appears as ezgü or özgü. It is the root of a great many derivative words, such as ezgilendirmek, ezgilemek, ezgi ağzı, ezgi düzeni, etc. The most commonly used is ezgilemek. Ezgilemek To set a poem to music, either already extant or newly composed. Ezgi Yürüyüşü Lit. "the walk of the melody," i.e., the course of the melody, the melodic progression.

F Fahriyye 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. Fâhte 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. Fantezi 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. Farfara In a quick, lively, frenetic manner. A term for excited or frenetic playing in dance tunes. Farsa See Tekerleme. Farsak 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. Fasıl 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. Fâsıla See Aralık. Fasıl Heyeti A fasıl ensemble. See Fasıl. Fazla (=Ziyâde/Koma) See Koma.

Fer' (=Fer'i/Fer'i Muhammes) 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. Ferah A compound makam once used in Turkish Classical Music. No examples have survived to the present. Ferah-Âver A variant of the makam Ferah used in Turkish Classical Music. Ferahfezâ 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. Ferahi Düzeni The term used in the Uşak region for the Bozuk/Kara Düzen saz tuning. Ferahnâk 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. Ferahnâk-Aşîrân 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. Ferahnâk Beşlisi (Ferahnâk Pentchord) In Turkish Classical Music, a five-note scale pattern formed so as to creat a perfect fifth, from the note ırak.

Ferahnümâ 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. Ferahzâr A compound makam used in Turkish Classical Music. Ferah-zâyi 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). Fer'i Muhammes See Fer'. Feth-i Bağdat 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. Feth-' Belgrad 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. Feth-i Dil A compound makam used in Turkish Classical Music. Feth-i Hicâz A compound makam used in Turkish Classical Music. Fevka'l-Mahatt See Durak Üstü. Fırıttım Havası The name for a genre of dance tunes (oyun havası) performed in dancing and drinking parties in Çankırı and the surrounding region. Fidayda 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. Fidayda Düzeni 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. Fifre A fife.

Fihrist Peşrev 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. Fîlcan An instrument once used in Turkish music. Some theoreticians believe that it is the same as the kâsât invented by Abdülkâdir Merâgî. Fingil 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). Firengî Fer' 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. Firenkçin 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. Folk Dance (Halk Oyunu) 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. Folk Music (Halk Müziği) 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.

G 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.

H Hâbıt Descending, as a characteristic of a melody. Hadrâ A compound makam once used in Turkish Classical Music. No examples have survived to the present. Hafif A 32-beat major usûl used in Turkish Classical Music, consisting of eight measures of Sofyân in different arrangements. It is used in forms such as peşrev, kâr, best, ilâhî and tevşîh. Hafîfü'l-Hezec A light version of the major usûl Hezec (See Hezec) used in Turkish Classical Music. No examples have survived to the present Hâkim See Güçlü. Halay The name for circular line dances of Eastern, Central and Southern Anatolia, and the music that accompanies these dances. Believed to derive from the word alay (parade, pageant) in the sense of "community, society," halays constitute the largest repertoire of Turkish folk music and dances. Halays may be danced by men and women together, or separately. Halîle See Zil. Halîle-Zen See Zil-Zen. Halk Oyunu See Folk Dance. Halk Müziği See Folk Music. Halk Türküsü The urban turm for local folk songs. Hamdiyye A type of ilâhî in Turkish Classical Music, comprised of those which contain lyrics thanking God.

Hâne In Turkish Classical Music, the name for each section of a composition separated by the lines of the lyrics and the course of the melody. With the exception of the nakış form, almost all forms contain four hânes. The first hâne is known as the zemin-hâne (ground hane) or ser-hâne (head hâne); the second as the nakarat or mülazime; the third as the meyan-hâne and the fourth as the son-hâne (last hâne), nakarat or mülazime. Hânende A vocalist in Turkish Classical Music. Harput Ağzı The term for the uzun hava singing style common in the Harput/Elazığ region. Harrân A compound makam once used in Turkish Classical Music. No examples have survived to the present. Harzem A fourteen-beet minor usûl once used in Turkish Classical Music, composed of two measures of Türk Aksağı and one of Sofyân. No examples have survived to the present. Hava Lit. "an air." The general colloquial term for music; it is also used to mean a tune, a melody, a melodic pattern, various makam patterns, as well as poetry such as türkü or mani that have been set to music. Hava Çekmek Lit. "To pull an air;" a colloquial term meaning "to sing an uzun hava." It is sometimes used for singing of a folk song in general. Havâî (=Hevâî/Merdem-Zâd) In Turkish folk music, an older term for the taksim. Hâver A makam once used in Turkish Classical Music. Hâvî A 64-beat major usûl used in Turkish Classical Music, composed of two measures of Sofyân, two of Yürük Semâî, seven of Sofyân and one Nîm Hafîf. It is used in the beste and peşrev forms. Hayâl-i Murâd A compound makam once used in Turkish Classical Music. No examples have survived to the present. Hayân A compound makam used in Turkish Classical Music. Some theoreticians consider this makam a variant of the makam Neveser. Its dominant is rast (Sol/G).

Haytma The singing of songs such as türkü, mani and uzun hava. Aytmak. Hazân A compound makam once used in Turkish Classical Music. No examples have survived to the present. Hece vezni Poetic meter based on the number of syllables. The largest part of Turkish folk literature consists of poems in such meters. Heftgâh A makam used in Turkish Classical Music, defined by some theoreticians as a transposed (şed) makam. It is created by transposing the scale of the makam Segâh to nîm hicâz (Do/C four komas sharp). Its tonic is nîm hicâz (Do/C four komas sharp) and its dominant is hüseynî aşîrân (Mi/E). Hegit A bowed string instrument once used mostly by the southern Turkmen but no longer in use today. Syn. egit, eğit. Helhele Ululation, a sound consisting of li li li li or lü lü lü lü, made by women in Southern Anatolia to express excitement, joy or grief. Also known as zılgıt. Hezec A 22-beat major usûl used in Turkish Classical Music, used in the peşrev, beste and kâr forms. It has variants such as Hezec-i Arabî and Hezec-i Türkî, as well as degrees such as Hezec-i Hafîf and Hezec-i Sakıyl. Hicâz 1. In Turkish Classical Music, the note Do/C five komas sharp in the high octave. 2. A simple makam used in Turkish Classical Music. It is formed by adding a Râst pentachord transposed to nevâ (Re/D) to the Hicâz tetrachord on dügâh (La/A - in its place). It usually exhibits a descending-ascending character, and sometimes a purely ascending one. Its tonic is dügâh (La/A), and its dominant is nevâ (Re/D). Its suspended cadences are nîm hicâz (Do/C four komas sharp) with the Nikrîz flavor, and dik kürdî (Si/B four komas flat), which are also the suspended cadences of the makam Humayûn; as well as the semitonics of the other makams in the Hicâz family (See Hicâz Family)ç These ınclude Bûselik transposed to nevâ (Re/D), Uşşâk transposed to hüseynî aşîrân (Mi/E) and flavors of Hicâz. Hicâz-Acem A makam once used in Turkish Classical Music. Hicâz-Aşîrân See Râhatfezâ.

Hicâz-Bûselik A variant of the makam Hicâz used in Turkish Classical Music, created by Dede Efendi by adding a Bûselik pentachord or the basic scale of the makam Bûselik to the basic Hicâz scale. Its tonic is dügâh (La/A) and its dominant is nevâ (Re/D). Hicâz-Büzürk A makam once used in Turkish Classical Music. Hicâz-Dilkeş A makam once used in Turkish Classical Music. Hicâz Family A category of simple makams in Turkish Classical Music. The makams Hümâyûn, Hicâz, Uzzal and Zirgûleli Hicaz, which resolve on dügâh (La/A) with the Hicâz flavor and are descending-ascending in character, are classified under this category. They are differentiated by their dominants and flavors on these notes. In Turkish music, there is much transition between the Hicâz famil makams. Hicâz-Gerdâniye A makam once used in Turkish Classical Music. No examples have survived to the present. Hicâz-Geveşt A makam once used in Turkish Classical Music. No examples have survived to the present. Hicâz-Hüseynî The name given to the makam Hisâr by Alî-Şâh. Hicâz-Mâye A variant of the makam Hicâz once used in Turkish Classical Music. No examples have survived to the present. Hicâz-Nevrûz A variant of the makam Hicâz once used in Turkish Classical Music. No examples have survived to the present. Hicâz-Selmek A variant of the makam Hicâz once used in Turkish Classical Music. No examples have survived to the present. Hicâz-Şehnâz A variant of the makam Hicâz once used in Turkish Classical Music. No examples have survived to the present. Hicâz-Zemzeme A varıant of the makam Hicâz used in Turkish Classical Music, created by adding the Kürdî tetrachord to the basic Hicâz scale. Its tonic is dügâh (La/A), and its dominant is nevâ (Re/D).

Hicâz-Zengûle See Zengûle. Hicâz-Zirgûle See Zengûle. Hicaz Pentachord A five-note scale pattern created by adding a whole tone to one Hicâz tetrachord (See Hicâz tetrachord) on dügâh (La/A - in its place). Hicâz-ı Garîb See Garîb Hicâz. Hicâz-ı Hicâz A variant of the makam Hicâz once used in Turkish Classical Music. No examples have survived to the present. Hicâz-ı Hümâyun See Hümâyun. Hicâz-ı Muhâlif See Râhatfezâ. Hicâz-ı Muhâlifek A variant of the makam Hicâz used in Turkish Classical Music Hicâz-ı Irâk (=Hicâzî Irâk) A variant of the makam Hicâz used in Turkish Classical Music, created by adding an ırâk tetrachord (which is the segâh tetrachord transposed to ırak - Fa/F four komas sharp) to the basis scale of the makam Hicâz. Its tonic is ırâk, and its dominants are dügâh (La/A) and nevâ (Re/D). Hicâz-ı Rekb A variant of the makam Hicâz once used in Turkish Classical Music. No examples have survived to the present. Hicâz-ı Rûmî A variant of the makam Hicâz used in Turkish Classical Music, created by adding the basic scale of the makam Hisâr to the basic Hicâz scale. Hicâz-ı Türkî (=Türkî Hicâz) A variant of the makam Hicâz used in Turkish Classical Music, created by adding the basic scale of the makam Nikrîz to the basic Hicâz scale. Its tonic is rast (Sol/G). Hicâzeyn A variant of the makam Hicâz used in Turkish Classical Music, created by Sultan Selim III by adding a Hicâz scale transposed to hüseynî aşîrân (Mi/E) to the basic scald of the makam Hicâz. The reason for the name Hicâzeyn, meaning "Two Hicâz" is the use of two Hicâz scales in the makam. Its tonic is hüseynî aşîrân (Mi/E), and its dominants are dügâh (La/A) and nevâ (Re/D).

Hicâzî One of the old names for the makam Hicâz. Hicâzî Irâk See Hicâz-ı Irâk. Hicâzî Isfahân A variant of the makam Hicâz once used in Turkish Classical Music. No examples have survived to the present. Hicâzî Uşşâk A variant of the makam Hicâz used in Turkish Classical Music, created by adding the basic scale of the makam Uşşâk or Hüseynî to the basic Hicâz or Hümayûn scale. Appearing in one nefes, this makam was named by Rauf Yektâ Bey. Its tonic is dügâh (La/A), and its dominants are nevâ (Re/D) and hüseynî (Mi/E). Hicâzkâr A makam used in Turkish Classical Music. According to some theoreticians, it is a transposed (şed) makam. Howwever, it has also been used as compound makam with an altered scale. When the main scale is not changed, only transposed to râst (Sol/G), it is created by transposing the basic scale of the makam Zirgûle'li Hicâz to râst (Sol/G). It is descending in character. Its tonic is râst (Sol/G), and its dominants are gerdâniye (Sol/G) and nevâ (Re/D). When the main scale does not change, its suspended cadences are the flavors Hicâz transposed to nevâ (Re/D), Nikrîz transposed to çargâh (Do/C) and Hüzzâm transposed to segâh (Si/B one koma flat). When the scale does change, they are the flavors Kürdî transposed to nevâ (Re/D) and Bûselik transposed to çargâh (Do/C). Hicâzkâr-Bûselik A variant of the makam Hicâzkâr used in, created by Santûrî Ethem Efendi by adding the Bûselik pentachord or basic scale to the basic Hicâzkâr scale. Its tonic is dügâh (La/A) and its dominant is nevâ (Re/D). Hicâzkâr-ı Kadîm A variant of the makam Hicâzkâr once used in Turkish Classical Music. Hicâzkâr-Kürdî The old name of the makam Kürdî'li Hicâzkâr. Hicrânî The name of an âşık makam of Northern Anatolia. In other parts of Anatolia, this word is used as a title or adjective: Hicrani Kerem, Hicrani ağıt, Hİcrani makamı. Hisâr The note Re/D five komas sharp or Mi/E four komas flat in the high octave. Hisâr-Aşîrân A variant of the makam Hisâr used in Turkish Classical Music, created by Râkim Elkutlu by adding an Uşşâk tetrachord transposed to hüseynî aşîrân (Mi/E) to the basic scale of

the makam Sûz-i Dil. Its tonic is hüseynî-aşîrân (Mi/E), and its dominant is bûselik (Si/B). Hisâr-Bûselik A variant of the makam Hisâr used in Turkish Classical Music. According to some theoreticians, there are two forms of this makam: One of these is is created by adding the Bûselik pentachord or basic scale to one of the scales that creates the makam Hisâr; the other is created by adding the basic pentachord or basic scale of the makam Bûselik directly to the Sûz-i Dil makam instead of the Hüseynî pentachord or basic scale. It is descending-ascending in character. Its tonic is dügâh (La/A), and its dominant is hüseynî (Mi/E). Hisârek A variant of the makam Hisâr once used in Turkish Classical Music. No examples have survived to the present. Hisâr-Evc A variant of the makam Hisâr once used in Turkish Classical Music. No examples have survived to the present. Hisâr-ı Büzürk A variant of the makam Hisâr once used in Turkish Classical Music. No examples have survived to the present. Hisâr-ı Gayr-ı Müsteâr A variant of the makam Hisâr once used in Turkish Classical Music. No examples have survived to the present. Hisâr-ı Nîk A variant of the makam Hisâr once used in Turkish Classical Music. No examples have survived to the present. Hisâr-ı Vecch-i Şehnâz A variant of the makam Hisâr used in Turkish Classical Music, created by combining the scales of the makams Şehnâz and Hisâr. Its tonic is dügâh (La/A). Hisâr-Kürdî A variant of the makam Hisâr once used in Turkish Classical Music, created by Abdükbâki Nâsır dede by adding a Kürdî tetrachord to the scale of the makam Hisâr. Its tonic is dügâh (La/A). No examples have survived to the present. Hocest A compound makam once used in Turkish Classical Music. No examples have survived to the present. Hoplatma A fast, lively section of a folk dance such as Halay or Bar.

Hora A folk dance common in the Balkans and Thrace, and the melody that accompanies this dance. Horan See Horon. Horâsânî A compound makam used in Turkish Classical Music. According to some theoreticians, it is created by adding the basic scales of the makams Vech-i Hüseynî, Dügâh, Uzzâl and Zengûle to the basic scale of the makam Uşşâk. Its tonic is dügâh (La/A). Horâsânî-i Bayâtî A compound makam once used in Turkish Classical Music. No examples have survived to the present. Horlatma Lit. "To make snore" - A technique of playing the end-blown flute (kaval) in such a way as to produce certain tones together with their harmonics. Also known as sızlatmak. Horon Any of several line dances of the Central and Eastern Black Sea, and the music that accompanies these dances. Hoş-Âver A compound makam once used in Turkish Classical Music. No examples have survived to the present. Hoş-Reng A 17-beat major usûl used in Turkish Classical Music. No examples have survived to the present. Hoş-Serâ(y) A compound makam once used in Turkish Classical Music. No examples have survived to the present. Hoyrat A non rhythmic (free measured) melody which's lyrics are settled on metaphoric Turkish poems. Mostly singed among Southern Anatolian and Iraqi Turkmens. Hûcet A compound makam once used in Turkish Classical Music. No examples have survived to the present. Hûdavendigâr A compound makam once used in Turkish Classical Music. Hûfte-Isfahan Klâsik A compound makam once used in Turkish Classical Music. No examples have survived to the present.

Hûzî A compound makam used in Turkish Classical Music, created by adding a Çargâh pentachord to the basic scale of the makam Uşşâk. Its tonic is dügâh (La/A) and its dominant is çargâh (Do/C) or nevâ (Re/D). Hûzî-Aşîrân A variant of the makam Hûzî used in Turkish Classical Music, formed by adding a Hüseynî pentachord on hüseynî aşîrân (Mi/E) to the basic scale of the makam Hûzî. Its tonic is hüseynî aşîrân (Mi/E) and its dominants are dügâh (La/A), çargâh (Do/C) and nevâ (Re/D). Hûzî-Bûselik A variant of the makam Hûzî used in Turkish Classical Music, formed by adding a Bûselik basic scale or pentachord to the Hûzî scale. Its tonic is dügâh (La/A). Hûzî Nigâr A variant of the makam Hûzî used in Turkish Classical Music. Hüdayda One of the most common folk melodies in the Ankara region. Hüdayda Düzeni (Tuning) The saz tuning adapted to the tune Hüdayda of the Ankara region. The lower string is La/A, and the middle and upper strings are Re/D. Hümâyûn (=Hicâz Hümâyûn) A simple makam used in Turkish Classical Music, formed by adding a Bûselik pentachord transpoased to nevâ (Re/D) to the Hicâz tetrachord on dügâh (La/A - in its place). It is mostly ascending-descending, and sometimes purely ascending in character. It's tonic is dügâh (La/A), and its dominant is nevâ (Re/D). Its suspended cadences are the Nikrîz flavor on râst (Sol/G - in its place) which, the notes nîm hicâz (Do/C four komas sharp) and dik kürdî (Si/B four komas flat), which are also the suspended cadences of the makam Hicâz, as well as the flavors Râst transposed to nevâ (Re/D), Uşşâk transposed to hüseynî (Mi/E) and Hicâz, which flavors on the other domints comprising the Hicâz family. Hüseynî 1. The name in Turkish Classical Music for the note Mi/E in the high octave. 2. A simple makam used in Turkish Classical Music, cormed by adding an Uşşâk tetrachord transposed to hüseynî (Mi/E) to the Hüseynî pentachord on dügâh (La/A - in its usual place). It is descending-ascending in character. Its tonic is dügâh (La/A), and its dominant is hüseynî (Mi/E). Its suspended candences are çargâh (Do/C), segâh (Si/B one koma flat) and nevâ (Re/D), as well as the flavors Çargâh on çargâh (in its place), Pençgâh transposed to çargâh, Segâh on segâh (in its place) Eksik Segâh, Ferahnâk and Eksik Ferahnâk transposed to segâh, and Rast and Bûselik transposed to nevâ, as well as the Segâh trichord. 3. A makam commonly used in Alevi-Bektashi communities, as well as melodic patterns performed in this makam.

Hüseynî-Acem A variant of the makam Hüseynî once used in Turkish Classical Music. No examples have survived to the present. Hüseynî-Arabân A variant of the makam Hüseynî used in Turkish Classical Music, formed by adding the basic scale of the makam Arabân to the Hüseynî scale. Hüseynî-Aşîrân 1. The name for Mi/E in the middle octave in Turkish Classical Music. 2. A compound makam used in Turkish Classical Music. It is formed by adding an Uşşâk tetrachord transposed to hüseynî aşîran (Mi/E) to the basic scale of the makam Hüseynî on dügâh (in its place). It is descending in character. Its tonic is hüseynî aşîrân (Mi/E), and its dominants are hüseynî (Mi/E) and dügâh (La/A). Its suspended cadences are the flavors Çargâh on çargâh (Do/C), Râst and Bûselik on nevâ (Re/D), Segâh and Ferahnâk on segâh (Si/B one koma flat), Râst on râst (Sol/G), Segâh on ırâk (Fa/F four komas sharp) and Râst on yegâh (Re/D) as well as the Segâh trichord on segâh. Hüseynî-Aşîrân-ı Cedîd (=Aşîrân-ı Cedîd) In Turkish Classical Music, the name given in musical journals by Sadullah Ağa to the Hüseynî Aşîrân fasıl, composed of Zincir and Hafif bestes, and the Sengin andYürük Semâîs of Sultan Selim III Hüseynî-Bûselik A variant of the makam Hüseynî used in Turkish Classical Music, created by Kâzım Uz by adding a Bûselik pentachord or basic scale to the basic scale of the makam Hüseynî. Its tonic is dügâh (La/A) and its dominant is hüseynî (Mi/E). Hüseynî-Gerdâniye A variant of the makam Hüseyni once used in Turkish Classical Music. No example have survived to the present. Hüseynî-Geveşt A variant of the makam Hüseyni once used in Turkish Classical Music. No example have survived to the present. Hüseynî-Kürdî See Hüseynî-Zemzeme. Hüseynî-Nevrûz A variant of the makam Hüseyni once used in Turkish Classical Music. No examples have survived to the present. Hüseynî-Nikrîz A variant of the makam Hüseyni once used in Turkish Classical Music. Hüseynî-Rehâvi A variant of the makam Hüseyni once used in Turkish Classical Music. No examples have survived to the present.

Hüseynî-Sabâ A variant of the makam Hüseyni used in Turkish Classical Music created by adding the basic scale of the makam Sabâ to the basic Hüseynî scale. Its tonic is çargâh (Do/C) and its dominants are dügâh (La/A) and hüseynî (Mi/E). Hüseynî-Şehnâz A variant of the makam Hüseyni once used in Turkish Classical Music. No example have survived to the present. Hüseynî-Zemzeme (=Hüseynî-Kürdî) A variant of the makam Hüseyni used in Turkish Classical Music, formed by adding a Kürdî tetrachord to the basic Hüseynî scale. Its tonic is dügâh (La/A) and its dominats are hüseynî (Mi/E) and nevâ (Re/D). Hüseyni Beşlisi (Pentachord) A five-note scale pattern used in Turkish Classical Music,formed by adding a whole step to the Uşşâk tetrachord on dügâh (La/A - in its place). Hüsn-ü Ân A compound makam once used in Turkish Classical Music. No example have survived to the present. Hüzzam A compound makam used in Turkish Classical Music. It is creater adding a Hicâz tetrachord transposed to evc (Fa/F four komas sharp) to the Hüzzam pentachord on segâh (Si/B one koma flat - in its place). Its tonic is segâh (Si/B one koma flat) and its dominant is nevâ (Re/D). Hüzzam-ı Cedid A variant on the makam Hüzzam used in Turkish Classical Music, formed by adding a Segâh tetrachord on ırâk (Fa/F four komas sharp) to the basic scale of the makam Hüzzam. Its tonic is ırâk, and its dominants are nevâ (Re/D) and segâh (Si/B one koma flat). Hüzzam-ı Kadîm "Old Hüzzam." A variant of the makam Hüzzam once used in Turkish Classical Music. No examples have survived to the present. Hüzzam-ı Rûmî (=Anadolu Hüzzamı) "Old Hüzzam." A variant of the makam Hüzzam once used in Turkish Classical Music. No examples have survived to the present. Hüzzam Beşlisi (Pentachord) A five-note scale pattern used in Turkish Classical Music formed by adding a whole tone to the Hüzzam tetrachord (See Hüzzam Tetrachord) on segâh. Hüzzam Dörtlüsü (Tetrachord) A four-note scale pattern in formed from the note segâh (Si/B one koma flat - in its place) so as to form a diminished fourth.

I Iklığ 1. A long-necked instrument with three strings and a horsehair bow, considered to be an ancestor of the kemençe and similar bowed instruments. 2. A general term for bowed instruments. Also Iklık. Ir A sung melody, makam, air, folk song. Also Yır. Always used in reference to songs with lyrics. Irâk 1. In Turkish Classical Music, the note Fa/F four komas sharp in the middle octave. 2. A compound makam used in Turkish Classical Music, formed by adding an Uşşâk tetrachord in its place to the Segâh tetrachord on ırâk (Fa/F four komas sharp). It is ascending in character. Its tonic is ırâk (Fa/F four komas sharp) and its dominant is dügâh (La/A). Its suspended cadences are the Segâh pentachord on ırâk (Fa/F four komas sharp) and the Hicâz flavor on kaba nîm hicâz (Re/D four komas sharp). Irâk-Aşîrân A variant of the makam Irâk used in Turkish Classical Music. Irâk-Gerdâniye A variant of the makam Irâk once used in Turkish Classical Music. No examples have survived to the present. Irâk-Geveşt A variant of the makam Irâk once used in Turkish Classical Music. No examples have survived to the present. Irâk-Mâye A variant of the makam Irâk once used in Turkish Classical Music. No examples have survived to the present. Irâk-Nevrûz A makam created by Sultan Murat II. Irâk-Selmek A variant of the makam Irâk once used in Turkish Classical Music. No examples have survived to the present. Irâk-Şehnaz A variant of the makam Irâk once used in Turkish Classical Music. No examples have survived to the present.

Irâk-ı Acem A variant of the makam Irâk once used in Turkish Classical Music. No examples have survived to the present. Irâk Dörtülüsü (Tetrachord) A four-note scale pattern used in formed by transposing the segâh tetrachord to the note ırâk so as to form a perfect fourth. Irızva A small instrument in the bağlama family resembling the cura. Though it was in very common use by the Southern Turkmen, it has fallen from favor today. Among the southern Alevis,it is known as Ruzba (See Ruzba). Irlamak To sing, always used for songs with lyrics. Ahtough this verbed, used in eastern Anatolia, was recommende by some music circles, it did not become common and is not used. Isfahân A compound makam used in Turkish Classical Music, formed by adding the Râst tetrachord transposed to dügâh (La/A) to the basic scale of themakam Isfahân. Its tonic is dügâh (La/A) and its dominant is nevâ (Re/D). It is descending-ascending in character. Isfahân-Bûselik A variant of the makam Isfahân used in Turkish Classical Music, formed by adding a Bûselik pentachord to the scale of the makam Isfahân. No examples have survived to the present day Isfahân-Gerdâniye A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present. Isfahân-Geveşt A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present. Isfahân-Irak A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present Isfahân-Mâye A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present. Isfahân-Nevrûz A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present.

Isfahân-Rûy-i Nevâ A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present. Isfahân-Selmek A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present. Isfahân-Şehnâz A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present. Isfahân-Zemzeme A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present. Isfahân-ı Cedîd See Isfahânek-i Cedîd. Isfahân-ı Sultânî A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present. Isfahânek A compound makam used in Turkish Classical Music, formed by adding a Sabâ tetrachord in its place to the Isfahân scale. It is ascending-descending in character. Its dominant is dügâh (La/A), and its dominant is nevâ (Re/D). Its suspended cadences and extension are identical with that of the simple Isfahânmakam. See Isfahân. Isfahânek-i Atıyk A variant of the makam Isfahân onced used in Turkish Classical Music. Isfahânek-i Cedîd A variant of the makam Isfahân onced used in Turkish Classical Music, which was created by Sultan Selim III. Isfahânî A compound makam of Turkish Classical Music. Istıhâb See Düzen. İbrâhîmî 1. A makam used in Turkish Classical Music. 2. An âşık makam used in Northern Anatolia. 3. A free-rythm melodic pattern used in Şanlıurfa and Diyarbakır. İcrâ Hey'eti 1. An ensemble performing Turkish Classical Music. 2. The Turkish Classical Music ensemble which was established at the Istanbul Municipal Conservatory by Sadeddin Arel and performed for many years there.

İhvânu's-Safâ A literary and philosophical school founded in Basra in the second half of the 10th century. It founders used this name for themselves, and through joint effort, published an encyclopedia. Known as the Resâil, this work's fifth volume was devoted to music. Îkaa The usûl patterns of Turkish Classical Music. Îkaaî Terennüm See Terennüm-i İkaa'i Isfahân-Irak A variant of the makam Isfahân onced used in Turkish Classical Music. No examples have to the present. İkinci Beste In the classical fasıl progression, the second of two bestes and two semâîs composed by the same composer in the beste form. It is quicker and livelier than the first beste. İki Telli (İkitelli) A folk instrument in the bağlama family with either two single strings or two courses of strings, played with a plectrum or the fingers. In the Balkans, this instrument is called Çiftteli. It has fallen from favor in modern-day Anatolia. İkiz Aksak A 12-beat minor usûl used in Turkish Classical Music, composed of one cycle of Devr-i Hindî and one of Türk Aksağı İlâhî Mystic poems set to music, which emphasize praise for God and his diving power. They are sun with religious communities and orders but there are also ilâhîs sung among the people, such as the Beşik İlâhîsi (Cradle İlâhî) as well as those for the bride and the applying of henna. Such ilâhîs serve the main purpose of blessing the person in question and entreating God for his blessings. İlâhîci A singer of ilâhîs İmâle The extension of a short syllable in a poetic meter. İncesaz The Turkish Classical Musical ensemble including both vocalists and instrumentalists. İnici Descending, used both to describe descent of a scale, as well as the seyir (course, progression) of the makams of Turkish Classical Music.

İntikaal See Geçki. İrhâ The Arabic term for "koma." İrticâl Spontaneous music or poetry. İskenderî A type of hoyrat common among the Turkmen of Iraq. This type of melody has recently become quite common in Turkey as well. İşleme (=Süsleme) Ornamentation.

K Kaba 1. In Turkish Classical Music, the term for low notes. 2. The name for a type of halay in which the lead dancer dances individually with special movements while the rest of the dancers dance in unision. Kaba Çargâh In Turkish Classical Music, middle Do/C. Kaba Dik Hicâz In Turkish Classical Music, the note Do/C 8 komas sharp or Re/D one koma flat in the middle octave. Kaba Dik Hisâr In Turkish Classical Music, the note Re/D 8 komas sharp or Mi/E one koma flat. Kaba Düdük A type of flute made of boxwood. Kaba Hicâz In Turkish Classical Music, the note Do/C five komas flat or Re/D four komas sharp in the middle octave Kaba Hisâr In Turkish Classical Music, the note Re/D five komas sharp or Mi/E four komas flat. Kaba Kaba "The lowest." In Turkish Classical Music, the term for notes lower than the middle octave. Kaba Kemençe An alto kemençe, said once to have been used during köçekçe performances. Kaba Nîm Hicâz In Turkish Classical Music, Do/C five komas sharp or Re/D four komas flat in the middle octave. Kaba Nîm Hisâr In Turkish Classical Music, the note Re/D four komas sharp or five komas flat in the middle octave. Kaba Sâz In Turkish Classical Music, the ensemble that plays dance music and köçekçe music in particular.

Kaba Zurna The widest and longest of the zurna family. Kaba zurnas are played in western Turkey, in Thrace and in some areas of Central Anatolia. They are also used in Mehter music. Kabak Kemane Lit. "gourd fiddle." A bowed folk fiddle about 30 cm long with three strings, a body constructed out of a gourd with a soundboard made of the pericardium of a large animal such as a cow or ox. Played mostly by the Turkmen in Southern and Western Anatolia, it may be played solo or as part of an ensemble that includes bağlamas, wind and percussion instruments. See Iklığ. Kâbilî A compound makam used in Turkish Classical Music. No examples have survived to the present. Kadın Ağzı The general name used ın Anatolıa for a singing style unique to women. The subjects of "kadın ağzı" songs generally include songs/laments about husbands who have gone abroad to work, dirges, lullabyes and henna songs. Kafiye Rhyme. Also Uyak, Ayak. Kaide Lit. "base," a term used colloquially in the sense of melody, air, makam, and mostly prounounced as "gayda." Kalak The bell of the zurna. Kalenderî 1. A melodic pattern dedicated to the Kalenderî order, an important urban order of Alevism-Bektashism, and the makam characteristics of this pattern. 2. Poetry written in the hece and arus meters. The aruz meter is expressed as "mef'ûlü mefâ'îlü mefâ'îlü fe'îlün;" there are examples with two, four, five and six lines. The hece versions are mostly in eleven- and fifteen-line patterns as well as quatrains. Kalıp Form, pattern, mold. Kalıp Ezgi In folk music, a set melodic pattern which is part of local performance and determined by traditional rules. Kalış See Karar Kalyonca An old Turkish palace dance.

Kamış The reed of any woodwind instrument. Kanto A type of "Fantezi" (See Fantezi) song which developed in the mid 19th century and became popular in the early 20th century. Believed to have developed under the influence of Italian music, kantos are light songs which the singer performs solo while dancing, on subjects from everyday life. Kanûn An harp-like instrument used in Turkish Classical Music, played with two plectrums. It became widespread in the mid 19th century and is played in most of the countries of the Near East. Kanûnî A player of the kanûn. Kânûn-i Murassa'i Müdevver An old type of kanûn. Kapak The face/soundboard of a stringed instrument. Kapalı-Ağız (Kapalı Ağızla) Lit. "(With) Closed mouth." To hum a piece. Kâr The highest form of Turkish secular music, generally composed in the major usûls and with Persian lyrics. In fasıl performance, it comes between the peşrev and the best. Its lyrics are in the murabbâ (quatrain) form but usually with more lines, and with much terennüm (vocal ornamented passages). They are distinguished from the bestes by the fact that they begin with terennüm, feature geçki (See Geçki) and are longer. Before the 18th century in particular, they were one of the most-used forms, and a composer's skill was measured in his proficiency in composing kârs. Karabâğî A compound makam used in Turkish Classical Music. Karabatak In Turkish Classical Music, instrumental pieces where certain instruments play solo at certain times rather than playing in unison. The most common forms played in this manner are generally peşrevs and saz semâîsis. Karaçi The term for musical ensembles used in Southern Anatolia, particularly in the area of Şanlıurfa, Mardin, Adıyaman, Diyarbakır and Siirt.

Karadüzen 1. A common tuning used with nearly all the members of the bağlama family. The lowest string is La/A, the middle string is Re/D and the upper string is Sol/G 2. The name for an instrument in the bağlama family, the size of a cura. Although it appears in historical sources, it is not used today. Karar In Turkish Classical Music, the note on which the seyir (course/progression) of a makam resolves. The tonic. See Karar Sesi. Karargâh See Durak, Karar. Karar Sesi (Karar Perdesi) The tone on which a melody resolves. Karcığar A simple makam of Turkish Classical Music, formed by adding a Hicâz pentachord transposed to nevâ to an Uşşâk tetrachord in place. It is descending-ascending in character. Its tonic is dügâh (La/A) and its dominant is Re/D). Its suspended cadences are the flavors Nikrîz on çargâh and Sûz'nâk on râst, the Hüzzam pentachord on segâh, and the notes eviç and hisâr. Kârçe A smaller, shorter version of the kâr form. See Kâr. Kâr-ı Nâtık (=Kâr-ı Fihrist) A type of kâr. It departs from the true kâr form in that every line of its lyrics is in a different makam and usûl. They are generally referred to by the makam in which they begin, and they conclude with that same makam. Karma Fasıl A fasıl program featuring a repertoire chosen from several different makams. Karşılama A type of folk dance most common in the Marmara Region, (especially Thrace) and the provinces of Giresun and Ordu on the Black Sea; and the music that accompanies this dance form. Wherever they are played, they are in nine, but the internal rhythm and structure differs. Kâse Lit. "Bowl." An old percussion instrument. See Tas. Kasîde The term for pieces in the gazel form of Turkish religions music, sung mostly in praise of one person. In addition to Turkish music, they also exist in the Iranian and Arab musical traditions.

Kasîde-Han A performer of kasîde. Kaşık Lit. spoon. In the context of music, the folk percussion instrument consisting of short- and long-handled wooden spoons. They are played mostly in Central and Western Anatolia Katakofti In Turkish Classical Music, an eight-beat minor usûl, consisting of one cycle each of semâî and Türk Aksağı, better known as Müsemmen. See Müsemmen. Kaval A folk flute. The term applies generally to any flute constructed by hollowing out a cylinder of wood. Ranging from 30 to 80 centimeters in length, with seven holes in front and one thumb hole in the back, these instruments are familiar throughout Turkey. There are two types, one with a fipple, the other without; each with its own playing technique. Kavuştak A form of refrain, sung in between the words/verses of a folk song and generally having little to do with the meaning of the actual lyrics. Other terms including bağlantı, nakarat and dönderme are used regionally. Kavvâl In Turkish Classical Music, a term once used instead of hânende. In some eastern societies the term (qawwal) is used to denote singers of ilâhî. Kayabaşı A folk makam used in the Elazığ region for uzun havas, and by Northern Anatolian âşıks for rhythmic songs. Although the term frequently appears in historical texts, we have very little qualitative information about it. Kayda See Gayda, Kaide. Kaynana Zırıltısı Ratchet (Percussion instrument). Sometimes used in street festivities. Kaytağı A folk dance of Azerbaijan and the Caucasus region, and the music that accompanies this dance. Kaytarma A 7-beat dance of Turkish communities in the North Caucasus, the Crimea and the surrounding region, and the music that accompanies this dance. Kazancılar Düyeği A variant of the usûl düyek created in the 1880s by İsmail Hakkı Bey.

Kebûter A compound makam once used in Turkish Classical Music. No examples have survived to the present. Keman Violin. Kemança An example of the stringed instruments from Azerbaijan. It is also called Kamança. Kemâne Fiddle. The general Turkish name for bowed upright string instruments. Ex. kabak kemâne (gourd fiddle), tırnak kemâne (the pear-shaped fiddles played by stopping the strings with the fingernails), Kıbrıs kemânesi (Cyprus fiddle), etc. Kemençe 1. A bowed string instrument played in the Eastern Black Sea region from the Ordu and Giresun regions eastward. Insufficient research has been done on the origins of this instrument. It is distinct form the pear-shaped lyres in terms of both appearance and playing technique. 2. A three-stringed bowed "pear-shaped lyre" used in Turkish Classical Music, played upright resting on the knee. From low to high tones, the strings are tuned to yegâh, râst and nevâ. Kemençeci (=Kemençevî) A player of the kemençe. Kemânî A violinist. Kerem The name of tunes set to the poetry of Âşık Kerem, with differing rangers and makam characteristics from region to region, indicated by names such as Kesik Kerem, Yanık Kerem, Guba Kerem, etc. Today there are many songs referred to by thıs name but with lyrics that do not belong to Âşık Kerem. Kesik Lit. "cut," a type of uzun hava sung in the Elazığ area. Kesik Kerem A type of Kerem havası. See Kerem. Kesinti The term for the instrumental break in Zeybek songs. Instrumental break. Kıbrıs Kemanesi The name used in the İçel region for the kabak kemane (gourd fiddle) and sometimes the tırnak kemane (pear-shaped lyre). Kıl Kopuz A type of kopuz, commonly used by the Kazakhs.

Kına Havası The term for folk songs sung in nearly ever region of Anatolia for the bride and groom on the henna night. Kırık Düzen 1. Playing through all the notes of a chord one-by-one. 2. In folk music, "out of tune" when referring to a musical instrument. Kırık Hava The general term for a clearly rhythmic melody. This term encompasses all types of melodies except free-meter melodies. However this is a scholarly term and not used colloquially. Kırık kadans (=Kırık kalış) A cadence played in order to tie a fifth-degree chord to another chord other than the first degree, thus creating a feeling of incompleteness rather than of resolution. Kırklar Semahı A religious dance genre among Alevi-Bektashi communities performed in memory and to portray the Forty Saints; and the regional melodies that accompany this dance Kırnata A folk term for the clarinet. Also gırnata and among Gypsies, granet. Kıt'a A section of a poem composed of quatrains, consisting of at least two quatrains. Kız Havası Lit. "girl tunes," dance-type folk songs performed at womens' festivities in the Thrace and Teke regions. Kız Neyi 1. A type of ney with a tuning based on the note gerdâniye one octave above La/A. 2. The basic tuning based on gerdâniye. Kiriş Old-style gut strings. Although they were once in common use, especially on bowed string instruments, they are not generally used today. Kitabü'l-Edvâr The music book written in Arabic by Safiyüddin Urmevî. Klâsik Koro (Classical Chorus) The choruses at Ankara and Istanbul Radio that perform Turkish Classical Music, which were first established by Mesut Cemil. Today the term is applied to ensembles under the umbrella of the Ministry of Culture as well. Koçaklama A term for folk songs with lyrics dealing with such subjects as bravery, nobility and heroism.

Koçkarca A string instrument of the Uzbeks, played with a plectrum. It is one of the rare representatives of the long-neck lutes with a skin top. Kol Bastı (=Kolbastı) A folk dance of the Ordu, Giresun and Trabzon regions, and the folk tune that accompanies this dance. Kolca Kopuz A long-necked form of the kopuz from the Central Asian Turkic world, and known from the Dede Korkut stories. Koma The name for one of the nine divisions of a whole tone in Turkish Classical Music, derived from the Greek word "comma." Insufficient to completely represent the microtonal structure of Turkish music, it has nontheless become so widely used that it appears impossible to abandon the term. Konser Saz Semâîsi A special type of saz semâîsi composed in order to be played on a solo instrument in concert rather than at the end of a fasıl performance as is the usual case. The term was coined by Hüseyin Saadeddin Arel. Kopuz The name giving in the Turkic world chiefly to long necked string instruments played with a plectrum or the fingers. However the term is also known to have been used for the harmonica, the jaw harp and some stringed instruments. Koro (Chorus) Although Turkish music does not traditionally include the chorus, they have gained much importance over the course of the State-sponsored modernization of Turkish music. Turkish Music and Television (TRT), the Ministry of Culture and the State polyphonic music ensembles have all created large and small choral ensembles. Koşa Nağara The Azerbaijani term for the double nağara. Koşma A form of folk poetry which consists of at least three verses composed of four lines, and one the most commonly used form by folk minstrels. The melodies vary according to region, and they are known by various names such as Yelpük Koşma, Acem Koşma, Sıralı Koşma etc Koşmak To create a melody, a folk term for a type of composition. See Yakmak. Koşuk The name for various forms of quatrains in folk poetry. Koşma, Mani. Köçek

Male dancers who dance accompanied by local music, usually dressed as women. Köçek Takımı A group of several köçek dancers. Köçek ensembles played a leading role in all festivities in Anatolia; such groups still perform in Central and Northern Anatolia. Köçekçe A type of melody, usually Anatolian and Rumeli folk songs played as a dance melody. Dede Efendi and Çuhacıyan both arranged these sorts of works. Köçekçe Takımı A collection of köçekçes in the same makam played end-on-end. Their refrains are sometimes joined with dance tunes. Köroğlu A famous folk hero and minstrel; the general name for this minstrel's songs. Kös (Kûs) A percussion instrument of mehter music played with two beaters. Kövür Another instrument for the çöğür, an instrument in the bağlama family. Kubuz The name used for the el armonikası by the immigrants from the Caucasus living in the Tokat, Eskişehir, Adana and Mardin. Kûçek A compound makam used in Turkish Classical Music, formed by adding a Hüseynî pentachord transposed to hüseynî-aşîrân to the scale of the makam Sabâ. Its tonic is dügâh (La/A), and its dominants are çargâh (Do/C) and aşîrân (Mi/E). It is ascending in character. Its suspended cadences are the flavors Hicâz on gerdâniye (Sol/G), Nikrîz on acem-aşîrân (Fa/F), Hüzzam on dik hisâr (Re/D eight komas sharp) and Segâh; as well as suspended cadences on hüseynî (Mi/E). Kûçek-Geveşt A variant of the makam Kûçek once used in Turkish Classical Music. No example have survived to the present. Kûçek-Mâye A variant of the makam Kûçek once used in Turkish Classical Music. No example have survived to the present. Kûçek-Nevâ A variant of the makam Kûçek once used in Turkish Classical Music. No example have survived to the present.

Kûçek-Nevrûz A variant of the makam Kûçek once used in Turkish Classical Music. No example have survived to the present. Kûçek-Selmek A variant of the makam Kûçek once used in Turkish Classical Music. No example have survived to the present. Kûçek-Sünbüle A variant of the makam Kûçek once used in Turkish Classical Music. No example have survived to the present. Kûçek-Şehnâz A variant of the makam Kûçek once used in Turkish Classical Music. No example have survived to the present. Kûçek-Zemzeme A variant of the makam Kûçek once used in Turkish Classical Music. No example have survived to the present. Kudûm A percussion instrument consisting of two drums, used in Turkish Classical Music to beat the usûl. It is used chiefly in mystic music, mehter music and rarely in ssecular music as well. Kudûmzen A player of kudûm. Kudûmzenbaşı The master kudûmzen who directs ayin ceremony. Kulak Tuning pegs of string instruments. See Burgu. Kutbî A special term for composers of whom only a single work has survived to the present day. Küçük Mücenneb The term for an interval of five komas. Küçük Mücenneb Bemolü The sign for five komas flat. Küçük Mücenneb Diyezi The sign for five komas sharp. Küçük Usûl A minor usûl of Turkish Classical Music, having less than fifteen beats.

Küğ (=Küy) Music, composition. The term was recommended on the grounds that the word küğ in some Asian Turkic languages. Although some groups in Turkey insist on using the term, it has not much caught on in the musical world. Külliyât A type of peşrev that includes a large number of makams. Küllü'd-Durûb va'n-Negam The collective name for all of the rhythms and melodies of Turkish music. Küllü'n-Negâm The old name for the Kâr-ı Nâtık. Küme Faslı Lit. a "league/group" fasıl. A musical ensemble larger than an ince saz (See ince saz) ensemble, which played for large-scale festivities at the Ottoman Palace. The term was used to emphasize the large number of musicians playing together. Küp A type of percussion instrument used in Turkish Classical Music. Kürdî 1. Turkish Classical Music, the note Si/B four komas flat in the middle octave. 2. A simple makam used in Turkish Classical Music, formed by adding a Bûselik pentachord transposed to nevâ (Re/D) to the Kürdî tetrachord in its place. It is ascending, and sometimes ascending-descending in character. Its toni is dügâh (La/A), and its dominant is nevâ (Re/D). Its suspended cadences are Çargâh on çargâh (Do/C) and Bûselik on râst with flavor and on kürdî (Si/B four komas flat) with no flavor. Kürdî-Aşîrân A variant on the makam Kürdî onced used in Turkish Classical Music. No examples have survived to the present. Kürdî Pentachord In Turkish Classical Music, a five-note scale pattern formed by adding a whole note to the Kürdî tetrachord on dügâh (La/A - in its place) to form a perfect fifth. Kürdîli Hicâzkâr A makam used in Turkish Classical Music. Some theoreticians define it as a transposed (şed) makam. It is formed by transposing the scale of the makam Kürdî to râst (Sol/G). Its tonic is râst (Sol/G), and its dominants are gerdâniye (Sol/G) and çargâh (Do/C). Its suspended cadences are the flavors Bûselik on çargâh (Do/C), Kürdî on nevâ, Bûselik on acem-aşîrân and Çargâh on kürdî. Kürenây A brass instrument once used in Turkish Classical Music, made of bronze or silver.

Küşâd A term for an opening or introductory musical break. Kütahya Düzeni A tuning used on instruments in the bağlama family. The lowest string is tuned to La/A, the middle to Re/D and the upper string to Re/D. The tuning is also known as the Fidayda (Hüdayda) tuning.

L Lâdinî Müzik Secular music. Lâedrî An anonymous piece. Lâhin A melody. Lâle-Gül A compound makam used in Turkish Classical Music, created by Hüseyin Saadettin Arel by adding the Şedd-i Arabân makam to the makam Hüzzâm. Its dominant is segâh (Si/B one koma flat). Lâle-Ruh A compound makam of Turkish Classical Music, formed by adding the makam Aşîrân to the makam Pençgâh. Laterna A type of large cranked music box used by street musicians Lâvinî A makam once used in Turkish Classical Music. No examples have survived to the present. Lavta A long-necked lute. The original instrument was developed in the Arab world, and was then passed to Europe where it was developed and spread. Leb Değmez Lit. "The lips do not touch." A competitive practice in the Northern Anatolian âşık tradition, in which at least two âşıks sing their poetry without touching their lips, thus not pronouncing the labial consonants b, p and m. Lenk-Fâhte A ten-beat minor usûl of, consisting of one cycle each of Yürük Semâî and Sofyân. It is used in minor forms, especially in peşrev, nakış beste and Mevlevî music. Leyle A lullabye of the Iraqi Turkmen. Leylim The name for dances accompanied by folk songs in the Gaziantep region.

Lezgi A common folk dance in the Caucasus region; the melody that accompanies this dance is called Lezginka. Longa In Turkish Classical Music, a quick, 2/4 insrumental form and dance music. Luturyan Borusu A wind instrument used in Turkish music. Lüti A lutenist.

M Mâbeyn The term used for the half tones. Mahalli Sanatçı Local musician. Mahfel Sürmesi See Tesbih. Mahfûzat In Turkish Classical Music, a term for learning music by memory. Mahlas A pseudonym used by âşıks, who generally write it into the last verse of their deyiş as a sort of "signature." Mahnı In Azerbaijani music, the term for a song, folk song, melody. Mâhûr 1. In Turkish Classical Music, the note Fa/F four komas sharp or Sol/G five komas flat in the high octave. 2. A makam used in Turkish Classical Music. There are two types. The first is considered to be a transposed (şed) makam by theoreticians, and is formed by transposing the basic scale of the makam Çargâh to râst (Sol/G). It is descending in character. It's tonic is râst, and its dominants are gerdâniye (Sol/G) and nevâ (Re/D). Its suspended cadences are the flavors Çargâh on çargâh (in its place) and Bûselik on hüseynî aşîrân. Mâhûr-Aşîrân 1. A variant of the makam Mâhûr once used in Turkish Classical Music, formed by adding an Uşşâk tetrachord on aşîrân (Fa/F) in the low end of the makam Mâhûr. No examples have survived to the present. 2. The other type of mâhûr is a compound makam, created by adding descending Râst, Acem'li Râst, descending Hüseynî and descending Beyâtî on râst (in its place), and using them in combination. Its tonic is râst (G/Sol) and its dominants are gerdâniye (Sol/G) and nevâ (Re/D). Its suspended cadences are the flavors Çargâh on çargâh (Do/C); Bûselik on hüseynî aşîrân (Mi/E); Çargâh, Râst and Bûselik on gerdâniyê (Sol/G); Bûselik and Uşşâk on hüseynî (Mi/E); Çargâh, Râst and Buselik on nevâ; Kürdî on bûselik (Si/B), Ferahnâk and Segâh on segâh (Si/B one koma flat), Bûselik and Uşşâk on dügâh (La/A); Çargâh and Râst on râst (sol/G); Uşşâk on hüseynî aşîrân; and Çargâh and Râst on yegâh (Re/D).

Mâhûr-Bûselik A variant of the makam Mâhûr once used in Turkish Classical Music, formed by adding a Bûselik pentachord and sometimes an entire Bûselik scale to the makam Mâhûr. It's tonic is dügâh (La/A) and its dominant is nevâ (Re/D). Mâhûr-Hân In Turkish Classical Music, a compound makam created by İsmail Hakkı Bey. It is formed by combining the Mâhûr and Hicâz flavors. Its tonic is Bûselik. Mâhûrrek A makam once used in Turkish Classical Music. No examples have survived to the present. Mâhûrî An usûl used in Turkish Classical Music. Mâhûr-i Kebîr A variant of the makam Mâhûr once used in Turkish Classical Music. No examples have survived to the present day. Mâhûr-i Kebîr-i Kadîm An alternative name for Mâhûr-i Kebîr. Mâhûr-i Sagıyr A variant of the makam Mâhûr once used in Turkish Classical Music. No examples have survived to the present. Makam A musical braid in Turkish Music in which a variety of sounds come together and complete. There are important keys such as durak, güçlü and asma karar in this system and the music is done by means of moving between these keys. There are three types of Makam: 1- Basit (Basic) Makam, 2-Şed (Transposed) Makam, 3-Birleşik (Combined) Makam. Mandal The small metal bridges on the kanun which may be raised and lowered to change the tuning of the strings in order to form the scales for the makams. The word is also used for the tuning pegs. Mandra A Balkan dance in a 2+2+3 rhythm, and the tune that accompanies this dance. Mâni A folk poetic and musical form with seven-syllable lines in independent quatrains. Also mani, meani, m'ani. Manis are often used for both the verses of folk songs and the refrain sung between the verses. Thus Turkish folk music includes thousands of mânis, some related to each other and others completely unrelated. Mânis are also used in atışma, the verbal sparring competition between âşıks.

Mansûr 1. In Turkish Classical Music, the tuning from La/A. 2. A type of ney. Marş (March) In Turkey, marches are written for and played chiefly by military bands. However, there are non-military marches as well; the term is used in the sense of an anthem as in the name "İstiklâl Marşı" (Independence March), the Turkish national anthem. Mâşûk A makam once used in Turkish Classical Music. No examples have survived to the present. Matlûb A makam once used in Turkish Classical Music. No examples have survived to the present. Matlûbek A makam once used in Turkish Classical Music. No examples have survived to the present. Mâverâünnehr A compound makam used in Turkish Classical Music, formed by adding the makam Nihavent to the makam Hümâyûn. Its tonic is râst (Sol/G). Maya A type of uzun hava of Eastern and Southern Anatolia. Mâye A compound makam used in Turkish Classical Music, formed by adding the makam Segâh to the makam Uşşâk. Its tonic is segâh (Si/B one koma flat), and its dominant is nevâ (Re/D). Mâye-Aşîr'an A variant of the makam Mâye once used in Turkish Classical Music. It is formed by adding the Aşîrân (Uşşâk) tetrachord to the Mâye scale. Mâye-Büzürg A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Büzürg resolving on segâh (Si/B one koma flat). No examples have survived to the present. Mâye-Hicâz A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Hicâz resolving on segâh (Si/B one koma flat). No examples have survived to the present.

Mâye-Hüseynî A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Hüseynî resolving on segâh (Si/B one koma flat). No examples have survived to the present. Mâye-Irâk A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Irâk resolving on segâh (Si/B one koma flat). No examples have survived to the present. Mâye-Isfahân A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Isfahân resolving on segâh (Si/B one koma flat). No examples have survived to the present. Mâye-i Atıyk A variant of the makam Mâye once used in Turkish Classical Music. Mâye-i Kebîr A variation of the makam Mâye once used in Turkish Classical Music. No examples have survived to the present. Mâye-i Kevser A variation of the makam Mâye once used in Turkish Classical Music. No examples have survived to the present. Mâye-Kûçek A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Kûçek resolving on segâh (Si/B one koma flat). No examples have survived to the present. Mâye-Nevâ A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Nevâ resolving on segâh (Si/B one koma flat). No examples have survived to the present. Mâye-Râst A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Râst resolving on segâh (Si/B one koma flat). No examples have survived to the present. Mâye-Rehâvî A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Rehâvî resolving on segâh (Si/B one koma flat). No examples have survived to the present.

Mâye-Uşşâk A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Uşşâk resolving on segâh (Si/B one koma flat). No examples have survived to the present. Mâye-Zengüle A variation of the makam Mâye once used in Turkish Classical Music. Some theoreticians define it as the makam Zengüle resolving on segâh (Si/B one koma flat). No examples have survived to the present. Mazhar A large frame drum with no cymbals. Used mostly in religious music, it is played in groups of four or five. It is used in many religious orders, especially the Mevlevî, Kadirî and Rufaî orders, in open zikr. Mazhar-Zen A player of Mazharç Meçik (=Meçük) One name for the thin rod used in playing the davul. Meclis-Efrûz A compound makam once used in Turkish Classical Music, formed by adding an Uşşâk makam transposed to yegâh (Re/D) to the scale of the makam Irâk. Its tonic is yegâh (Re/D). Meclisî The term for fasıl among the Azerbaijanis. Mecmûa An anthology of lyrics. There are hundreds of such anthologies in Turkish musical history, written mostly in the old Ottoman Arabo-Persian script. However the vast majority of these anthologies have not been transliterated into the modern Turkish script, and thus new version have not been published. Medhal An instrumental form of Turkish Classical Music. Definable as a short form of peşrev, the medhal consists of two sections and is generally in even-count minor usûls. It is freer in form than the peşrev. Mehdiye A Turkish classical song form generally written in praise of a personality, sometimes a sultan. Mehtâb (iyye) Faslı A type of music played on the Bosphorus at night

Mehter 1. The general name for Ottman military music. 2. Locally, the colloquial name for groups of musicians, especially the davul-zurna duo. Mehter-Hâne See Mehter Music. Mehter Music (Mehter Müziği) Traditional Ottoman military music serving both a societal and political purpose, which was played until the reign of Sultan Mahmud II (1299/1826). Composed chiefly of wind and percussion instruments, it has its origins in the nevbet music of the Central Asian Turks. Used by the Turkish military, especially during wars, this tradition was later adopted by the European states; thus the form of modern military bands ws influenced by the Mehter ensemble. Mellâhî A compound makam once used in Turkish Classical Music. No examples have survived to the present, Mengi A type of semah danced outside of formal worship by the Tahtacıs, and Alevi people of the Aegean and Mediterranean regions, mostly by young people. Mersiye A lament. This term is mostly used for laments/dirges sung for famous people with high standing in the community. Generally sung in free meter, the lyrics of mersiyes are from various poetic forms. Mersiye-Hân A singer of mersiye, mostly male. See Mevlidhan. Mertebe Used in Turkish Classical Music for the speed of usûls. Mesnevi A type of uzun hava sung in the Şanlıurfa region. Meşk 1. In Turkish Classical Music, the training system based on learning pieces by playing and memorizing them. In this way, basic musical knowledge is learned to a large extent by learning the pieces. 2. A musical gathering held for pleasure, a jam session. Meşk Silsilesi Lit. "Meşk succession." In Turkish Classical Music, the creation of a virtual "lineage" of master and student. Metelik A dance of the Central Black Sea region and the melody that accompanies this dance.

Mevlevî Evferî See Evfer. Mevlevî Music (Mevlevî Müziği) An important branch of mystic Turkish religious music, unique to the Mevlevî order. Existing within the context of the formal worship ceremony called the Âyîn-i Şerif, it is performed for the Mevlevî turning dance known as the sema. A significant number of Turkish Classical Music composers were Mevlevî, and of these, many were Mevlevî dervıshes known as dedes. Mevlid (=Mevlüt) A genre of religious music with lyrics consisting of poetry telling of the entire life of the Prophet Muhammed from birth to death, sung in free meter by singers known as Mevlidhâns. Mevlidhân A singer of mevlid. Chiefly the realm of men in the Ottoman-Turkish musical tradition, this profession has become more widespread among women as well, and there are now many famous female singers who have gained fame for singing mevlid. Mevval (=Maval) A free-rhythm melodic form of Arab music, used as a musical term in Turkish. Colloquially the word means "to lie," or "to engage in fraudulent business." Mey A woodwind instrument used commonly in Eastern Anatolia. It consists of a cylinder of hollowed out hard wood such as plum or apricot, and a reed 8-10 cm in length made from a species of water reed with a flattened end. Meydân Faslı In Turkish Classical Music, fasıl music played on a larger version of the incesaz ensemble. Ottoman records mention meydan fasıls consisting of over 100 performers. Such ensembles performed mainly at large celebrations and weddings. Meydan Sazı (=Divan Sazı) The largest of the bağlama family. Mezdekânî A makam once used in Turkish Classical Music. No examples have survived to the present. Mıskal (=Miskal) Also known as the mûsîkar, a Pan flute once played in Turkish Classical Music. No longer played in Turkey, it appears in many musical cultures. Mıskalî A player of the mıskal.

Mıtrıp The name used in many parts of Southern and Eastern Anatolia for professional music groups that play at celebrations, usually the duo of davul and zurna; and sometimes one consisting of darbuka, tanbur and tambur. It should not be confused with the Mutrıb, meaning the musical ensemble of the Mevlevîs. See Mutrıb. Mızrâp Plectrum, which may be made of bone, tree bark, plastic or other materials, depending on the instrument. Mızraplı Sazlar Instruments played with a plectrum. Mihr-i Cân A makam once used in Turkish Classical Music. No examples have survived to the present. Minor usûl (Turkish: Basit Usûl.) A type of usûl (metric pattern) used in Turkish Classical Music, defined in terms of their smallest metric units. Accordigly, the two-beat Nim Sofyân and the three-beat Semâî are the two minor usûls which occur in all the usûls. Mirâciyye A religious form of Turkish Classical Music, written about the Prophet Muhammed's ascent to heaven (mirac-mi'raj). Miraçlama The name for various poems expounding upon the mi'raj of the Prophet Muhammed, and the melodies to which these poems are set. Known in many orders, this genre is more commonly sung in Alevi-Bektashi communities. Misket A dance common in the Ankara region, and the melody that accompanies this dance. Miyân (Meyân) The term for the middle section of the şarkı, peşrev, nakış semâî and semâî forms of Turkish Classical Music. The meyan section begins on the 6th, 7th or 8th degree and sometimes continues on higher notes. Muçula A hoyrat (a type of uzun hava) sung by the Iraqi Turkmen in a set melody in the makam hicâz. Mugam The general name for the free-meter melodies of Azerbaijani music with unique structural characteristics. They resemble the uzun havas of Turkish folk music and the gazels of Turkish Classical Music.

Mugannî A singer. Muganniye A female singer. Mugnî An old stringed instrument mentioned in many different sources with conflicting information about its shape and number of strings. Muhaccel 1. A makam once used in Turkish Classical Music. No examples have survived to the present. 2. A 56-beat major usûl of Turkish Classical Music. No examples have survived to the present. Muhaccer Dolab An alternative name for the makam Maklûb. Muhâlif 1. A compound makam used in Turkish Classical Music, formed by adding the makam Segâh to the makam Nikrîz. Its tonic is segâh (Si/B one koma flat). Its suspended cadences are the notes nîm hicâz (Do/C five komas sharp) and dik kürdî (Si/B five komas flat), as well as Nikrîz on râst, and the Ferahnâk tetrachord on ırâk (Fa/F five komas sharp). Suspended cadences with Hüzzâm on ırâk (Fa/F five komas sharp) and Râst on yegâh (Re/D) may also be performed. 2. A type of hoyrat in Iraqi Turkmen music. Muhâlifek A makam once used in Turkish Classical Music. No examples have survived to the present. Muhâlif-i Irâk A variant of the makam Muhâlif once used in Turkish Classical Music. Muhâlif-i Râst A variant of the makam Muhâlif once used in Turkish Classical Music, formed by adding the makam Hümâyun to the makam Râst> Its tonic is dügâh (La/A). Muhâlif-i Uşşâk A variant of the makam Muhâlif once used in Turkish Classical Music. Muhammes A 32-beat major usûl of Turkish Classical Music, consisting of eight measures of Sofyân. It is used mainly in forms such as peşrev, kâr, beste and ilâhî. Muhayyer 1. In Turkish Classical Music, the note La/A in the high octave. 2. A simple makam used in Turkish Classical Music, formed by adding an Uşşâk tetrachord transposed to hüseynî (Mi/E) to the Hüseynî pentachord on dügâh (La/A - in its place). It is the descending form of the makam Hüseynî. Its tonic is dügâh (La/A), and its dominants are muhayyer

(La/A) and hüseynî (Mi/E). Its suspended cadences are the flavors Râst transposed to nevâ (Re/D), Çargâh and Pençgâh on çargâh (Do/C - in its place), and Segâh and Ferahnâk on segâh (Si/B one koma flat). Muhayyer-Bûselik A variant of the makam Muhayyer used in Turkish Classical Music, formed by adding the Bûselik pentachord and rarely the entire Bûselik scale to the basic scale of the makam MuhayyerIts tonic is dügâh (La/A) and its dominant is hüseynî (Mi/E). Muhayyer-Kürdî A variant of the makam Muhayyer used in Turkish Classical Music. Its makam characteristics are all the same as the makam Muhayyer. It begins its seyir with the pitches of the makam Muhayyer but resolves on those of the makam Kürdî. Muhayyer-Sünbüle A variant of the makam Muhayyer used in Turkish Classical Music, formed by adding the scale of the makam Sabâ to the scale or flavor of Çargâh transposed to Acem (Fa/F). It is descending in character. Its tonic is dügâh (La/A), and its dominantsa re kürdî (Si/B four komas flat) and çargâh (Do/C). Its suspended cadences are the flavors Çargâh transposed to acem (Fa/F), Hicâz transposed to gerdâniye (Sol/G), Nikrîz transposed to acem (Fa/F), Hüzzâm transposed to dik hisâr (Re/D eight komas sharp) and Segâh. Muhayyer-Zengûle A variant of the makam Muhayyer used in Turkish Classical Music, formed by adding the scale of the makam Zengûle to the scale of the makam Muhayyer. Its tonic is dügâh (La/A) and its dominant is hüseynî (Mi/E). Muhayyer-Zîrkeş A variant of the makam Muhayyer used in Turkish Classical Music. No examples have survived to the present. Mukâbele The zikr ceremony in mystic music. Mulâyemet See Derli. Murabbâ 1. In a form of poetry consisting of four-line verses known as bent. 2. An old percussion instrument, a type of frame drum. Murad-Hân A makam once used in Turkish Classical Music. No examples have survived to the present. Murassâ 1. A stringed instrument once used in Turkish Classical Music. 2. A musical form once used in Turkish Classical Music. Mûsikar

A makam once used in Turkish Classical Music. No examples have survived to the present. Mûsiki The Turkish form of the word "music." Although the term mûsiki was used by the Turks for many years, the term müzik was adopted after the establishment of the Republic, as it was considered more in line with the structure of Turkish, and is the more commonly used word today. Mûsiki-i Osmânî Mekbebi The music school founded and directed by İsmail Hakkı Bey, a form of conservatory. Mûsikşinâs A person who loves and is knowledgable about music. Mûtedil A makam once used in Turkish Classical Music. No examples have survived to the present. Mutrıb A musical ensemble composed of instrumentalists and vocalists; the term has also been used for instrumental ensembles. It is mostly used in the context of Mevlevî music, but appears in other orders as well. Mevlevî mutrıbs have employed a variety of musical instruments including the ney, kudüm, tanbur, ud, kanun, rebab and viol d'amore. See Mıtrıp. Mutrıbân 1. A makam once used in Turkish Classical Music. No examples have survived to the present. 2. Another name - the plural form - for the mutrıb ensemble. Muvâfık A makam once used in Turkish Classical Music. No examples have survived to the present. Muvakkat Karar See Asma Karar. Muzâaf Devr-i Kebîr A flowery term for the usûl Devr-i Kebîr. Müberkaa A compound makam once used in Turkish Classical Music. According to some theoreticians, this makam was formed by combining the makams Çargâh and Segâh, and its tonic was segâh, while others maintain that its tonic later changed to dügâh. No examples have survived to the present. Mücenneb-i Kebîr See Büyük Mücenneb.

Mücenneb-i Sagıyr See Küçük Mücenneb. Mücennebü'r-Remel An old makam once used in Turkish Classical Music. Müezzin A singer of the ezan (adhan), the Muslim call to prayer. Müjdegânî A makam once used in Turkish Classical Music. No examples have survived to the present. Mükerrer In Turkish Classical Music, the term used for repeated sections. Mülâyim See Derli. Mülâzime The portion repeated after the hâne. Münâcât A religious genre of Turkish Classical Music, based on kasîde style poems expressing an entreatment to God. Münâferet See Dersiz. Müntesib Makam See Yakın Makam. Mürekkeb Makam A compound makam. The term is used for all of the makams that do not bear the characteristics of the thirteen simple makams of Turkish Classical Music. They are based on the the principle of modulation (geçki). Mürekkeb Usûl A compound usûl; that is, the usûls of Turkish Classical Music formed by combining more than one of the minor usûls. All of the usûls other than Nîm Sofyân and Semâî are compound usûls. Mürgak A makam once used in Turkish Classical Music. No examples have survived to the present. Müsebbâ 1. A 26-beat major usûl of Turkish Classical Music, created by Kemanî Hızır Ağa. 2. A type of lyric containing seven lines in each verse. Müselles

1. A makam once used in Turkish Classical Music. 2. A type of lyric containing three lines in each verse. Müsemmen An eight-beat minor usûl of Turkish Classical Music, used mostly in şarkı-type works as well as ilâhî, türkü and oyun havası forms. See Katakofti. Müstahsen A tuning range of Turkish Classical Music in which the pitch Fa/F is transposed to La/A. Müsteâr A compound makam used in Turkish Classical Music, which resembles the makam Segâh, the only difference being that the use of the Uşşâk tetrachord on segâh (Si/B one koma flat), known as the Müsteâr tetrachord. Its suspended cadences are the flavors Bûselik and Uşşâk transposed to nevâ (Re/D), and Segâh and Ferahnâk transposed to dik hisar (Re/D four komas sharp). Müstesârek A makam once used in Turkish Classical Music. No examples have survived to the present. Müstezat 1. A form of Turkish poetry. 2. A type of makam resembling Mâhûr and Acemaşîrân, and used mainly in Eastern and Southern Anatolia. Müstezat Düzeni A tuning of the bağlama. The lowest string is La/A, the middle string is Sol/G and the upper string is Fa/F. Müşkûye A compound makam used in Turkish Classical Music. It is a form of Segâh, which resolves in an Uşşâk tetrachord transposed to the pitch aşîrân. Müteaddî A makam once used in Turkish Classical Music. No examples have survived to the present.

N Nagam (ât) See Nağme Nağara The name used in Azarbaijan for the koltuk davul, a smaller form of davul. In Anatolia, an alternative name for the davul. Nağme In its most general meaning, a sound. In Turkish Classical Music, it refers to a motif or a set collection of melodies. Nağme-i Kâbil A makam once used in Turkish Classical Music. No examples have survived to the present. Nahora A folk music instrument used around Mardin. It is made from wood or calabash. Nakarât The repeated set of words in songs, the refrain. It displays differences in terms of lyrics and melody from the mmain melodic pattern. The nakarat section of a tune is in a form that is more likely to stick in the mind, and is more flowing in character. The nakarat is so important to the structural character of Turkish music, that the melody of a song's introduction and instrumental take on the same melody as the nakarat. See Bağlantı, Kavuştak. Nakış A special type of the beste and semâî forms. Although nakış bestes are little used, most of the semâîs are of the nakış type. In this type, the first two verses of the lyrics come one after the other, then the terennüm (See terennüm) comes and forms the third verse. The fouth verse follows immediately, and then there is a return to the terennüm. Thus these pieces contain two terennüms and two hânes. The different types of nakış beste and nakış semâîs are: Nakış Ağır Aksak Semâî, Nakış Ağır Semâî, Nakış Ağır Sengin Semâî, Nakış Ağır Yürük Semâî, Nakış Aksak Semâî, Nakış Semâî, Nakış Sengin Semâî, Nakış Yürük Semâî and Nakış Yürük Yürük Semâî. Nakış Beste A type of beste usually composed to the usûl Lenk-Fâhte, and with the terennüm coming after two verses. Rarely, varieties counted with the usûl Devr-i Revân occur as well. Nakışlama (=Süsleme) A musical motif with ornamentations.

Nakkâre A percussion instrument used in Mehter music, a type of small davul. Also called the "double davul," the nakkâre is related to the kudüm. It is played with sticks called zahme. Nakre An usûl time mentioned in the old Edvâr books. Nâ-Murâd A makam once used in Turkish Classical Music. No examples have survived to the present. Nârefte A compound makam used in Turkish Classical Music. Nâ't A type of Turkish religious music. Written in preaise of the Prophet Muhammed, they are composed in various usûls, and in Arabic, Persian and Turkish. Nâ't-Hân A singer of Nâ't. Nây See Ney. Nay-ı Balaban A wind instrument once used in Turkish Classical Music rembling a mey or zurna. Nay-ı Câvûr A wind instrument once used in Turkish Classical Music. Nay-ı Hıyk A wind instrument once used in Turkish Classical Music, a sort of bagpipe. Nay-ı Tanbûr An old instrument once used in Turkish Classical Music which resembled today's yaylı (bowed) tanbûr. Nâyî Neyzen (Nâyzen), a player of ney. Nâz A compound makam once used in Turkish Classical Music, formed by adding the scale of the makam Pençgâh on râst (Sol/G - in its place) to the scale of the makam Uzzal on dügâh (La/A - in its place). Its tonic is râst (Sol/G). No examples have survived to the present day. Nazariyat Music theory. Turkish musical theory has a history of nearly one thousand years, and is built on early period philosophers, musicians and mathematicians such as Urmevî, Farabî and Meragî. During the last century, at least four different original theories of Turkish

music have been proposed, and Turkish music has entered a process of examination with scientific methods. One group of theoreticians, who are mostly performers themselves, continue to pass on their knowledge to their students in a master-apprentice relationship. Because of the lack of scholarly analysis and approach, there is still much to be learned about Turkish music theory. During the last century, the work on Turkish musical theory by people such as Rauf Yekta, H. Saadettin Arel- Dr. Suphi Ezgi-S. Murat Uzdilek, Ekrem Karadeniz and Abdülkadir Töre remain as the only modern theories. Nâzenin A makam once used in Turkish Classical Music, constructed by adding the scale of the makam Dügâh in its place to the scale of the makam Hüzzam on segâh (B one koma flat - in its place). Its tonic is dügâh (La/A). Nâzım One of the three makam groups defined by the old theoreticians. Nâzil See İnici. Nâzlı Devr-i Hindî A twelve-count minor usûl created by İsmail Hakkı Bey. Necd-i Hüseynî A simple makam used in Turkish Classical Music. It remembles the makam Hüseynî, differing in that the note acem (Fa/F) is used in palced of evc (Fa/F four komas sharp). It may also be described as a type of Uşşâk in which the note nevâ (Re/D) is replaced by hüseynî (Mi/E). Nefes A religious/mystical musical genre performed mostly in the âyin-i cem of the Bektashi order. Nefesli Çalgılar Wind instruments. See Üflemeli Çalgılar. Nefîr A wind instruments used by dervishes in tekke music. See Derviş Borusu. Nefîrî A player of the nefîr. Neresin A compound makam used in Turkish Classical Music. Nerîme Sesi Another name for the note dik hicâz (Do/C eight komas sharp or Re/D one koma flat). Nerm The term used in the old edvârs for "low."

Nesîm A compound makam once used in Turkish Classical Music, which resembles the makam Sabâh. Its tonic is dügâh (La/A). Neşât-Âver A compound makam once used in Turkish Classical Music. Nevâ 1. In Turkish Classical Music, the note Re/D in the high octave. 2. A simple makam used in Turkish Classical Music, cormed by adding a Râst pentachord transposed to nevâ (Re/D) to the Uşşâk tetrachord on dügâh (La/A - in its place). It is ascending in character. Its tonic is dügâh (La/A), and its dominant is nevâ (Re/D). Its suspended cadences are the flavors Râst on nevâ (Re/D), Segâh and Ferahnâk on evc, Çargâh on çargâh (Do/C), Segâh on segâh (Si/B one koma flat) and Râst on râst (Sol/G). Nevâ-Âcem A variation of the makam Nevâ once used in Turkish Classical Music. No examples have survived to the present. Nevâ-Aşîrân A variation of the makam Nevâ once used in Turkish Classical Music. No examples have survived to the present. Nevâ-Bağdad A variation of the makam Nevâ once used in Turkish Classical Music. Nevâ-Bûselik A variation of the makam Nevâ once used in Turkish Classical Music, formed by adding the entire Bûselik scale to the scale of the makam Nevâ. Its toni is dügâh (La/A) and its dominants are nevâ (Re/D) and hüseynî (Mi/E). Nevâ-Dilkeş A variation of the makam Nevâ once used in Turkish Classical Music. Nevâ-Gerdâniye A variation of the makam Nevâ once used in Turkish Classical Music. No examples have survived to the present. Nevâ-Geveşt A variation of the makam Nevâ once used in Turkish Classical Music. No examples have survived to the present. Nevâ-Kürdî A variation of the makam Nevâ once used in Turkish Classical Musicö formed by addıng a Kürdî tetrachord on dügâh (La/A - in its place) to the scale of the makam Nevâ. Its tonic is dügâh (La/A) and its dominants are nevâ (Re/D) and çargâh(Do/C).

Nevâ-Mâye A variation of the makam Nevâ once used in Turkish Classical Music. No examples have survived to the present. Nevâ-Nevrûz A variation of the makam Nevâ once used in Turkish Classical Music. No examples have survived to the present. Nevâ-Selmek A variation of the makam Nevâ once used in Turkish Classical Music. No examples have survived to the present. Nevâ-Şehnâz A variation of the makam Nevâ once used in Turkish Classical Music. No examples have survived to the present. Nevâyî A makam once used in Turkish Classical Music. No examples have survived to the present. Nevâ-yi Hüseynî A variation of the makam Nevâ once used in Turkish Classical Music, formed bhy adding the scale of the makam Hüseynî on dügâh (La/A - in its place) to the basic scale of the makam Nevâ. In later periods, the name Nevâ-Hüseynî was given to the transposition of the makam Hüseynî to nevâ (Re/D). Nevâ-yi Sünbüle A variation of the makam Nevâ once used in Turkish Classical Music. No examples have survived to the present. Nevâ-yi Uşşâk A variation of the makam Nevâ once used in Turkish Classical Music. No examples have survived to the present. Nevâziş A compound makam once used in Turkish Classical Music. Nev-Bahâr A makam onceused in. No examples have survived to the present. Nevbe A type of large davul used in Mehter music. Nevbet-i Müretteb (e) A Turkish Classical Music form, comprised of vocal and instrumental pieces arranged one after the other. Nev-Edâ A compound makam once used in Turkish Classical Music.

Nev-Eser A compound makam used in Turkish Classical Music, formed by adding a Hicâz tetrachord on dügâh (La/A - in its place) to the Nikrîz pentachord on râst (Sol/G - in its place). Its tonic is râst (Sol/G), and its dominant is nevâ (Re/D). It is descending-ascending in character. Its suspended cadences are nîm hicâz (Do/C four komas sharp) and dik kürdî (Si/B four komas flat), as well as the flavors Hicâz on dügâh (La/A) and Hicâz on yegâh. Nevkeş A compound makam used in Turkish Classical Music. Nev-Resîde A compound makam used in Turkish Classical Music, created by Ahmed Irsoy. Nevrûz 1. The note dik acem (Fa/F one koma sharp) 2. A compound makam once used in Turkish Classical Music. According to some theoreticians, it was the same as the modern Hüseynî scale, but in later years, this name was given to the makam Acem-Aşîrân resolving on acem (Fa/F). 3. A type of uzun hava sung in Southeastern Anatolia. Nevrûz-Acem A variation of the makam Nevrûz once used in Turkish Classical Music, considered by some theoreticians to be another name for the true makam Nevrûz. Nevrûz-Beyâti A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-Bûselik A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-Büzürg A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-Hicâz A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-Hüseynî A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-ı Arab A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present.

Nevrûz-ı Asl See Nevrûz. Nevrûz-ı Hârâ A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-Irâk A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-ı Rûmî A variation of the makam Nevrûz once used in Turkish Classical Music. Nevrûz-Isfahân A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-ı Sultânî A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-ı Uşşâk See Nevrûz-Uşşâk. Nevrûz-ı Kûçek A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-ı Nevâ A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-ı Râst A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-ı Rehâvî A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-ı Sabâ A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevrûz-ı Uşşâk A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present.

Nevrûz-ı Zengûle A variation of the makam Nevrûz once used in Turkish Classical Music. No examples have survived to the present. Nevruziyye In Alevi-Bektashi culture, a type of nefes (See Nefes) sung in the cem on Nevruz (Spring equinox, March 21), which is also considered to be the birthday of Ali. Ney An end-blown flut made from a yellow cane with nodes (Arundo donax), used especially in mystic music. There are twelve kinds according to tuning. It is commonly used in secular music as well, with the exception of military music. Neyzen A player of the ney. Nısfiye A type of ney used in Turkish Classical Music. Nısfiye-Zen A player of the nısfiye. Nigâr A compound makam used in Turkish Classical Music. Some theoreticians consider it to be similar to the makams Büzürg and Sûz-i Dilârâ. Nigârçek A makam once used in Turkish Classical Music. No examples have survived to the present. Nigârek A makam once used in Turkish Classical Music. No examples have survived to the present. Nigâr-ı Nîk A makam once used in Turkish Classical Music. No examples have survived to the present. Nigâr-ı Nîk-Acem 1. A makam used in Turkish Classical Music, considered by some theoreticians to be a transposed (şed) makam. It is formed by transposing the basic scale of the makam Bûselik to râst (Sol/G), and is descending-ascending in character. Its tonic is râst, and its dominant is nevâ. Its suspended cadences are the flavors Çargâh transposed to nîm hisâr (Si/B four komas flat), Bûselik transposed to çargâh (Do/C) and Kürdî transposed to dügâh (La/A). 2. The name used in some of the old theory books and periodicals for the note kürdî (Si/B four komas flat).

Nihâvend 1. A makam used in Turkish Classical Music, considered by some theoreticians to be a transposed (şed) makam. It is formed by transposing the basic scale of the makam Bûselik to râst (Sol/G), and is descending-ascending in character. Its tonic is râst, and its dominant is nevâ. Its suspended cadences are the flavors Çargâh transposed to nîm hisâr (Si/B four komas flat), Bûselik transposed to çargâh (Do/C) and Kürdî transposed to dügâh (La/A). 2. The name used in some of the old theory books and periodicals for the note kürdî (Si/B four komas flat). Nihavend-i Cedîd The name used by the Selim III school of Turkish Classical Music for the makam Nihâvend using the Kürdî tetrachord. Nihâvend-i Kebîr A compound makam used in Turkish Classical Music, formed by the combination of the Sultan-ı Yegâh makam to the form of the makam Bûselik which is the makam Nihâvend transposed to the note râst. Its tonic is râst (Sol/G), and its dominants are nevâ (Re/D) and dügâh (La/A). Nihâvend-i Rûmî A compound makam once used in Turkish Classical Music, formed by adding the Hicâz tetrachord to the basic scale of the makam Nihâvend on râst (Sol/G - in its place). Its tonic is sabâ. In later periods, this name was also used for today's Nihâvend. Nihâvend-i Sagıyr The name used during the period of Sultan Mehmet the Conqueror for today's Nihâvend makam. Nihüft See Nühüft. Nikrîz A compound makam used in Turkish Classical Music. There are two types: Nikrîz-i Kebîr and Nikrîz-i Sagıyr. The first type is formed by adding a Râst tetrachord transposed to nevâ (Re/D) to the Nikrîz pentachord on râst (in its place); the second is formed by adding a Bûselik tetrachord transposed to nevâ (Re/D) to the Nikrîz pentachord on râst (in its place). Its tonic is râst (Sol/G), and its dominant is nevâ (Re/D). It possesses a descending-ascending character. Its suspended cadences are nîm hicâz (Si/B four komas flat) and dik kürdî (Si/B five komas flat) and the flavors flavors Bûselik and Râst transposed to nevâ (Re/D), Uşşâk transposed to hüseynî (Mi/E), Hicâz on dügâh (La/A - in its place) and Segâh and Ferahnâk on segâh (Si/B one koma flat - in its place). Nikrîz-i Kebîr In Turkish Classical Music, the old name for the makam Nikrîz. Nikrîz-i Sagıyr A variant oft he makam Nikrîz in Turkish Classical Music.

Nikrîz-Segâh A makam once used in Turkish Classical Music. No examples have survived to the present. Nikriz Pentachord (Nikriz Beşlisi) In Turkish Classical Music, a five-note scale pattern formed by adding a whole step to the lower register of the Hicâz tetrachord on dügâh (La/A - in its place). Thus the scale is based on râst (Sol/G). Nîm 1. Persian "half." In Turkish Classical Music, when it occurs before the name of an usûl, it indicates an usûl lasting half as long as the usûl in question. Ex. Nîm Berefşân. 2. When it occurs before the name of a note, it indicates the note one koma flat. Ex. Nîm Hicâz. Nîm Berefşân A 16-beat major usûl of Turkish Classical Music, formed of one cycle each of Semâî, and Türk Aksağı and two of Sofyân. It is used in peşrevs and bestes. Nîm Çenber A 12-beat minor usûl of Turkish Classical Music, formed of one cycle each of Sofyân, Yürük Semâî and Nîm Sofyân. It is used in peşrevs and bestes. Nîm Devîr An 18-beat major usûl used in Turkish Classical Music, formed of one cycle of Yürük Semâî and three of Sofyân. It is used in peşrevs and bestes. Nîm Düyek In Turkish Classical Music, the name used for the usûl Nîm Sofyân in the early 20th century. Nîm Evsat A 13-beat minor usûl used in Turkish Classical Music, formed of two measures of Sofyân. It is mostly used in ilâhîs, and less frequently in some şarkıs and türküs. Nîm Fahte In Turkish Classical Music, another name for the usûl Lenk-Fâhte. Nîm Hafîf A 16-beat major usûl used in Turkish Classical Music, formed of four measures of the usûl Sofyân. It is used in peşrevs and bestes. Nîm Hezec A 14-beat minor usûl used in Turkish Classical Music. Nîm Hicâz In Turkish Classical Music, the name for the note Do/C five komas high or Re/D four komas flat in the high register.

Nîm Hisâr In Turkish Classical Music, the name for the note Re/D five komas sharp or Mi/E four komas flat in the high register. Nîm Kavî In Turkish Classical Music, the term for a medium-strength beat of an usûl. Nîm Muhammes A 16-beat major usûl used in Turkish Classical Music, formed of four measures of Sofyân. Nîm Sakıyl A 24-beat major usûl used in Turkish Classical Music, formed of one cycle of Sofyân, two of Yürük Semâî and two of Sofyân. It is used in peşrevs, bestes and kârs. Nîm Sofyân A two-beat simple minor usûl used in Turkish Classical Music, used mainly in dance melodies such as sirtos and longas as well as in marches; and less frequently in certain şarkıs and ilâhîs. Nîm Şehnâz In Turkish Classical Music, the name for the note Sol/G five komas sharp or La/A four komas flat in the high register. Nîm Zencir A 60-beat major usûl used in Turkish Classical Music. It is used mainly in peşrevs and bestes. Nîm Zengûle In Turkish Classical Music, the name for the note Sol/G five komas sharp or La/A four komas flat in the middle register. Nîm Zirgûle See Nîm Zengûle. Ninni A lullabye, sung to calm a baby or put it to sleep. There are many different forms of lullabye in Anatolia, falling into a host of genres. For this reason, the subjects of Anatolian lullabyes are not necessarily on child-related subjects, and have differing names according to their subjects and forms, ex. Ağıt Ninni (Lament lullaby), Türkü Ninni (Folk song lullaby), etc. Nîrîz The old name for the makam Nikrîz used in Turkish Classical Music. Niseb-i Şerife The collective name for several octaves, fifths and fourths within the octave.

Nîşâbûr A compound makam used in Turkish Classical Music, formed by adding a Kürdî tetrachord transposed to hüseynî (Mi/E), a Çargâh tetrachord transposed to acem (Fa/F) and a Bûselik scale transposed to nevâ (Re/D) to the Nîsâbûr tetrachord on bûselik (Si/B - in its place). It is ascending in character. Its tonic is bûselik (Si/B), and its dominant is nevâ (Re/D). Its suspended cadences are the flavors Kürdî on hüseynî (Mi/E), Râst on dügâh (La/A) and Pençgâh on râst (Sol/G), as well as the note nîm hicâz. Nîşâbûrek A compound makam used in Turkish Classical Music, formed by adding a Bûselik tetrachord on hüseynî (Mi/E), a Râst tetrachord also on hüseynî (Mi/E) and a Nîsâbûr tetrachord on bûselik (Si/B - in its place) to a Râst pentachord transposed to dügâh (La/A). It is descending-ascending in character. Its tonic is dügâh (La/A), and its dominant is hüseynî (Mi/E). It suspended cadences are the flavors Nîsâbûr on bûselik (Si/B - in its place), Râst on hüseynî (Mi/E) and Râst on hüseynî aşîrân (Mi/E). Nîşâbûr Üçlüsü In Turkish Classical Music, a çeşni (flavor) composed of a small trichord. Nîşâpûr See Nîşâbûr. Nîşâverek Another name for the makam Nîşâbûr used in some edvârs. Niyâz A compound makam used in Turkish Classical Music, created by Abdülbâki Nâsır Dede. It is formed by adding the makam Isfahân to the makam Hicâz on dügâh (La/A - in its place). Its tonic is dügâh (La/A). Noksan Durgu A half cadence. See Durgu. Nûşin-Gül A compound makam once used in Turkish Classical Music. Nutk-ı Darb A Turkish Classical Music term used until recently for a half note rest. Nutuk The term for reading the lyrics of a Bektashi nefes rather than singing them. Nühüft A compound makam used in Turkish Classical Music, formed by adding an Uşşâk tetrachord transposed to aşîrân (Fa/F) to the makam Yegâh. Its tonic is aşîrân, and its dominants are nevâ (Re/D) and dügâh (La/A). Its suspended cadences are the flavors Segâh and Ferahnâk on evc (Fa/F five komas sharp), Bûselik on nevâ (Re/D), Çargâh on çargâh (Do/C), Segâh and Ferahnâk on segâh (Si/B one koma flat - in its place), Uşşâk and Râst on dügâh (La/A) and Râst on yegâh (Re/D).

Nühüft-Hicâz A variant on the makam Nühüft once used in Turkish Classical Music. No examples have survived to the present. Nühüft-Kadîm A variant on the makam Nühüft once used in Turkish Classical Music. No examples have survived to the present.

O Onikitelli Lit. "Twelve-string." A large, infrequently seen member of the bağlama family with four courses of strings, each composed of three strings. The instrument may be known by various regional names such as meydan sazı, divan sazı and çöğür. Orta Aksak A minor usûl used in Turkish Classical Music. It is a special form of the usûl Aksak, and like Ağır Aksak, it is written in 9/4, but it is a bit faster than Ağır Aksak. Osmanlı Bozuğu The name of a makam used in the âşık music of Northeastern Anatolia. The name bozuk (bozuğ-) refers to the instrument by the same name on which it is played. Osmanlı Divanisi The name of a makam used in the âşık music of Northeastern Anatolia, and the melodic pattern to which this sort of divan is sung. Oturak Havası The name for a repertoire ofmusic, known in some areas simply as oturak, which is played at festivities and celebrations. The oturak songs of Central Anatolia are especially famous. Ova Garibi The name used in the Central Black Sea Region for the uzun havas sung to the poetry of Âşık Garibi. Oynak A 9-beat minor usûl used in Turkish Classical Music, composed of one cycle each of Semâî and Yürük Semâî. In its 9/4 form it is known as ağır oynak. It is used in the türkü, şarkı, ilâhî and oyun havası forms. Oyun Havası 1. Lit. "dance tune/air." The term used in Anatolia for almost all of the music played to accompany dancing. There are oyun havasıs with and without associated songs, known as türkülü (with a folk song) and türküsüz (with no folk song). There are other classifications, such as those that are religious or secular in character, as well as for different dances performed only by men or by women. See Halay, Bar, Zeybek, Horon etc. 2. A genre of instrumental music within Turkish Classical Music. In addition to being a particular form, any music played in order to accompany dancing may also be considered an oyun havası. Ozan An âşık, or folk poet. The name for local poets and musicians who usually sing their own and others' poems accompanied by the saz/bağlama.

Ozanlama The ozan/âşık style of singing. Historically, the term ozanlama has been used in the sense of singing an uzun hava.

P Pâsbânî A makam once used in Turkish Classical Music. No examples have survived to the present. Pây-Kûb A köçek, a dancer. Pây-Zen-i Sabâ A compound makam once used in Turkish Classical Music. No examples have survived to the present. Pehlevî A compound once used in Turkish Classical Music. No examples have survived to the present. Pençgâh 1. In Turkish Classical Music, the old name for the note nevâ. 2. A compound makam used in Turkish Classical Music. There are two types: Pençgâh-ı Asıl, and Pençgâh-ı Zâid. See Pençgâh-ı Asıl, and Pençgâh-ı Zâid Pençgâh Pentachord (Pençgâh Beşlisi) In Turkish Classical Music, five note scale pattern formed by adding a whole tone to the low end of the Râst tetrachord transposed to dügâh (La/A). Thus the pentachord is based on râst (Sol/G). Pençgâh-ı Asıl A compound makam used in Turkish Classical Music, formed by combining the makams Basit Isfahân (Bayâti), Nevâ, Râst and Acem'li Rast (Râst containing the note acem). It is descending-ascending in characger. Because of the Râst flavor its tonic is râst (G/Sol), and its dominant is nevâ (Re/D). Its suspended cadences are the flavors Uşşâk transposed to hüseynî (Mi/E), Bûselik on nevâ (Re/D), and Segâh and Ferahnâk on segâh (Si/B one koma flat - in its place), as well as the Segâh trichord, and the Pençgâh pentachord on râst (Sol/G). Pençgâh-ı Irâk A variation on the makam Pençgâh once used in Turkish Classical Music. No examples have survived to the present. Pençgâh-ı Zâid A compound makam used in Turkish Classical Music, formed by adding the Pençgâh pentachord on râst (Sol/G), or the Râst or Acem'li Râst scales on râst to the scale of the makam Isfahân. It is descending-ascending in character. Its tonic is râst (Sol/G), and its dominant is nevâ (Re/D). Its suspended cadences are the flavors Bûselik on nevâ (Re/D),

Ferahnâk on segâh (Si/B one koma flat), Nişâbûr on bûselik (Si/B) and Uşşâk and Râst on dügâh (La/A), as well as the Segâh trichord on segâh and the Pençgâh pentachord on râst (Sol/G). Perde 1. The names of the notes in terms of pitch. 2. A fret on a stringed instrument, which may be made of bone, gut, metal or nylon monofilament. 3. A term used in old edvârs on Turkish classical music for "makam." Perr-i Zerrîn A compound makam once used in Turkish Classical Music. Pesendîde A compound makam used in Turkish Classical Music. It is formed by adding a portion of the scale or the entire pentachord of the makam Nişâbûr on bûselik (Si/B - in its place), and a portion of the scale of the makam Bûselik transposed to nevâ to the scale of the makam Râst or the Râst pentachord on râst (Sol/G - in its place). It is descending-ascending in character. Its tonic is râst (Sol/G), and its dominant is nevâ (Re/D). Its suspended cadences are the flavors Nişâbûr on bûselik (Si/B, Râst on dügâh (La/A), Pençgâh on râst (Sol/G - in its place), Segâh and Ferahnâk on segâh (Si/B one koma flat - in its place), Uşşâk on dügâh (La/A - in its place) Uşşâk and Hüseynî on hüseynî aşîrân (Mi/E) and Râst on yegâh (Re/D). Pest Low, in terms of register. Pest Sekizli A low octave. Peşrev 1. An instrumental form in Turkish Classical Music. With the exception of a few basic usûls, they are always composed in the major usûls, and every section is called a hâne, after each of which comes the section called the mülâzime. Although according to some sources state that peşrevs may include up to 15 hânes, from the 16th century on the genre became fixed and is generally composed with four hânes. 2. An instrumental opening played by the duo of davul and zurna at wrestling competitions. Peyk-i Neşât A compound makam once used in Turkish Classical Music. Peyk-i Safâ A compound makam once used in Turkish Classical Music. Pîşe (Bîşe) An old type of ney with either seven or nine holes. Polyphony The combination of several different musical parts. In Europe, polyphony began to spread after being supported by the church. Traditional Turkish music contains a form of

polyphony; however, this has nothing to do with that of Western music. After the founding of the Turkish Republic, a western-style polyphony known as "Modern Turkish Music" took form and recently, composers in this style have scored successes in the world sphere. Experiments in polyphony in other areas of Turkish music continue and have produced some original works. Pûselik See Bûselik. Pûşegân A makam once used in Turkish Classical Music. No examples have survived to the present.

R Râhat-Fezâ A compound makam used in Turkish Classical Music, formed bhy adding the Hüseynî pentachord transposed to hüseynî aşîrân (Mi/E) to the makam Hümâyûn, Hicâz or Uzzâl. Its tonic is hüseynî aşîrân (Mi/E), and its dominats are nevâ (Re/E), hüseynî (Mi/E) and dügâh (La/A). Whichever of the two pitches is dominant, the other serves as a suspended cadence. The makam is descending in character. Its suspended cadences are the notes nîm hicâz (Do/C four komas sharp) and dik kürdî (Si/B four komas flat), and the flavors Nikrîz on râst (Sol/G - in its place), Hüzzâm on ırâk (Fa/F four komas sharp) and Râst on yegâh (Re/D); as well as the Ferahnâk tetrachord on ırâk. Rahat'ül-Ervâh A compound makam used in Turkish Classical Music. It is formed by adding a Segâh tetrachord (See Segâh tetrachord) transposed to irâk (Fa/F sharp) to the scale of the makam Hümâyûn, Hicâz or Uzzâl on dügâh (La/A). It is descending in character. Its tonic is dügâh (La/A) and its dominants are nevâ (Re/D) and hüseynî (Mi/E). Its suspended cadences are the flavors Râst or Bûselik on nevâ, Uşşâk on hüseynî, Hicâz on dügâh (La/A - in its place), Nikrîz on râst (G/Sol - in its place) and Hüzzâm on ırâk (Fa/F four komas sharp), as well as the notes nîm hicâz (Do/C four komas sharp) and dik kürdî (Si/B four komas flat). Râh-i Gül A compound makam once used in Turkish Classical Music. No examples have survived to the present. Râh-i Hâr-Ken A compound makam once used in Turkish Classical Music. No examples have survived to the present. Râh-i Hâr-Keş A compound makam once used in Turkish Classical Music. No examples have survived to the present. Râh-i Husrevânî A compound makam once used in Turkish Classical Music. No examples have survived to the present. Râh-i Kürd A 44-beat major usûl once used in Turkish Classical Music. Râh-i Rûh A compound makam once used in Turkish Classical Music. Rakkas A dancer, a dancing man, a köçek.

Rakkâse A professional female dancer. Raks Dance. Raks (Bektâşî Raksı) A 16-beat major usûl used in Turkish Classical Music. It is composed of two measures of Türk Aksağı, and one each of Sofyân and Nîm Sofyân. This usûl occurs only in one Bektashi nefes in the makam Hücâzî Uşşâk. Raks Aksağı A 9-beat minor usûl used in Turkish Classical Music, composed of a combination of the Türk Aksağı and Sofyân usûls. It is used mainly in the şarkı, türkü and oyun havası forms. Raksân A 15-beat usûl used in Turkish Classical Music. There are two variants: The first is a combination of one cycle of Semâî, Türk Aksağı, Sofyân and one more of Semâî; and the second is a combination of the second form of Türk Aksağı and the usûl Aksak Semâî. They have been used in Bektashi nefes, türkü and folk music. Raksiyye A genre of vocal or instrumental music within Turkish Classical Music, used for dancing. Raks-Semâî An 18-beat major usûl used in Turkish Classical Music. It was created by İsmail Hakkı Bey and was used in only two pieces. Râmiş-Huvâr An old makam once used in Turkish Classical Music. Râmiş-i Cân A compound makam once used in Turkish Classical Music. Râsim In Turkish Classical Music, the term for a group of makams. Râst 1. In Turkish Classical Music, the name of the note Sol/G in the middle octave. 2. A simple makam used in Turkish Classical Music. One of the oldest of the makams, it is formed by adding a Râst tetrachord transposed to nevâ (Re/D) to a Râst pentachord on râst (Sol/G - in its place). It is descending in character. Its dominant is râst, and its jdominant is nevâ (Re/D). Its suspended cadences are the flavors Uşşâk on dügâh (La/A), Segâh on segâh (Si/B one koma flat), Râst on yegâh (Re/D) and Uşşâk and Nişâbûr on hüseynî aşîrân (Mi/E), as well as the Ferahnâk pentachord on segâh. Râst-Acem A compound makam once used in Turkish Classical Music. No examples have survived to the present.

Rast-Aşîrân A compound makam used in Turkish Classical Music. Râst-Gerdâniye A compound makam once used in Turkish Classical Music. No examples have survived to the present. Râst-Geveşt A compound makam once used in Turkish Classical Music. No examples have survived to the present. Râst-Hâverân A compound makam used in Turkish Classical Music, formed by adding the low tetrachord of the makam Irâk to the basic Râst scale. Râst-ı Cedîd A compound makam once used in Turkish Classical Music, created by Sultan Selim III. It is formed by adding the scale of the makam Râst on râst (Sol/G - in its place) to the makam Hicâz transposed to yegâh. Its tonic is râst (Sol/G), and its dominant is nevâ (Re/D). Râst-ı Rûmî A compound makam once used in Turkish Classical Music. No examples have survived to the present. Râst-ı Sagıyr A compound makam once used in Turkish Classical Music. No examples have survived to the present. Râst-ı Sultânî A compound makam once used in Turkish Classical Music. No examples have survived to the present. Râst-Kürdî A compound makam used in Turkish Classical Music. It was created by Kemânî Serkis by adding a Kürdî tetrachord on dügâh (in its place) to the basic scale of the makam Râst. Its tonic is dügâh, and its dominants are râst (Sol/G) and nevâ (Re/D). The only example is in Kemânî Serkis' own peşrev. Râst-Mâye A compound makam used in Turkish Classical Music. Râst-Nevrûz A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rast Pentachord (Râst Beşlisi) In Turkish Classical Music, a five-note scale pattern formed by adding a whole tone to the Râst tetrachord on râst (Sol/G - in its place). (See Râst Tetrachord).

Râst Tetrachord (Râst Dörtlüsü) A four-note scale pattern based on râst (Sol/G) so as to form a perfect fourth. Râst-Selmek A compound makam once used in Turkish Classical Music. No examples have survived to the present. Râst-Şehnâz A compound makam once used in Turkish Classical Music. No examples have survived to the present. Ravza A five-stringed bowed instrument invented by Arapgirli Şükrüllah Bey. Although it has no relation to the instrument known as the ırızva played in Southern Anatolia, the similarity of the name is notable. Rebâb A long-necked stringed instrument played with a bow, the body of which was originally constructed of a coconut. It is believed to have passed from old Iranian music to old Arab music, and from there, to the entire Near East and Mediterranean. Played with a plectrum or the fingers in Iran, the rebab began to be played with a bow when it was adopted by the Arabs. There are a variety of types, having from one to five strings. One form is played in Southern Anatolia. Rebâb-ı Nâyî A woodwind instrument once used in Turkish Classical Music. Rebâbî A maker or player of the rebâb. Redif Rhyme. Synonymous with the ayak of âşık poetry. Rehâvî A makam used in Turkish Classical Music. There are two forms, one simple and one compound. The first is the makam Râst that features a Râst tetrachord on yegâh (Re/D) during its resolution. The second is the same as Râst in every way, formed by the combination of the scales of the makams Râst and Bayâtî. It is descending in character. Its tonic is râst (Sol/G), and its dominant is nevâ (Re/D). Rehâvî-Gerdâniye A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rehâvî-Geveşt A compound makam once used in Turkish Classical Music. No examples have survived to the present.

Rehâvî-Mâye A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rehâvî-Nevrûz A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rehâvî-Selmek A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rehâvî Sesi The name used by Kantemir in his edvâr for the note geveşt (Sol/G). Rehâvî-Şehnâz A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rekb A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rekb-i Nevrûz A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rekb-i Zâvil A compound makam used in Turkish Classical Music. Remel A 28-beat major usûl used in Turkish Classical Music, formed of the combination of one cycle each of Sofyân, Sengîn Semâî, Sofyân, Sengîn Semâî and two more of Sofyân. It is used in peşreves and bestes. Remel-i Hafîf A light form of the usûl Remel. See Remel. Remel-i Kasıyr A variant of the usûl Remel used in Turkish Classical Music. Remel-i Sakıyl See Remel. Remel-i Tavîl A variant of the usûl Remel used in Turkish Classical Music. Remel-i Türkî See Remel.

Reng-i Dil A makam used in Turkish Classical Music. Some theoreticians consider it to be a transposed (şed) makam. It was created by Mühendis Hâlis Bey by transposing the makam Nev'eser to acem-aşîrân (Fa/F). Its tonic is acem aşîran, and its dominant is çargâh. Revân A 9-beat minor usûl used in Turkish Classical Music. Revnâk-Nümâ A compound makam used in Turkish Classical Music, formed by adding either the entire scale or the low tetrachord of the makam Irâk to the scale of the makam Müstear. Its tonic is ırâk (Fa/F four komas sharp) and its dominants are segâh (Si/B one koma flat) and dügâh (La/A). Rıdvân A compound makam once used in Turkish Classical Music. No examples have survived to the present. Ridâyî A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rikâb A 32-beat major usûl once used in Turkish Classical Music. No examples have survived to the present. Rîku'l-Habîb A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rûh A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rûh-Efzâ 1. A stringed instrument once used in Turkish Classical Music. 2. A compound makam once used in Turkish Classical Music. No examples have survived to the present. Rûhnevâz (=Rûhnüvaz) A makam used in Turkish Classical Music, defined by some theoreticians as a transposed (şed) makam. It was created by Dr. Suphi Ezgi by transposing the basic scale of the makam Bûselik to hüseynî aşîran (Mi/E). Its tonic is hüseynî aşîrân, and its dominant is bûselik (Si/B). It is ascending and descending in character. Rûy-i Aşîrân A compound makam once used in Turkish Classical Music. No examples have survived to the present.

Rûy-i Dilârâ A compound makam once used in Turkish Classical Music. Rûy-i Hicâz A compound makam once used in Turkish Classical Music. No examples have survived to the present Rûy-i Irâk A compound makam used in Turkish Classical Music, formed by adding a Segâh tetrachord transposed to ırâk (Fa/F sharp) to the scale of the makam Segâh. It is ascending in character. Its tonic is ırâk (Fa/F four komas sharp) and its dominants are segâh (Si/B one koma flat), dügâh (La/A) and nevâ (Re/D). Its suspended cadences are the flavors Bûselik and Uşşâk on nevâ, Segâh or Ferahnâk on dik hisâr (Mi/E one koma flat) and Râst on çargâh (Do/C). Ruzba See Irızva.

S Sabâ 1. In Turkish Classical Music, the name once used for the note hicâz (Do/C five komas sharp or Re/D four komas flat). 2. A compound makam of Turkish Classical Music, formed by adding a Sabâ tetrachord to the Zîrgûle'li Hicâz scale transposed to çargâh (Do/C). It is ascending and ascending-descendingin character. Its tonic is dügâh (La/A) and its dominant is çargâh (Do/C). Its suspended cadences are the flavors Zîrgûle'li Hicâz on çargâh (Do/C, Hicâz on gerdâniye (Sol/G), Nikrîz on acem (Fa/F) and Hüzzâm or Segâh on dik hisâr (Si/B one koma flat), as well as the Râst tetrachord on râst (Sol/G). Sabâ-Aşîrân A variant of the makam Sabâ used in Turkish Classical Music, formed by the addition of either the entire Uşşâk scale or the Uşşâk tetrachord transposed to hüseynî aşîrân to the scale of the makam Sabâ. It is descending in character. Its tonic is hüseynî aşîrân (Mi/E) and its dominants are çargâh (Do/C) and dügâh (La/A). Saba-Bûselik A variant of the makam Sabâ used in Turkish Classical Music. It was created by Dede Efendi by adding either the Bûselik pentachord or entire scale ton dügâh (La/A) to the scale of the makam Saba. Its tonic is dügâh, and its dominants are çargâh (Do/C) and hüseynî (Mi/E). Sabâ Tetrachord (Sabâ Dörtlüsü) In Turkish Classical Music, a four-note scale pattern based on dügâh (La/A) so as to form a diminished fourth. Sabah Havası A melody played on davul and zurna in order to awake the wedding guests and their hosts the morning after the wedding. See Tan Havası. Sabahî The name used in and around Ankara for the common Central Anatolian son "Çiçekdağı." Sabâ-Kürdî In a name given in some sources for the makam Sabâ-Zemzeme. Sabâ-Uşşâk A variant on the makam Sabâ once used in Turkish Classical Music. No examples have survived to the present. Sabâ-Zemzeme A variant on the makam Sabâ used in Turkish Classical Music, formed by adding a Kürdî tetrachord on dügâh (La/A - in its place) to the scale of the makam Sabâ. It is descending-ascending in character. Its tonic is dügâh (La/A) and its dominants are çargâh (Do/C) and nevâ (Re/D).

Sâdî A compound makam once used in Turkish Classical Music. No examples have survived to the present. Safâ A compound makam once used in Turkish Classical Music; a form of the makam Sabâ with modulations to Muhayyer and Uşşâk. No examples have survived to the present. Safîr A type of flute once popular in Istanbul. Safîr-i Bülbül A type of flute with a sound resembling that of a nightingale. Sağır Perde Lit. "Deaf Fret." Frets on the instruments of the Bağlama family for notes which are normally not used. They have a "hidden" function in that they enable certain transpositions. Sağma See Zahma. Sağu A lament; the term is used chiefly among the Central Asian Turkic peoples, as well as in some areas of Anatolia, especially Çanakkale, Isparta, Kastamon and Çankırı. There are different types with their associated names, such as Yiğit Sağusu, Gelin Sağusu, Asker Sağusu (Brave young man, Bride, Soldier), etc. Sakıyl A 48-beat major usûl used in Turkish Classical Music. It is a combination of one cycle of Sofyân, one of Sengîn Semâî, one Sofyân, three of Sengîn Semâî and four of Sofyân. Its 48/2 form is called Ağır Sakıyl. It is mostly used in compositions in the peşrev, kâr, best and ilâhî forms Sakıyl-i Remel A major usûl once used in Turkish Classical Music. Sakıylü'l-Hezec (=Sakıyl-i Hezec) A major usûl once used in Turkish Classical Music. Salât A form of Turkish religious music. It is a musical form of a prayer in respect for the Prophet Muhammad. There are various types according to purpose, including Cenaze Salâtı (Funeral Salât), Cum'a Salâtı (Friday Salât), Bayram Salâtı (Feast Salât), etc. Salât-ı Ümmiye A form of Turkish religious music.

Sallama A folk dance danced in many different areas with different local music. In the Teke region it is danced by women while in the Bayburt and Gümüşane regions it is danced by men, and in Trabzon and Giresun, men and women dance it together. Samah (=Semah) Religious/mystical turning dances performed by Alevis/Bektashis at their religious ceremonies (See Ayin-i Cem), and the music that accompanies these dances. They are known by different names according to region: Divriği Semanı, Bozok Semahı, Kırklar Semahı etc. Musically, they are among the richest and most varied types of folk music. They usually consist of three sections, but may have less or more sections Sanat Müziği Lit. "Art Music." The term was first coined in order to identify the works of great Turkish composers such as Itrî, Dede Efendi etc. However over time, it departed significantly from its original meaning, and came to signify fasıl and religious music, and finally, the whole of entertainment music. Santûr A hammer dulcimer, once much used in Turkish music and closely identified with the Turkish composer Santurî Edhem Efendi, but today nearly forgotten. Although it was actually used in many different Asian cultures up until the early 20th century, the santur has now lost much of its popularity. Sap The neck of a stringed instrument. Saray Müziği Palace music. Throughout history, in every country, the palaces with their rulers as well as members of the aristocracy became centers of music, and the Ottoman palace was also an important center of musical culture. Turkish Classical Music developed within the limited environment of training by master musicians. The fact that Ottoman-Turkish music was taught in the Mekteb-I Enderûn, the largest palace school in the Ottoman Empire does not mean that this music actually developed in the palace. Despite the importance assigned to music in the palace and the fact that the palace provided for the creation of some its most important examples, this music actually developed and spread outside the palace. In this sense, rather than calling Turkish Classical Music "palace music," it would be more correct to see it as a genre of music supported by the palace. Savt Meaning "sung poetry" in Arabic, savt is a type of Arab gazel with a definite progression but no set meter. It is also the name of an old Turkish musical form. The name was mostly used for pieces sung in the dervish lodges. The lyrics of savt consist of several short repeated phrases.

Saz 1. In its most general sense, any musical instrument, but the word is used especially to define the members of the bağlama family. 2. An entertainment venue with music and drink; a music hall. Sazbent A term form instrumental ensembles in Southern Anatolia. See Mıtrıp. Sazcı A player of saz/bağlama. Although this term is still current in various regions of Anatolia, it has gained a disparaging meaning in urban centers and is thus considerably fallen from use, being gradually replaced by the term "saz sanatçısı" ("instrument artist"). Sâzende An instrumentalist, a person who has attained mastery of his instrument. Not everyone who plays an instrument is called a sazende. Sâz-ı Dûlâb A stringed instrument once used in Turkish Classical Music. Sâz-ı Gaayî A stringed instrument once used in Turkish Classical Music. Sâzkâr 1. An instrumentalist; the term is no longer used today. 2. A compound makam used in Turkish Classical Music, formed by adding the scales of the makms Segâh and Râst to the Uşşâk tetrachord on dügâh (in its place). It is descending-ascending in characger. Its tonic is râst (Sol/G), and its dominants are nevâ (Re/D), segâh (Si/B one koma flat) and dügâh (La/A). Its suspended cadences are the suspended cadences of the makams that comprise the makam (Uşşâk, Segâh and Râst), as well as the flavor Râst on yegâh (Re/D). Sâz Semâîsi One of the oldest instrumental musical forms of Turkish Classical Music. In the last to be played in the classical fasıl suite. In the old days, saz semâîs were composed to the usûls aksak semâî, sengîn semâî, yürük semâî and curcuna; today however, only aksak semâî is used. Saz semâîs generally consist of four hânes, but today there is no limit on the number of hânes; in addition, each hâne may be played in any makam and usûl desired. Saz Şairi Lit. "saz poet," an âşık or minstrel who sings his own or others' poetry with saz accompaniment. Saz Takımı A saz ensemble; which may be composed of various instruments such as bağlama, cura, darbuka, kabak kemane and kaval. Although these are professional groups that play for festivities, there are also non-professional saz groups among the people who play at their own private parties/celebrations.

Se-Bahr A compound makam once used in Turkish Classical Music. No examples have survived to the present. Sebz-Ender-Sebz-i Hisâr A variant of the makam Sebzî which was once used in Turkish Classical Music. Its tonic is dügâh (La/A). No examples have survived to the present. Sebz-Ender-Sebz-i Kadîm A variant of the makam Sebzî once used in Turkish Classical Music. Its tonic is dügâh (La/A). No examples have survived to the present. Sebzî A compound makam once used in Turkish Classical Music. Its tonic is dügâh (La/A). No examples have survived to the present. Sebz-i Hisâr A variant of the makam Sebzî once used in Turkish Classical Music. Its tonic is dügâh (La/A). No examples have survived to the present. Sebz-i Tâze A variant of the makam Sebzî once used in Turkish Classical Music. Its tonic is dügâh (La/A). No examples have survived to the present. Segâh 1. In Turkish Classical Music, the note Do/C eight komas sharp or Re/D one koma flat in the middle octave. In the lower octave it is called kaba segâh, and in the high octave, tiz segâh. 2. A compound makam used in Turkish Classical Music, formed by adding a Hicâz tetrachord to a Segâh pentachord. It is ascending in character. Its tonic is segâh (Si/B one koma flat) and its dominant is nevâ (Re/D). Its suspended cadences are the flavors Bûselik and Uşşâk on nevâ (Re/D), Segâh or Ferahnâk on dik hisâr (Mi/E one koma flat) and Râst on çargâh (Do/C). Segâh-Acem A variant of the makam Segâh used in Turkish Classical Music, formed by adding the scale of the makam Acem to a Segâh scale on dügâh (La/A). Its tonic is dügâh (La/A). Segâh-Arabân A variant of the makam Segâh used in Turkish Classical Music, formed by adding the scale of the makam Arabân to a Segâh scale on yegâh (Re/D). Its tonic is yegâh (Re/D). Segâh-Arabânî See Segâh-Arabân. Segâh-Mâye In Turkish Classical Music, there are two variations of the makam Mâye, one based on dügâh (La/A) and the other on segâh (Si/B one koma flat). Segâh-Mâye is the term for the second of the two.

Segâh-Muhayyer A variation of the makam Segâh used in Turkish Classical Music, formed by adding the scale of the makam Muhayyer to a Segâh scale on dügâh (La/A). Its tonic is dügâh (La/A). Segâh Pentachord (Segâh Beşlisi) In Turkish Classical Music, a five-note scale pattern based on segâh (Si/B one koma flat) forming a perfect fifth. Although it shares the characteristics of the six pentachords that are used in forming the basic makams, it is not included with them because it is used in the formation of compound rather than simple makams. Segâh Tetrachord (Segâh Dörtlüsü) In Turkish Classical Music, a four-note scale pattern based on segâh (Si/B one koma flat) forming a perfect fourth. The addition of one whole tone produces the Segâh pentachord. Seh-Darb A 32-beat major usûl used in Turkish Classical Music. No examples have survived to the present. Seh-Endâr A 14-beat minor usûl used in Turkish Classical Music. No examples have survived to the present. Selmek A compound makam used in Turkish Classical Music, formed of a combination of the makams Râst and Hüseynî. Its tonic is râst (Sol/G) and its dominants are nevâ (Re/D), dügâh (La/A) and hüseynî (Mi/E). Selmek-Büzürg A variant on the makam Selmek once used in Turkish Classical Music, formed by adding the scale of the makam Büzürg to the Selmek scale. Its tonic is râst (Sol/G). No examples have survived to the present. Selmek-Hicâz A variant on the makam Selmek once used in Turkish Classical Music. No examples have survived to the present. Selmek-Hüseynî A variant on the makam Selmek once used in Turkish Classical Music. No examples have survived to the present Selmek-Irâk A variant on the makam Selmek once used in Turkish Classical Music. No examples have survived to the present Selmek-Isfahân A variant on the makam Selmek once used in Turkish Classical Music. No examples have survived to the present

Selmek-i Kebîr A variant on the makam Selmek once used in Turkish Classical Music. Selmek-i Sagıyr A variant on the makam Selmek once used in Turkish Classical Music. Selmek-Kûçek A variant on the makam Selmek once used in Turkish Classical Music. Its tonic is La/A. No examples have survived to the present. Selmek-Râst A variant on the makam Selmek once used in Turkish Classical Music. Its tonic is La/A. No examples have survived to the present. Selmek-Rehâvî A variant on the makam Selmek once used in Turkish Classical Music. Selmek-Zengûle A variant on the makam Selmek once used in Turkish Classical Music. Its tonic is dügâh (La/A). Sema Religious/mystic dances created by the Mevlevî and Bektashi people as part of their belief. Although it is used in the form sema' by the Mevlevîs, the Bektashis use the term semah, especially in central and eastern Anatolia. The meaning of the sema' is very similar to both the Mevlevîs and Bektashis; in both groups, the music and dance tells of the ascent to the heavens and the cosmic voyages of the planets or stars. Semah See Samah, Sema' Semai 1. A type of eight-syllable form of poetry in the hece meger, and the melodic patterns that accompany this poetry. Just as every poem in an eight-syllable hece meter is not a semai, this term is used in only a very few regions. 2. A form of secular vocal Turkish Classical Music. It is counted with the usûls Aksak Semâî, Yürük Semâî and various variations thereof. 3. One of two simple usûls in Turkish classical music. It has 3 beats. Used chiefly in şarkı forms, they also appear in the last hânes of saz semâîsis and some religious pieces. Semâî-i Harbî The old name for the usûl Ceng-i Harbî. Semâ-zen A dervish who dances the semâ in the Mevlevî âyin. Sengîn Persian "heavy." In Turkish Classical Music, a word used in the sense of "heavy, slow."

Sengîn Devr-i Hindî The 7/4 variant on the 7/8 Devr-i Hindî usûl used in Turkish Classical Music. Sengîn Semâî 1. The slow (6/4) variant of the usûl Yürük Semâî used in Turkish Classical Music. 2. The variant of the Ağır Semâî form counted in 6/4. Ser-Bend In Turkish Classical Music, the old name for the mülâzime section of the peşrev form. Segâh Pentachord (Segâh Beşlisi) In Turkish Classical Music, a five-note scale pattern based on segâh (Si/B one koma flat) forming a perfect fifth. Although it shares the characteristics of the six pentachords that are used in forming the basic makams, it is not included with them because it is used in the formation of compound rather than simple makams. Segâh Tetrachord (Segâh Dörtlüsü) In Turkish Classical Music, a four-note scale pattern based on segâh (Si/B one koma flat) forming a perfect fourth. The addition of one whole tone produces the Segâh pentachord. Ser-Bülend A compound makam once used in Turkish Classical Music. No examples have survived to the present. Serendâz A compound makam used in Turkish Classical Music. Ser-Hâne The first hâne in a peşreve and saz semâîsi. Ser-Hânende The lead singer, who sings with a def (tambourine) in hand, and directs the fasıl. Ser-Henk A compound makam used in. No examples have survived to the present. Serî-i Türkî See Darb-ı Türkî. Seriü'l-Hezec A faster form of the usûl Hezec used in Turkish Classical Music. Ser-Müezzin The highest-ranking müezzin in the Imperial Palace during the Ottoman period. See Müezzin. Ser-Nâyî (=Ser-Neyzen) The lead ney player of the musical ensemble in the Mevlevî âyin, the neyzenbaşı. Ser-Zâkir See Zâkirbaşı.

Setar A three-stringed tambura-type folk instrument. Sevgi A five-beat minor usûl, created by Dr. Refet Kayserilioğlu, and used in two pieces by the same composer. Seyir The characteristic progression through the makams in Turkish Classical Music. Sıbızgı The Central Asian name for a form of Pan flute consisting of eight to ten reeds. Sıra Gecesi The name for musical gatherings of friends held in Southern Anatolia and especially in the city of Şanlıurfa. They are hosted in turn ("sıra") by the regular participants. In the region, such gatherings are sometimes known simply as "sıra" or "sıra gezme." Sıra Gezme See Sıra Gecesi. Sızlatma 1. To play an end-blown flute in such a way as to produce a simultaneous fifth or octave 2. To play the zurna, kaval or may in a vibrato style. Simple Makam (Turkish: Basit Makam.) A type of makam used in. Theoreticians have defined these types of makams based on the manner in which they are formed. According to theory, in order for a makam to be considered "simple," it must have a have an eight-note scale composed of the joining of a full tetrachord to full pentachord, or a full pentachord to a full tetrachord., and its dominant must coincide with the juncture of the pentachord and tetrachord. There are thirteen simple makams in Turkish music: Çârgâh, Bûselik (its descending form is Şehnâz Bûselik), Kürdî, Rast, Uşşâk (its descending-ascending form form is Beyâtî), Nevâ (its descending form is Tâhir), Hümâyûn, Hicâz, Uzzâl, Zîrgûleli Hicâz, Karcığar, Basit Sûz'nâk and Hüseynî (its descending form is Muhayyer). Sînekemânı Lit. "breast fiddle." Viola d'amore, an ancestor of the violin used in the West and in Turkish music. It generally had seven strings. Sînekemânî A player of the sînekemânı. Sinsin A semi-religious fold dance danced around a fire, and the music that accompanies these dances.

Sipihr A compound makam used in Turkish Classical Music. There are two types. The first is known as Eski Sipihr ("Old Sipihr") and consists of a combination of the Şehnâz and Hisâr scales. The makam's new form is created by the combination of the Hisâr and Kûçek scales. The first type resolves on dügâh (La/A), and its dominant is hüseynî (Mi/E) as well as nevâ (Re/D). The new Sipihr's dominant is çargâh (Do/C). In the old Sipihr, the suspended cadences are the flavors Uşşâk on hüseynî aşîrân (Mi/E), Râst on nevâ (Re/D), Çargâh on çargâh (Do/C), and Segâh or Ferahnâk on segâh (Si/B one koma flat). New Sipihr also includes the suspended cadences on nîm hicâz and dik kürdî with no flavors. Sipihr Hüseynî A variant of the makam Sipihr used in Turkish Classical Music. It is formed by the addition of the scale of the makam Hüseynî to that of the makam Sipihr on dügâh (La/A - in its place). Its tonic is dühâh (La/A). No examples have survived to the present. Sipihr-Uşşâk A variant of the makam Sipihr used in Turkish Classical Music, formed by the addition of the Uşşâk scale on to a Sipihr scale on dügâh (La/A - in its place). It is descending in character. Its tonic is dügâh (La/A). Its suspended cadences are the flavors Uşşâk on hüseynî (Mi/E), Râst on nevâ (Re/D), Çargâh on çargâh (Do/C), and Segâh or Ferahnâk on segâh (Si/B one koma flat). No examples have survived to the present. Sipsi A woodwind instrument played in the Teke retion. It is constructed of a 15-20 cm tube of thin cane or wood with a single cane reed on the end called a cukcuk. It has one thumbe hole and five holes on the front. Sipürde In Turkish Classical Music, the tuning based on hüseynî (La/A) transposed to hüseynî (Mi/E). It is also known as Ahterî. Sîreng A makam once used in Turkish Classical Music. No examples have survived to the present. Sirto An oyun havası played in Turkish Classical Music, counted as the longa, with the usûl Nîm Sofyân. Sofyân (Sûfiyyân) A four-beat minor usûl used in Turkish Classical Music, and composed of two measures of Nîm Sofyân. This usûl is used in the şarkı, peşrev, oyun havası, tevşîh, several ilâhîs and rarely, best forms. It is more often used in folk music. Sohbet A music and dance gathering held in many parts of Anatolia. Literally meaning "conversation," these gatherings were originally held with the goal of promoting social harmony and solidarity, but in time music and dance were added as a means of entertainment.

Solak The name used in the Erzurum region for the usûl Aksak in Köroğlu songs. Another feature of these songs is that they begin with a free-rhythm (uzun hava) section. Son-Hâne The name given to the last (generally the fourth) hâne in peşrevs and saz semâîsis. Söz Müziği Lit. "Word Music." The term used for the whole of music with lyrics. Turkish music includes an immense body of music with lyrics, which may include instrumental sections at any part of the piece. In Turkish music, such music is divided into two groups, the "great" forms (ex. Kâr-ı Nâtık, Kâr, Âyîn, Münâcât) and "small" forms (ex: Şarkı, Türkü, İlâhî, Nefes). These may be either religious or secular. Sultânî A compound makam used in Turkish Classical Music. Sultânî-Bûselik A variation of the makam Sultânî used in Turkish Classical Music, formed by adding a Bûselik pentachord or entire scale to the scale of the makam Sultânî yegâh. Its tonic is dügâh (La/A). Sultânî-Evc A variation of the makam Sultânî used in Turkish Classical Music. Sultânî-Hüzzâm A variation of the makam Sultânî used in Turkish Classical Music. Its tonic is segâh (La/A). Sultânî-Irâk A variation of the makam Sultânî used in Turkish Classical Music. Its tonic is dügâh (La/A), and its dominant is nevâ (Re/D). It is descending-ascending in character. Its suspended cadences are the Segâh flavor on segâh (Si/B one koma flat), the Segâh trichord and Eksik Ferahnâk pentachord, the Râst and Uşşâk flavors on dügâh (La/A), the Segâh flavor on ırâk (Fa/F four komas sharp) and the Râst flavor on yegâh (Re/D). Sultânî-i Cedîd A variation of the makam Sultânî used in Turkish Classical Music, formed by adding the scale of the makam Ferahnümâ to that of the makam Şedd-i Arabân on yegâh (Re/D - in its place). Its tonic is yegâh (Re/D), and its dominats are dügâh (La/A) and râst (Sol/G). Sultânî-Nevâ A variation of the makam Sultânî used in Turkish Classical Music, formed by addıng a Râst pentachord on dügâh (La/A) to the scale of the makam Nevâ on nevâ (Re/D - in its place). It is ascending in character. Its tonic is nevâ (Re/D) and its dominant is dügâh (La/A).

Sultânî-Segâh A variation of the makam Sultânî used in, formed by adding the scales Müsteâr and Şedd-i Arabân to the scale of the makam Segâh transposed to yegâh (Re/D). It is descending in character. Its tonic is yegâh (Re/D), and its dominants are segâh (Si/B one koma flat) and dügâh (La/A). Its suspended cadences are the same as those of the makams Segâh, Müsteâr and Şedd-i Arabân. Sultânî-Yegâh A makam used in Turkish Classical Music. Some theoreticians consider it to be a transposed (şed) makam. It is the makam Bûselik transposed to yegâh (Re/D). Descending in character, its tonic is yegâh (Re/D), and its dominant is dügâh (La/A). Its suspended cadences are the flavors Hicâz and Kürdî on dügâh (La/A), Bûselik on râst (Sol/G) and Kürdî on hüseynî aşîrân (Mi/E). Cadences may also be performed with no flavors on the notes nîm hicâz (Do/C four komas sharp) and dik kürdî (Si/B four komas flat). Sundar (=Sönder) A ten-stringed type of çöğür, an instrument in the bağlama family. Sûriyye A type of music played at feasts, weddings and celebrations. Susta The term for the middle section of a sirto. See Sirto. Sûz-i Dil 1. The name used in some sources for the note dik acem-aşîrân. 2. A makam used in Turkish Classical Music, defined by some theoreticians as a transposed (şed) makam. It is the makam Zengûle transposed to hüseynî aşîran (Mi/E). Descending in character, its tonic is hüseynî aşîran (Mi/E), and its dominant is bûselik (Si/B). Its suspended cadence is the Bûselik flavor on dügâh (La/A). Sûz-i Dilâra A compound makam used in Turkish Classical Music, formed by combining the scales of the makams Çargâh an Mâhûr. It is descending in character. Its tonic is râst (Sol/G) and its dominants are çargâh (Do/C) and nevâ (Re/D). It is the same as the makam Nigâr (See Nigâr), which was used earlier in Turkish music and forgotten over time. Its suspended cadences are the flavors Çargâh on nevâ (Re/D) and çargâh (Do/C), Nikrîz on râst (Sol/G), Çargâh on yegâh (Re/D), and Hicâz on dügâh (La/A). Sûznâk A simple makam used in Turkish Classical Music, formed by adding the Hicaz tetrachord to the Râst pentachord. This variant does not include the makam Zengûle as in its other variant (See Zengûleli Sûznâk). Its tonic is râst (Sol/G) and its dominant is nevâ (Re/D) Süllem The name given by Safiyuddin Urmevî to the foundation of the Turkish Classical Music system.

Sümmani Ağzı A common folk makam of Northern and Northwestern Anatolia. Although it takes its name from Âşık Sümmani, the deyiş of other âşıks may be written in this pattern as well. Its most outstanding characteristic is that it consists of five beats, with pauses within the melody. Sünbüle 1. In Turkish Classical Music, the name for the note La/A four komas sharp or Si/B five komas flat in the high octave. 2. A compound makam used in Turkish Classical Music. It is the old name for the makam Muhayyer-Sünbüle. No examples have survived to the present. Sünbüle-i Kadîm An old name for the makam Sünbüle. Sünbüle-Nihâvend A variant of the makam Sünbüle once used in Turkish Classical Music, formed by adding the scale of the makam Nihâvend to that of the makam Sünbüle. Its tonic is râst (Sol/G). Sürekli Geçki A long modulation; generally a continuation of the piece in the new key. In Turkish music, a long modulation is generally done on the third hâne. Süreksiz Geçki A short modulation which may even last for only one note. This type of modulation involves no overall key change of the music. Sürûr-Efzâ A variant of the makam Sürûrin Turkish Classical Music. Süsleme Ornament. Şâdiye A 19th-century term for a female vocalist. The term has not been used since around the 1950s. Şâd-Kâmî A compound makam once used in Turkish Classical Music. Şâh 1. A tuning in Turkish Classical Music in which the note La is transposed to Segâh (Si/B one koma flat) 2. A compound makam used in Turkish Classical Music. No examples have survived to the present. Şâh-Darb A 30-beat major usûl used in Turkish Classical Music. No examples have survived to the present.

Şâhî A makam invented by Abdülkâdir Merâgî's son Abdülaziz Çelebi. No examples have survived to the present. Şâh-Rûd An old stringed instruments; the same as the Rûd. Şâne An old instrument once used in Turkish Classical Music. Şarkı 1. A form of vocal music in Turkish Classical Music. Generally easy to understand and composed in minor usûlsit is the most-used form of Turkish music. Popular since the reign of Selim II, the şarkı form gained greatly in importance through the works of Hacı Ârif Bey. Şarkı are written in verse form; the verses are joined by refrains consisting of one or two lines. There is also usually an instrumental break between the verses called an aranağme, which may also be played as an introduction to the song. 2. A four-stringed folk instrument played with a plectrum. See Şarkîç Şarkı Devr-i Revânı A 13-beat minor usûl once used in Turkish Classical Music, which consists of one measure of the three-beat Semâî and five of the two-beat Nîm Sofyân. It was used in old and classical şarkı pieces. No examples have survived to the present. Şarkı Düyeği The old name of the usûl Devr-i Hindî. Şarkî A four stringed instrument played with a plectrum. In his Seyahatnâme (Travelogue), Evliya Çelebi states that this instrument was played mostly by Turkmen musicians. Şed Transposition. During this process, the intervals of the scale remain the same, which may require the use of sharp and flat symbols Şedd-i Arabân A makam used in Turkish Classical Music, defined by some theoreticians as a transposed (şed) makam. It is the scale of the makam Zîrgûlei Hicâz transposed to the note yegâh. Descending in character, its tonic is yegâh (Re/D), and its dominant is nevâ (Re/D). Its suspended cadences are the flavors Bûselik from gerdâniye (Sol/G), and Nikrîz (and rarely Râst) on râst (Sol/G). Şedd-i Sabâ A makam used in Turkish Classical Music. Şed Makamlar (Transposed Makams) A group of makams in Turkish Classical Music comprised of makams which have been transposed from their actual placement. Transposed makams undergo changes in their characteristics. Although a scale remains the same when played from different notes, the situation is different when the same scale in Turkish music with a differentname. With

different conventions in modulation and other elements, these transposed (şed) makams take on the characteristic of a different makam. Whild the transposed makams are generally based on simple makams, they may also rarely be derived from compound (mürekkep) makams. Şehnâz 1. In Turkish Classical Music, the name of the note Sol/G four komas sharp or La/A five komas flat in the high octave. In the middle octave it is called zengûle, and in the highest octave, tiz şehnâz. 2. A compound makam used in Turkish Classical Music, formed by adding the scale of the makam Hümâyûn transposed to hüseynî aşîrân (Mi/E) to the scales of Uzzâl, Hicâz or Hümâyûn. Descending in character, its tonic is dügâh (La/A), and its dominants are nevâ (Re/D) and hüseynî (Mi/E). Its suspended cadences are the Hicâz and Uşşâk flavors on hüseynî (Mi/E), and the Râst, Nikrîz and Bûselik flavors on nevâ (Re/D). Şehnâz-Aşîrân A variant on the makam Şehnâz used in Turkish Classical Music, formed by adding an Uşşâk tetrachord transposed to hüseynî aşîrân (Mi/E) to the scale of the makam Şehnâz. Its tonic is aşîrân (Mi/E). Şehnâz-Bûselik A variant of the makam Şehnâz used in Turkish Classical Music. There are two forms, one simple and one compound. The simple form is descending in character, with a tonic of dügâh (La/A) and the dominant hüseynî. The second, compound form is formed by adding a Buselik pentachord to the Şehnâz scale. Its tonic is dügâh (La/A), and its dominants are nevâ (Re/D) and hüseynî (Mi/E). Şehnâz-Büzürg A variation of the makam Şehnâz once used in Turkish Classical Music. It is formed by adding the scale of the makam Büzürg onto a Şehnâz scale on râst. Its tonic is râst. No examples have survived to the present. Şehnâz-Hâverân A variation of the makam Şehnâz once used in Turkish Classical Music. It is formed by adding the scale of the makam Irâk onto a Şehnâz scale on ırâk (Fa/F four komas sharp). Its tonic is irâk (Fa/F four komas sharp). Şehnâz-Hicâz A variation of the makam Şehnâz once used in Turkish Classical Music. It is formed by adding the scale of the makam Hicâz onto a Şehnâz scale on dügâh (La/A - in its place). Its tonic is dügâh (La/A). No examples have survived to the present Şehnâz-Hüseynî A variant of the makam Şehnâz once used in Turkish Classical Music. Its tonic is dügâh (La/A). No examples have survived to the present.

Şehnâz-Irâk A variant of the makam Şehnâz once used in Turkish Classical Music. In the 19th century, it was resurrected as Şehnâz-Hâverân. Şehnâz-Kûçek A variant of the makam Şehnâz once used in Turkish Classical Music, formed by addıng the scale of the makam Kûçek to a Şehnâz scale on dügâh (La/A - in its place). Its tonic is dügâh (La/A). No examples have survived to the present. Şehnâz-Kürdî A variant of the makam Şehnâz once used in Turkish Classical Music. Its tonic is dügâh (La/A). Şehnâz-Nevâ A variant of the makam Şehnâz once used in Turkish Classical Music, formed by adding the scale of the makam Nevâ to a Şehnâz scale from dügâh (La/A - in its place). Its tonic is dügâh (La/A). No examples have survived to the present. Şehnâz-Nişâbûrek A variant of the makam Şehnâz once used in Turkish Classical Music. Şehnâz-Râst A variant of the makam Şehnâz once used in Turkish Classical Music, formed by adding the scale of the makam Râst to a Şehnâz scale on râst (Sol/G). Its tonic is râst (Sol/G). No examples have survived to the present. Şehnâz-Rehâvî A variant of the makam Şehnâz once used in Turkish Classical Music, formed by adding the scale of the makam Rehâvî to a Şehnâz scale on râst (Sol/G). Its tonic is râst (Sol/G).. No examples have survived to the present. Şehnâz-Uşşâk A variant of the makam Şehnâz once used in Turkish Classical Music. No examples have survived to the present. Şehnâz-Zengûle A variant of the makam Şehnâz once used in Turkish Classical Music, formed by adding the scale of the makam Zengûle to a Şehnâz scale on dügâh (La/A). Its tonic is dügâh (La/A). No examples have survived to the present. Şehr-i Nâz (=Şehr-Nâz) A compound makam once used in Turkish Classical Music, formed by adding a Çargâh scale transposed to hüseynî (Mi/E) to the makam Mâhûr. It is descending in character. Its tonic is hüseynî (Mi/E). No examples have survived to the present. Şekil A form, a shape.

Şelpe The name for the technique of playing the bağlama and similar instruments with the hand and fingers rather than a plectrum Şems-Cemâl A compound makam used in Turkish Classical Music, formed by adding an Irâk scale to that of the makam Nihâvend. Its tonic is ırâk (Fa/F four komas sharp). No examples have survived to the present. Şems-Efrûz A compound makam used in Turkish Classical Music. Şeref-i Hamîdî The old name of the makam Şerefnümâ. Şerefnümâ A compound makam used in Turkish Classical Music. Its old name is Şeref-i Hamîdiye. Formed by adding a Râst scale transposed to yegâh (Re/D) to a Bayâtî scale transposed to aşîrân (Mi/E), it is descending in character. Its tonic is yegâh (Re/D), and its dominants are dügâh (La/A) and nevâ (Re/D). Its suspended cadences are the flavors Uşşâk or Hicâz on hüseynî (Mi/E), Nikrîz on râst (Sol/G), Bûselik, Râst or Hicâz on dügâh (La/A), a full or diminished Segâh or Ferahnâk pentachord or a Segâh trichord on ırâk (Fa/F four komas sharp), Bûselik on nevâ (Re/D), and Uşşâk on hüseynî aşîrân (Mi/E). Suspended cadences on nîm hicâz (Do/C four komas sharp) and dik kürdî (Si/B four komas flat) with no flavor are also used. Şeşber A six-stringed instrument in the bağlama family, played with a plectrum, from the Kütahya region. Şeşgâh 1. The name used for the note hüseynî in old theory books. 2. A compound makam once used in Turkish Classical Music. No examples have survived to the present. Şeşhâne A six-stringed fretless instrument played with a plectrum, once used in Turkish Classical Music. Although it resembled the ud, its neck was longer. Şeştâr A fretted instrument with six double courses of strings once used in Turkish Classical Music. The strings were played with the fingers. Also, an instrument played by the Turkic peoples of Central Asia. Şeştârî A player of the şeştâr.

Şeştây According to information provided by Abdülkâdir Merâgî, a stringed instrument resembling the ud and played with a plectrum. There were three varieties Şevk A compound makam used in Turkish Classical Music. Şevk-Âver A variant of the makam Şevk used in Turkish Classical Music, which was created in the late 18th century by Ârif Mehmed Ağa. It is formed by adding the makams Nihâvend and Acem-aşîrânto the makam Râst transposed to çargâh (Do/C). It is descending in character. Its tonic is acem-aşîrân (Fa/F), and its dominants are çargâh (Do/C), râst (Sol/G) and nevâ (Re/D). Its suspended cadences are the flavors Uşşâk, Hicâz and Kürdî on nevâ (Re/d); Nikrîz, Bûselik and Çargâh on çargâh (Do/C); Kürdî on dügâh (La/A) and Bûselik on râst (Sol/G). Şevk-Efzâ A variand of the makam Şevk used in Turkish Classical Music. It is formed by adding the makam Zengûle transposed to çargâh (Do/C) and a Nikrîz pentachord transposed to acem-aşîrân to the scale of the makam Acem-aşîrân on acem-aşîrân (Fa/F - in its place). It is descending in character. Its tonic is acem-aşîrân (Fa/F), and its dominants are gerdâniye (Sol/G) and çargâh (Do/C). Its suspended cadences are the flavors Nikrîz on acem (Fa/F), Hüzzâm on dik hisar (Mi/E one koma flat), Çargâh and Zirgûleli Hicâz on çargâh (Do/C), Kürdî on dügâh (La/A), Bûselik on râst (Sol/G) and Çargâh on acem-aşîrân (Fa/F). Şevk-Engiz A variant of the makam Şevk once used in Turkish Classical Music. Its tonic is hüseynî (Mi/E). No examples have survived to the present Şevk-i Cedîd A variant of the makam Şevk once used in Turkish Classical Music. It is the same as the makam Arabân-Kürdî. Şevk-i Cihân A variant of the makam Şevk once used in Turkish Classical Music. Şevk-i Dil A variant of the makam Şevk once used in Turkish Classical Music, formed by adding the scale of the makam Sûzinâk to a Râst scale on râst (Sol/G). It is descending in character. Its tonic is râst and its dominant is nevâ (Re/D). Şevk-Engiz A variant of the makam Şevk once used in Turkish Classical Music, formed by adding a Bûselik scale and an Uşşâk tetrachord transposed to aşîrân (Mi/E) to the scale of the makam Sûz-i Dil. Şevk-u Tarâb: Şevk-Engiz A compound makam used in Turkish Classical Music. It is formed by adding the makam Acem-aşîrân and a Kürdî tetrachord transposed to aşîrân (Mi/E) to the makam Sabâ. It is

descending-ascending in character. Its tonic is aşîrân (Mi/E), and its dominants are çargâh (Do/C), dügâh (La/A) and acem-aşîrân (Fa/F). All of the features of its suspended cadences, which concentrate on the notes segâh and dügâh of the makam Sabâ (See Sabâ), are valid for the makam Şevk-u Tarâb as well. In addition, the entire basic scale of the makam Acem-aşîrân is used (See Acem-aşîrân), all of the suspended cadences for this makam are also valid for Şevk-u Tarâb. Şeytan Deliği Lit. "Devil's Holes," the holes on the lower end of zurnas and kavals which are not played but are opened for tuning purpose. Şıdurgu A four-stringed, long-necked instrument played with a plectrum, of the Uygur people in East Turkistan. Şıkırdım Havası The name of a 2/4 dance melody in the reagions of Sivas, Tokat and Çankırı. Şihâbî Zurna A type of zurna once used in Turkish Classical Music. Şikeste Lit. "Broken," the name of a melodic pattern used in the âşık music of Northestern Anatolia. Şinâver A compound makam used in Turkish Classical Music. Şirâz A compound makam once used in Turkish Classical Music. Şirâz-Sünbüle A compound makam once used in Turkish Classical Music, formed by adding the scale of the makam Sünbüle to a Şirâz scale on dügâh (La/A). Its tonic is dügâh. No examples have survived to the present. Şirîn A 44-beat major usûl used in Turkish Classical Music. It was created during the reign of Sultan Selim III by Sheikh Abdülbâki Nâsır Dede, but not used in later periods. It was used specifically in peşrev and beste forms. Şirvan (=Şirvanî) The name used in the Elazığ region for the makam Hicâz and certain melodic patterns in that makam. It sometimes occurs in the names of pieces; ex. Şirvan Oyun Havası, Şirvan Hoyrat, etc. Şive A local accent/dialect. The term is also used to identify a local musical style and especially a singing style.

Şîvekâr A compound makam used in Turkish Classical Music. Şîvekeş A compound makam used in Turkish Classical Music. Şivenümâ A compound makam used in Turkish Classical Music. It is formed by adding the makams Acem-aşîrân and Sultâni Yegâh to the makam Ferahvezâ. Descending in character, its tonic is yegâh (Re/D), and its dominants are dügâh (La/A), çargâh (Do/C) and acem-aşîrân (Fa/F). The suspended cadences of the makams Sabâ and Ferahfezâ (See Sabâ and Ferahfezâ) are valid for the makam Şivenümâ as well. Şofar The shofar, the horn used by the Jews. It is also known to have been used in Turkish music, though not called by this name. Şûbe A term used in the classification of the makams of Turkish Classical Music. Şugûl An ilâhî composed by Turkish composers with Arabic lyrics. Şur A makam used in the folk music of Azeribaijan which bears some characteristics in common with the makam Uşşâk of Turkish Classical Music. Şûrî 1. The name used for the note dik şehnâz (La one koma flat) in some old sources. 2. A compound makam once used in Turkish Classical Music. It is still used in Azerbaijani music. Şüster A compound makam used in the music of Azerbaijan.

T Tabaka The word for "note" in old Arab music, a transposition. Taban (=Topuk) The frog of a bow. Tabl Davul. There are hundreds of varieties in terms of shape and size. In the Turkish states, the davul was the symbol of the sultan. Tabl-Hâne A military ensemble in Islamic and Turkish states. During the Ottoman period it was known as Mehterhâne. Tabl-i Bâz A largish davul with camel skins. Tâ-Hek In Turkish Classical Music, the term for striking both hands on the knees while beating out an usûl. Tâhir (=Baba Tâhir) A simple makam used in Turkish Classical Music. It is the same as the makam Nevâ, but in its descending form (See Nevâ). Its tonic is dügâh (La/A), and its dominant is nevâ (Re/D). Its suspended cadences are the flavors Bûselik and Râst on nevâ (Re/D), Çargâh on çargâh (Do/C) and Eksik Segâh on evç (Fa/F four komas sharp). Tâhir-Bûselik A variant of the makam Tâhir once used in Turkish Classical Music. It is descending in character. Tâhir-i Kebîr A variant of the makam Tâhir once used in Turkish Classical Music. Tâhir-i Sagıyr A variant of the makam Tâhir once used in Turkish Classical Music. No examples have survived to the present. Tâhir-Kürdî A variant of the makam Tâhir once used in Turkish Classical Music. No examples have survived to the present. Tahmîd To praise. In music, to use the phrase elhamdülillah ("Praise be to God").

Tahmîş See Muhammes. Takım A suite of Turkish Classical Music, generally composed by a single composer. It is the name given to the full fasıl, which consists of a peşrev, a saz semâîsi, two bestes, two semâîs and a few songs in various usûls. Taklid Lit. "Imitation." Playing the same musical phrase antiphonally or sequentially. Taksîm A free-meter instrumental improvisation section in Turkish Classical Music. It may be exchanged between two instruments but generally is a solo performance. Taksim is an improvisational style in which the instrumentalist uses the notes specific to the makam to create a new piece. There are various types of taksims in Turkish Classical Music, the best known of which are the Giriş Taksimi (Introductory Taksim), the Ara Taksimi (Interlude Taksim) and the Geçiş Taksim (Transition Taksim). Taktî Prosody Taktiğ İle A way of singing in which the singer counts the lines and the syllables of each line. It also is used in the sense of dividing up the sections of a musical phrase according to meter. Tâlimî Müzik Etudes, musical pieces composed for use in musical education. Tamaşa A word used in the Bodrum region for festivities accompanied by music and dance. Tambura One of the most widespread names for a medium sized instrument in the bağlama family. Throughout the Turkic musical world the word for such long-necked instruments appears in various forms such as dombra, dımbıra, tımbırdak, etc. Tanâbîr The old plural of the word tanbûr. Tanbûr A stringed instrument used in Turkish Classical Music, played either with a plectrum or a bow. It is made of wood and has a long neck. Because the frets along its neck are considered to cover the entire tonal system of Turkish music, it has been adopted as a fundamental musical instrument of Turkish Classical Music. Tanbûrî A player of the tanbûr.

Tan Havası A melody played on the morning of a wedding by a davul-zurna duo to waken the guests and hosts. Tanbûr-i Horâsân One of the old names for the Turkish tanbûr. Tanbûr-i Kebîr-i Türkî The word used for the uniquely Turkish form of tanbûr in order to distinguish it from the Arab tanbûr. Tanbûra-i Moğol An old Turkish instrument. It is encountered among the Turkic peoples of Central Asia. Tanbûr-i Rûd A type of tanbûr. Tanbûr-i Şirvînân A type of tanbûr played mostly by the Azerbaijanis. Tanbûr-i Türkî The short form of the term Tanbûr-i Kebîr-i Türkî. Tanbûra-i Türkî An old type of small Tanbûr. Tanbûre-i ûd An old Turkish instrument; a small tanbûr which resembled an ut. Tanık A compound makam created by Hüseyin Fahrî Tanık, and used only by him. Tanînî In Turkish Classical Music, the name for a nine-koma interval (a whole note). Tanînî Bemolü In Turkish Classical Music, the symbol that indicates a nine-koma flat. Tanînî Diyezi In Turkish Classical Music, the symbol that indicates a nine-koma sharp. Tar (=Târ) 1. A folk instrument played with a plectrum, consisting of a body with two compartments but carved out of a single piece of mulberry wood with a skin stretched over the top, played mainly in the Caucasus region. 2. A string. Tarab-Engîz An old usûl once used in Turkish Classical Music, no longer in use today.

Tarab-ı Rûd A type of the Rûd, an instrument once used in Turkish Classical Music. Tarabü'l-Feth An instrument once used in Turkish Classical Music. Tarak Mizmârı A type of mizmâr (double reed pipe) once used in Turkish Classical Music. Tarama A quick tremolo on a plucked instrument. Tarhânî A genre within Turkic-Chagatay classical music. Tarîka The old name for the peşrev form. Tarîkat Müziği See Tasavvuf Müziği. Tartım Rhythm. The length/count of notes. Tarz-ı Bihîn A compound makam created by Hüseyin Fahri Tanık. Tarz-ı Cedîd A compound makam used in Turkish Classical Music, formed by adding the makams Nivâvend and Acem-aşîrân to the makam Sultânî Yegâh. It is descending-ascending in character. Its tonic is acem aşîran (Fa/F), and its dominants are nevâ (Re/D), dügâh (La/A) and çargâh (Do/C). Its suspended cadences are the flavors Hicâz and Kürdî on nevâ (Re/D), Bûselik and Nikrîz on çargâh (Do/C), Kürdî and Hicâz on dügâh (La/A), Bûselik and Nikrîz on râst (Sol/G), and Çargâh on kürdî (Si/B five komas flat). Tarz-ı Cihân A compound makam used in Turkish Classical Music. Tarz-ı Nevîn A compound makam used in Turkish Classical Music, formed by combining the second type of the makam Şevk-Efzâ which does not use the Nikrîz pentachord (Zengûle + Acem-aşîrân) with the Kürdî tetrachord on râst. It is descending in character. Its tonic is râst (Sol/g), and its dominants are çargâh (Do/C) and acem-aşîrân (Fa/F). Its suspended cadences are the flavors Nikrîz on acem (Fa/F), Hüzzâm on dik hisâr (Si/B one koma flat), Zirgûli Hicâz or Hicâz on çargâh (Do/C), Nikrîz on kürdî (Si/B five komas flat), Çargâh on çargâh (Do/C), Kürdî on dügâh (La/A), Bûselik on râst (Sol/G), and Çargâh on acem-aşîrân. Tas Lit. "Bowl." An old Turkish instrument. See Kâse.

Tasannû An exaggerated, showy style in music. Tasavvuf Müziği Mystic music, an important branch of Turkish religious music. Although strictly speaking it is "lodge music," or "religious order music," (tekke müziği, tarikat müziği), since the first years of the republic the term has increasingly replaced those terms. In general it signifies the music of religious societies which transform the esoteric (batınî) aspects of religion into a way of life, using sound in order to communicate with God or as one vehicle by which to reach ecstasy. Tas-Bâz A player of the Tas. Tasvîr See Şed. Taşlama Part of the âşık tradition, poetry which minstrels use to joke or tease each other and compete. Taştîr See Muhammes, Murabbâ. Tatvan See Tatyan Tatyan A folk makam used in the Erzurum, Kars and Elazığ regions. Generally appearing in variants of Hüzzâm and Segâh, this melody is used in a variety of uzun havas, türküs and ilâhîs. Tavır Style. In folk music, it is used in the sense of local performance style. More recently, it has come to be used mostly for playing style, with ağız (See Ağız) used for singing styles Tavşan (=Tavuşan) "Rabbit," the name for a person who dances the Tavşanca. Tavşanca Lit. "Like a rabbit." A Turkish dance style, performed by expert troupes wearing special costumes. Tavşan Takımı A group of Tavşanca dancers. Tavşanca Takımı A suit of various pieces one after another to which the Tavşanca dance is performed.

Tâziyâne A plectrum. See Tezene. Tebrîz A compound makam used in Turkish Classical Music, formed by adding a portion of the Acem-Aşîrân scale to the makam Uşşâk. Its tonic is râst (Sol/G), and its dominants are nevâ (Re/D) and dügâh (La/A). Tebrîz-Hâverân A variant of the makam Tebrîz once used in Turkish Classical Music. No examples have survived to the present. Tebrîzî A compound once used in Turkish Classical Music. No examples have survived to the present. Tecnis The general name for poetry featuring puns/word play. In recent years it has also come to be used for a type of uzun hava sung without word play. Tef A frame drum made in various sizes, and with or without cymbals. Also Def. Tegannî Derived from the Arabic word "gınâ," meaning to make music, to sing. Te'hîr: Tebrîz-Hâverân A variant of the makam Tebrîz once used in Turkish Classical Music. No examples have survived to the present. Tehlîl A prayer containing the phrase "Lâ İlâhe İll'Allah" (There is no God but Allah"), and the music performed with such a prayer. Tek 1. Solo, alone 2. In Turkish Classical Music, the name for a weak or medium-strength stroke, struck with the left hand. Tekbîr A genre of Mosque music, containing the phrase "Allâhu Ekber." The Tekbîr composed by Itrî in the makam Segâh is sung together on many occasions, including feast sermons and the making of a sacrifice. Te ke (=Te Kâ) The method of reciting the beats of the usûls of Turkish Classical Music aloud. Teke Havası The general name for songs and melodies reflecting the musical characteristics of the Teke region.

Teke Zortlatması A folk dance of the Teke region which imitates the movements of a billy goat, and the melody that accompanies this dance. They are generally in 2+3+2+3 or 2+2+2+3 rhythms. Tekellüm Verbal/musical sparring between âşıks. Also Atışma. Tekke Müziği The music performed within the traditions of the lodges (tekke) of the various Islamic religious orders. In some lodges, music is not emphasized as a means of worships, while at others, it is of paramount importance; in such tekkes musical education is also provided. See Tasavvuf Müziği. Tek Vuruş An 11-beat minor usûl used in Turkish Classical Music. It is composed of one measure of Türk Aksağı and one of Yürük Semâî in sequence. Tel A string of a stringed instrument. Telbiye The repetition, during the pilgrimage to Mecca (Hac - Hajj) of the phrase lebbeyk Allahümme lebbeyk to a melody. Telhîn To recite to a melody; in a makam. Tel Tanbura A three-stringed type of tanbura once used in Turkish music. Temcîd A form of religious music. Tenzile A type of ilâhî of the Iraqi Turkmen. Terâne 1. The first section of a group of four melodies in Turkish Classical Music. 2. The old name for a quatrain. Terbî See Murabbâ. Terennüm 1. To sing. 2. The term for the mülâzime and nakarat in the high forms of Turkish music.

Terennüm-i Îkaa'î 1. The old name for the terenüm. 2. In Turkish Classical Music, the name for a type of terennüm section in some pieces composed of meaningless syllables such as "Tenneneni, detderedil, tennâ dirnâ, etc. Terentây An old musical instrument once used in Turkish music. Tereşşüd A compound makam of Turkish Classical Music. Terkîb 1. Another name for a compound makam. 2. The sum of all the flavors or tones of makams when they are connected through modulations or bound together. Terkîb-i İntikal In Turkish Classical Music, a repeating instrumental section that ties together the hânes or mülâzimes of peşrevs or saz semâîsis. Terkîb-i Sabâ A compound makam of Turkish Classical Music. Tertîl The term for free-meter vocal works in old Arab music. Tervîh A type of instrument no longer used today, invented by Abdülkâdir Merâgi's son Abdülazîz. Tesâvüt Harmony, accord Tesbîb The section that preceeds the girizgâh in a Kasîde (See Kasîde). Tesbîh 1. A way of reciting the phrase Sübhân Allah (Glorious is God) musically 2. A religious form of Turkish Classical Music. Teslîm In Turkish Classical Music, the melodies that tie the true hâne and mülâzime of instrumental pieces. Tetrachord (Dörtlük) The four-note scale patterns in Turkish Classical Music that make up the scales or flavors of the makams. The whole tetrachords of the basic makams are Çârgâh, Bûselik, Kürdî, Rast, Uşşâk and Hicâz; the Sabâ, Müstesâr and Nişâbur tetrachords fall into a separate category in terms of their intrvalic relations, and occur in the formation of compound makams.

Tevhîd A form of Turkish Classical Music and poetry, containing a section with the phrase la ilâhe ill' Allah. It is used in mosques and lodges. Tevşîh A religious form of Turkish Classical Music, which is recited between the Mevlîd and Mirâciyye. Tezene A plectrum used to play instruments in the formerlay made of cherry bark, it is now manufactured out of plastic. Tırnak Kemane A type of fiddle, played in the Kastamonu region to the north, the İçel and Antalya region to the sourth, and in Istanbul, where it is known as the Klâsik Kemençe. In the Aegean Islands it is known as the lira. It has a pear-shaped body and three strings stopped with the fingernails instead of the pads of the fingers Tırtıllama A type of ornament, a mordant, executed by playing the note above or below the main note and returning to it. Tilâvet A special free-rhythm chanting style especially for reciting the Koran. Tiz 1. High in pitch. 2. In Turkish Classical Music, a word preceding the name of a note generally indicating its high form. Tîz Acem In Turkish Classical Music, the note Fa/F in its highest register. Tîz Bayâtî In Turkish Classical Music, the note tîz nîm hisâr in some old sources. Tîz Bûselik In Turkish Classical Music, the note Si/B in its highest register. Tîz Çargâh In Turkish Classical Music, the note Do/C in its highest register. Tîz Evc In Turkish Classical Music, the note Fa/F four komas flat in its highest register. Tîz Gerdâniye In Turkish Classical Music, the note G/Sol in its highest register.

Tîz Hicâz In Turkish Classical Music, the note Do/C five komas sharp or Re/D four komas flat in its highest register. Tîz Hisâr In Turkish Classical Music, the note Re/D five komas sharp or Mi/D four komas flat in its highest register. Tîz Hüseynî In Turkish Classical Music, the note Mi/E in its highest register. Tîz Mâhûr In Turkish Classical Music, the note Fa/F five komas sharp or Sol/G four komas flat in its highest register. Tîz Muhayyer In Turkish Classical Music, the note La/A in its highest register. Tîz Nevâ In Turkish Classical Music, the note Re/D in its highest register. Tîz Sabâ Turkish Classical Music, the name given for the note tîz nîm hicâz in some old sources. Tîz Segâh In Turkish Classical Music, the note La/A eight komas sharp or Si/B one koma flat in its highest register. Tîz Sekizli The name for the third of the four octaves used in Turkish Classical Music. Tîz Sünbüle In Turkish Classical Music, the note La/A four komas sharp or Si/B five komas flat in its highest register. Tîz Şehnâz In Turkish Classical Music, the note Sol/G five komas sharp or La/A four komas flat in its highest register. Tîz Şûrî In Turkish Classical Music, the name given for the note tîz nîm hisâr in some old sources. Tîz Tîz In Turkish Classical Music, the word Tîz is used to differentiate a note in the higher register from its counterpart in a lower register. The term Tîz Tîz is used to signify an even higher octave. Tîz Uzzâl In Turkish Classical Music, the name given for the note tîz nîm hisâr in some old sources.

Tîz Yegâh The name given in some Arab sources for the note gerdâniye. Tokmak A heavy carved drumstick used to play percussion instruments such as the davul or nakkare. Topluluk A musical ensemble. Tuhfetü'l-'ud A stringed instrument once used in Turkish Classical Music. No details of the instrument have survived to the present. Tulum A bagpipe played chiefly in the Eastern Black Sea region. The player blows through a mouthpiece with a valve into a skin bag, and two reeds bound together with five holes produce the sound, sometimes playing in unison and sometimes separately. It is very similar to the bagpipes played in the Aegean Islands and less so to the gaida played in Thrace and the Balkans. Tura Havası A special music played to excite the players of a folk game called Tura. Turkish Classical Music (Klâsik Türk Müziği) The genre of music, mostly urban, with rules set forth in previous periods, and with a traditional character in terms of its technical and stylistic features. This music should not be considered the equivalent of "Classical Period" European music. Used in the sens of "bound to the old," "traditional," this term has been accepted as reflecting the attributes of Ottoman-Turkish music. The term "Sanat Müziği" ("Art Music"), which was recommended for a time, is used colloquially in the same sense. Although Turkish Classical Music is tied to the past, there are attempts to ensure its survival, and contemporary composers and performers have worked to recreate it in certain traditional forma. Turkish Music Theory The principles of Turkish music, one of the subjects of musicologists who attempt to express all maner of rules and principles of music in a scientific manner. Lost in the mists of time until the last century, the theory of Turkish music has been the subject of intense research by both Turkish and foreign scholars. More of such work, which has concentrated chiefly on the tonal and rhythmic systems as well as various musical forms, should receive support. Turkish Romantic Music (Romantik Türk Müziği) The period of Turkish Classical Music which began with Hacı Ârif Bey and the musical school of this period. The principal feature of this school was that the great classical form was replaced by the şarkı form. This trend spread quickly and came to dominate Turkish music. The last representatives of the romantic school of Turkish music were Lem'i Atlı, Rahmi Bey and Suphi Ziyâ özbekkan.

Turquerie The Turkish fashion in art, Alla Turca. Türk Aksağı A five-beat minor usûl of Turkish Classical Music. It is composed of a measure each of Nîm Sofyân and Semâî. Türk Aksağı-Yürük Semâî See Tek Vuruş. Türkî-Asl (Sagıyr) A major usûl once used in Turkish Classical Music Türkî-Asl-ı Kadîm A major usûl once used in Turkish Classical Music Türkî-Hicâz Another name for the usûl Hicâz-I Türkî. Türkî-i Hafîf A minor usûl once used in Turkish Classical Music. No examples have survived to the present. Türkî-i Serî A minor usûl once used in Turkish Classical Music. No examples have survived to the present. Türkmânî A type of Chagatay and Azerbaijani music. The use of this term to signify the style is important as it makes a reference to another Turkic group. Such terms are common in Turkish musical terminology. Türkmenî A type of uzun hava sung by Turkmen tribes. Türk Müziği Nazariyatı See Turkish Music Theory. Türkü The term for all types of sung folk melodies. The literary and musical structures of türkü are extremely varied. Although in the terminology of Turkish folk literature, türküs are defined as sung poems consisting of verses containing three lines with a refrain, we know that the genre includes all types of poetry set to music. In this sense, the term must be accepted as a general term rather than a specific form. Türkü Atmak Lit. "To throw türkü." To sing türkü antiphonally, to improvise türkü. Also Türkü Çığırmak, Türkü Koşmak.

Türkücü A singer/player of türkü. Türkü Yakmak To create a new folk song by setting new words to a certain old melodic pattern. In folk culture, rather than a folk artist consciously creating a new piece, he/she reconstructs previously existing patterns. This process is also called yakım or yakım yakmak. Tüvânger A compound makam once used in Turkish Classical Music.

Û Ûd A lute used in Turkish Classical Music as well as by local musicans in some areas. It has six double courses of strings and is played by a plectrum. It has a large body and a short, thick neck. It is only used in Eastern countries. Its modern shape was given it by Farabî. Ûd-i Kadîm Lit. "Old ûd." A type of ûd once used in Turkish Classical Music. Ûd-i Kâmil Lit. "Perfect ûd." A type of ûd once used in Turkish Classical Music. Ûdî A player of the ûd.

U Usûl In Turkish Classical Music, the name for the sum of rhythmic patterns in various arrangements. Urfa Ağzı The musical style of singing uzun havas and rhythmic pieces common in the Şanlıurfa region. Urum Bozlağı A type of bozlak (See Bozlak) sung by the Barak Turkmen of Gaziantep. Usta 1. A master of music or any profession. 2. The word used by musicians among the Abdal tribes of Central Anatolia to identify themselves. Although the term has been used from very old times for those who play and sing well, today it is a term used by tribe members who do not accept the Abdal identity. Uşşâk A simple makam used in Turkish Classical Music, formed by adding a Bûselik pentachord to the Uşşâk tetrachord. It is ascending in characters. Its tonic is dügâh (La/A), its dominant is nevâ (Re/D) and its subtonic is râst (Sol/G). Its suspended cadences are the flavors Segâh and Ferahnâk on segâh (Si/B one koma flat), and Râst on râst (Sol/G). Uşşâk-Aşîrân In a variant of the makam Uşşâk used in Turkish Classical Music, formed by adding an Uşşâk tetrachord on aşîrân (Mi/E) to the scale of the makam Uşşâk. Uşşâk Tetrachord (Uşşâk Dörtlüsü) In Turkish Classical Music, a four-note scale pattern based on dügâh (La/A - in its place) so as to form a perfect fourth. Uşşâk-Gerdâniye A variant of the makam Uşşâk used in Turkish Classical Music. No examples have survived to the present. Uşşâk-Geveşt A variant of the makam Uşşâk used in Turkish Classical Music. No examples have survived to the present. Uşşâk-Mâye A variant of the makam Uşşâk used in Turkish Classical Music. No examples have survived to the present.

Uşşâk-Nevrûz A variant of the makam Uşşâk used in Turkish Classical Music. No examples have survived to the present. Uşşâk-Rûy-I Nikrîz A variant of the makam Uşşâk used in Turkish Classical Music. No examples have survived to the present. Uşşâk-Selmek A variant of the makam Uşşâk used in. No examples have survived to the present. Uşşâk-Şehnâz A variant of the makam Uşşâk used in Turkish Classical Music. No examples have survived to the present. Uyak Rhyme, derived from the verb uymak, to agree, to jibe. Uzak Geçki A modulation from one makam to another makam with similar characteristics. Uzak Makam A makam sharing few common characteristics with another. Uzun Hava The general name for songs with a set melodic pattern and progression but in a free meter, and local folk songs in particular. There are many different terms used regionally with the same meaning: Gurbet Havası, Bozlak, Barak Havası, Elezber, Hoyrat, etc. Uzzâl 1. The name given in some old sources for the note dik hisâr. 2. A simple makam used in Turkish Classical Music, formed by adding an Uşşâk tetrachord to a Hicâz pentachord. It is ascending in character. Its tonic is dügâh (La/A), and its dominant is hüseynî (Mi/E). Its suspended cadences are the flavors Nikrîz on râst (G/Sol), the notes dik kürdî (Si/B four komas flat) and nîm hicâz (Do/C four komas sharp) with no flavor, Bûselik and Râst on nevâ (Re/D) and Hicâz on hüseynî (Mi/E). Uzzâl-Acem A variant of the makam Uzzâl used in Turkish Classical Music. No examples have survived to the present. Uşşâk-Hüseynî A variant of the makam Uzzâl used in Turkish Classical Music. No examples have survived to the present. Uşşâk-Şehnâz A variant of the makam Uşşâk used in Turkish Classical Music.

Ü Ü ç Ayak A subcategory of the Halay and Bar group of folk dances. Üçlü Thirds. In Turkish Classical Music, there are five types of thirds, covering 18, 17, 14, 13 and 10 komas. Üç Telli Lit. "With three strings." A cura-sized member of the bağlama family played by Turkmen-Yörük peoples in the areas of Burdur, Denizli, Muğla and Fethiye. Üflemeli Çalgılar Wind instruments. Ümmü Düzeni A tuning used on instruments of the bağlama family, mostly in and around Kütahya. The lowest string is La/A, the middle string is La/A and the upper string is Re/D. Üslûp Style. Üst Eşik The nut of a stringed instrument. Üst Mızrap An upstroke with a plectrum.          

           

V  Vahde The name of the usûl Sofyân in Arabic. Although it was used by old performers, it has been forgotten today. Vâmık A compound makam once used in Turkish Classical Music. No examples have survived to the present. Varsağı A type of uzun hava common among the Southern Turkmen written in an 8-syllable meter of folk poetry. See Farsak. Varsak Hoyratı A type of hoyrat sung in the Elazığ region. Vazîfe The function of each tone comprising a makam. Vecd-i Dil A makam once used in Turkish Classical Music. Vech-i Arazbâr A compound makam once used in Turkish Classical Music, formed by adding a Segâh tetrachord to the Bayâtî scale on yegâh (Re/D) and the Râst pentachord on çargâh. It is descending in character. Its tonic is segâh (Si/B one koma flat), and its dominants are gerdâniye (Sol/G) and nevâ (Re/D). Its suspended cadences are the flavors Eksik Segâh, the Ferahnâk pentachord and the Segâh trichord on dik hisâr (Mi/E one koma flat), Uşşâk on nevâ (Re/D), Râst on çargâh (Do/C) and Uşşâk on dügâh. Vech-i Bûselik A compound makam once used in Turkish Classical Music. No examples have survived to the present.

Vech-i Hüseynî The name for the makam Hüseynî-Aşîrân given in some sources. Vech-i Şehnâz A compound makam used in Turkish Classical Music. Velvele Beating the usûls of Turkish Classical Music, dividing them by section. Vezin 1. A part of the metric pattern of a piece. Also Tartım, Düzüm. 2. Prosody Visâl A compound makam onced used in Turkish Classical Music. No examples have survived to the present. Vurgu Stress, emphasis. Vurmalı Çalgılar Percussion Instruments. Also Vurma Sazlar. Vuruş In Turkish Classical Music, the division of an usûl according to its structures. See Darb.

Y Yabanci Ses In Turkish Classical Music, a note foreign to the scale of a makam. Yahyalı Kerem A type of Kerem Havası (See Kerem Havası). Yakım A folk poem or mani sung to a melody. Yakın Geçki A modulation from one makam to another makam with a similar scale. Yakın Makam A makam with a similar scale relative to another makam. Yakmak To create a melody, to put words to music and create a new song. Yallı A halay-type dance performed in Northern Anatolia and Azerbaijan, and the music that accompanies this dance. Yaman Türkî A makam created by Dutch musicologist Woulter Swets. Yanık Plaintive, intense. A musical performance of such quality. Yanık Kerem A form of Kerem Havası (See Kerem Havası) with a melodic patern that resembles the makam Nikrîz, and uzun havas sung with this melody. Yâr A compound makam once used in Turkish Classical Music. No examples have survived to the present.

Yarım Durgu See Durgu. Yatağan A string instrument once used in Turkish Classical Music that resembled a santûr. Yaylı Çalgılar Bowed instruments, a term coined by scholars but unknown colloquially, for all the instruments played by a bow. Kemençe, Kabak Kemane, Tırnak Kemane, Nahora, Kemança etc. Yaylı Tanbûr A tanbûr played with a bow. This playing style was first created by Cemil Bey. Though there are master players today, it is thought of mostly as an instrument of the commercial scene. Yedekli Koşma A type of koşma meter in which mani verses are added between the lines. Yedekli Tecnis A type of poetry in which manis featuring word play are added between the lines. Yeden The note before the tonic, which tends toward resolution on the tonic. Yegâh 1. In Turkish Classical Music, the note Re/D in the middle octave. 2. A compound makam used in Turkish Classical Music, formed by adding the Râst scale transposed to nevâ (Re/D) to the scale of the makam Nevâ. It is descending in character. Its tonic is nevâ (Re/D) and its dominant is dügâh (La/A). Its suspended cadences are the flavors Segâh or Ferahnâk on segâh (Si/B one koma flat) or the Segâh trichord, the Uşşâk, Râst and Bûselik tetrachord on dügâh, the Ferahnâk pentachord and the Segâh trichord on ırâk (Fa/F four komas sharp), as well as the Rast flavor on râst (Sol/g) and Uşşâk on hüseynî aşîrân (Mi/E). Yeldirme The fast portion of Halays, Bars and Semâhs. Also Yelleme Yelli Düdük 1. Another name for the folk flute known as the çifte. 2. The old name for the reed pipe. Yelteme (=Yaltama) A string instrument once used in Turkish music. It is mentioned in Evliya Çelebi's travelogue, but aside from its name, we have no information about it. Yemen Dümbeleği A type of dümbelek used in Turkish music.

Yerli Local; a term often used in describing musical features unique to a particular area. Yerli Ağzı, Yerli Barı, Yerli Divanisi etc. Yır A word for song, türkü, melody among the Central Asian Turkic peoples. Also Ir. Yol Havası Lit. "Road/Journey Air," the term for a song telling of a journey. Yüksek High in register. Yüksek Hava A folk song sung in a high register. Yüngül A term indicating that a song or piece should be played quickly. Yürük In Turkish Classical Music, a term meaning that the usûl is to be played quickly. Yürük Aksak The name for the fast verstion of the usûl Aksak, written as 9/8 or 9/16. See Aksak. Yürük Semâî 1. A minor usûl of Turkish Classical Music, formed by playing two measures of Semâî consecutively. It is generally written in 6/8. The 6/4 form is called Sengîn Semâî, and the 6/2 form, Ağır Semâî. 2. High form in Turkish Classical Music; the fastest of the high vocal forms. Yürük Yürük Semâî The fastest of the 6/8 form of Yürük Semâî.

Z Zâd-i Dil A compound makam once used in Turkish Classical Music. No examples have survived to the present. Zafer A minor usûl of Turkish Classical Music. Zâhir See Yeden. Zahma An instrumental piece played in between sung dance tunes in the Sivas/Tokat region. These pieces may be played in between the songs or as independent instrumental pieces. Zahme 1. An old form of Turkish Classical Music. 2. A Kudüm stick. Zâkir A person who plays the saz and sings nefes in the Bektashi order. Zamah A variant of the word semah in certain regions. See Semah. Zambur A folk instrument of the Gaziantep region constructed of two eagle or stork leg bones bound together with reeds inserted in the ends. Zamr An old wind instrument once used in Turkish music. Zâvil A compound makam used in Turkish Classical Music, formed by adding a Nikrîz pentachord to the makam Mâhûr. Descending in character, its tonic is râst (Sol/G) and its dominant is nevâ (Re/D). Also called Zavilî.

Zâvilî The old name for the makam zâvil. See Zâvil. Zâvilî-Isfahân A variant of the makam Zâvil once used in Turkish Classical Music. No examples have survived to the present. Zâvilî-Segâh A variant of the makam Zâvil once used in Turkish Classical Music. Its tonic is dügâh (La/A). Zemîn The name of the first hâne in Turkish Classical Music pieces. Zemzem A compound makam once used in Turkish Classical Music. No examples have survived to the present. Zemzeme An alternative name for the makam Zemzem. Zemzeme-Kürdî A variant of the makam Zemzem once used in Turkish Classical Music. No examples have survived to the present. Zencîr A 120-beat major usûl of Turkish Classical Music. It is formed of the usûls Çifte Düyek, Fâhte, Çenber, Devr-i Kebîr and Berefşân in that order. Zende-Rûd A compound makam once used in Turkish Classical Music. No examples have survived to the present. Zengûle (=Zirgüle) 1. In Turkish Classical Music, the name for the note Sol/G five komas sharp of Si/B four komas sharp in the middle octave. In the lower octave it is called kaba zengûle, and in the high octave, şehnâz. 2. A simple makam used in Turkish Classical Music. Its alternative name is Zengûleli Hicâz. It is formed by adding a Hicâz tetrachord to a Hicâz pentachord. Ascending in character, its tonic is dügâh (La/A), and its dominant is hüseynî (Mi/E). Its suspended cadences are the flavors Nikrîz on râst (Sol/G) and nevâ (Re/D), the notes nîm hicâz (Do/C four komas sharp) and dik kürdî (Si/B four komas flat) with no flavor, Bûselik and Râst on nevâ (Re/D), and Uşşâk on hüseynî (Mi/E). 3. The Persian word for a rattle or small cymbal. Zengûle-Bûselik A variant of the makam Zengûle used in Turkish Classical Music, formed by adding the scale of the makam Bûseik to the scale of the makam Zengûle on dügâh (La/A - in its place). Its tonic is dügâh (La/A).

Zengûle-Gerdâniye A variant of the makam Zengûle once used in Turkish Classical Music. No examples have survived to the present. Zengûle-Geveşt A variant of the makam Zengûle used in Turkish Classical Music, formed by adding the scale of the makam Geveşt to that of the makam Zengûle on segâh (Si/B one koma flat). Its tonic is segâh (Si/B one koma flat). No example have survived to the present. Zengûle'li Kürdî A compound makam of Turkish Classical Music, formed by adding a Hicâz tetrachord to the makam Kürdî. Its tonic is Zengûle (Sol/G four komas sharp). Zengûle'li Sûznâk A transposed makam used in Turkish Classical Music. It is the makam Zengûle transposed to râst. Descending-ascending in character, its tonic is râst (Sol/G), and its dominant is nevâ (Re/D). Its suspended cadences are the flavor Nikrîz on çargâh (Do/C), the notes eviç (Fa/F four komas sharp) and hisar (Mi/E four komas flat) with no flavor, and the flavor Hüzzâm on segâh (Si/B one koma flat). Zengûle-Mâye A variant of the makam Zengûle once used in Turkish Classical Music. No examples have survived to the present. Zengûle-Nevrûz A variant of the makam Zengûle once used in Turkish Classical Music. No examples have survived to the present. Zengûle-Selmek A variant of the makam Zengûle once used in Turkish Classical Music formed by adding the scale of the makam Selmek to a Zengûle scale transposed to râst. Its tonic is râst. No examples have survived to the present. Zengûle-Şehnâz A variant of the makam Zengûle once used in Turkish Classical Music, formed by adding the scale of the makam Şehnâz to a Zengûle scale on dügâh (La/A - in its place). Its tonıc ıs dügâh (La/A). No examples have survived to the present. Zevk-Bahş A variant of the makam Zengûle once used in Turkish Classical Music. No examples have survived to the present. Zevk-ı Dil A compound makam once used in Turkish Classical Music. No examples have survived to the present. Zevk-u Tarab

A compound makam used in Turkish Classical Music. It shares the same structure with the makams Şevk-i Cedîd and Arabân Kürdî. It is not an independent makam; it is a period name. Zeybek A folk dance occurring mostly in the Aegean region and danced by at least one or two people; and the music that accompanies this dance. Although zeybeks are mostly in 9, there are also some zeybeks in 2 or 4 beat rhythms. The saz player Talip özkan calls these kinds of zeybeks "Zeybekimsi" (Zeybek-ish) Zeyl-Hâne The name for the last hâne of peşrevs and saz semâîsis having more than four hânes. Zılgıt Ululation, a sound consisting of li li li li or lü lü lü lü, made by women in Southern Anatolia to express excitement, joy or grief. Also known as helhele. Zikir Meaning "remembering, remembrance," the word zikir is also the name for worship ceremonies held by various religious orders, in which music generally holds an important place. Some orders have a specialized repertoire that is played at zikirs. The function of the music at these ceremonies is to increase the passion for worship. Zil 1. Finger cymbals, attached to the thumb and index or middle fingers. 2. Cymbals around 30 cm in diameter held in the two hands. 3. An instrument attached to the davul and played in various types of music. Zilli Çadır An instrument used in Mehter music consisting of small cymbols attached to a stick. It is usually carried by singers in the Mehter band. Zilli Maşa A folk instrument consisting of a pair of tongs with branched ends and pairs of cymbals mounted on the ends of the "branches." Also called a çalpara. Zilli Tef Large-, medium- and small-sized frame drums with cymbals mounted in the frame. Zil-Zen A player of the zils/cymbals. Zil Zurna A small-sized, high pitched zurna found mostly in the East Black Sea region. Zimbon A wind instrument, played mostly by children, of the East Black Sea region.

Zîrefkend (=Zîrefken) A compound makam used in, formed by adding the scale of the makam Sabâ transposed to aşîrân to the scales of the makams Mahûr, Rühnevâz and Çargâh. It is descending in character. Its tonic is aşîrân (Mi/E), and its dominants are râst (Sol/G), çargâh (Do/C), nevâ (Re/d) and bûselik (Si/B. Its suspended cadences are the flavors Nikrîz on râst (Sol/G)ö the notes nîm hicâz (Do/C four komas sharp) and dik kürdî (Si/B four komas flat) with no flavor, the Ferahnâk tetrachord or the Ferahnâk flavor on ırâk (Fa four komas sharp) and Râst on yegâh (Re/D). Zîrefkend-i Büzürg A variant of the makam Zîrefkend once used in Turkish Classical Music. No examples have survived to the present. Zîrefkend-i Kûçek A variant of the makam Zîrefkend used in Turkish Classical Musicö later known simply as Zîrefkend. Zîrefkend-i Rûmî A variant of the makam Zîrefkend once used in Turkish Classical Music; the form taken by the makam Zîrefkend in Anatolia. Zîrgüle The alternative name for the makam Zengûle. Zîrkeş-Hâverân A compound makam used in. The old name for the makam Dilkeş-Hâverân. Zîrkeş-Hüseynî A compound makam used in Turkish Classical Music. A variant of the makam Dilkeş-Hâverân. Zîrkeşîde A compound makam used in Turkish Classical Music. Ziyâde Another word for "koma." This word is still in use among older musicians today. Zurna A woodwind folk instrument with a reed common in nearly ever region of Turkey. They are divided into three main groups from largest (lowest in pitch) to smallest (highest in pitch): Kaba zurna, orta zurna and cura zuran (zil zurna). The zurna is always played outdoors and in squares accompanied by a davul. At weddings, henna nights, soldier farewells and other such activities, the melody is provided by the zurna and the davul sets the beat. Going from east to west, the size of the zurna is seen to increase. Zülf-i Nigâr A compound makam used in Turkish Classical Music.