A

Abdal

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

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 balama, violin, darbuka and cmb.
Abdal Dzeni

One of the many tunings of the instruments in the balama family; the tuning used by musicians referred to as abdals. Strumming downwards, the tuning is GAA (la sol sol).
b- 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 Bayti on dgh (A/la) to a argh pentachord transposed to acemaran (F/fa). It displays a descending character. Its tonic is dgh (A/la), its dominants are nev (D/re) and acem (F/fa). Its suspended cadences are the flavors Hicz transposed to acem (F/fa) and Segh (B/si koma flat), and Nikriz transposed to argh (C/d0).
Acem Az

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

Acemarn

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 (ed) makam. It is created by transposing the scale of basic argh makam to the tone acemarn. It is descending in character. Its tonic is acemarn (F/fa), and its dominants are acem (F/fa) and argh (C/do). Its suspended cadences are the flavors argah transposed to neva (D/re) and argh (C/do) and Krd transposed to dgh (A/la).
Acem Aran Dzeni

One of the many tunings of the instruments in the balama family. Strumming downward it is F(fa) D(re) A(la). It is also referred to as Mstezat Dzeni. (See Mztezat Dzeni).
Acem Bzr-Kede

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

Acem-Bselik

In classical Turkish music, a variety of the makam Acem. It is composed of Bselik pentachord onto the Acem makam. Its tonic is dgh (A/la) and its dominant is nev (D/re).
Acem-Irk

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

In Turkish Classical Music, a form of the makam Acem, formed by adding a Krd tetrachord to the basic Acem scale. Its tonic is dgh (A/la), and its dominants are nev (D/re) and argh (C/do). Its suspended cadences are Bselik transposed to krdi (B/si 5 komas flat) and nev (D/re), and argh on argh (C/do) (untransposed). It also includes the suspended cadences of the makam Bayat. (See Bayat.)
Acem-Tarab

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

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 smail Hakk Bey, by adding a Sab tetrachord to the fundamental scale of the makam Acemarn.
Acem-Zr-Kede

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

A melancholy style of singing or playing.

A

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

Key. (See Anahtar.)

Ada Dd

A type of fipple flute.

Afar (=Avar) Az

A style unique to the Avars, a Trkmen tribe living chiefly in the central regions of Anatolia. The term applies mainly to the Avars' free-meter songs and heroic folk songs.
Afar 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 Afar Beyleri and similar pieces a polyphonic character.
Afar Dzeni

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

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 Ar Bar, Ar Zeybek, etc.
Ar 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 Ar Bar, Ar Zeybek, etc.
Ar Bar

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

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

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

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

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

At

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, ats are free-meter and melancholy in nature. There are also rhythmic ats.

At

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.
Az (Az)

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, Afar az, Arguvan az, k (minstrel) az, Kadn (women's) az.
Az 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.
Azlk (Azlak)

The mouthpiece of a wind instrument.

heng Aralk

Harmonic interval.
heng-i Tarab

A compound makam of Turkish Classical Music. Developed by brahim Vef Efendi, it is based on the fundamental scale of the makam Szink, with the addition of an Uk tetrachord transposed to hseyn aran (E/mi). This scale is also referred to as SzinkAran. Its tonic is hseyn aran (E/mi).
henk

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

Ahenk Kapa

The soundboard of a stringed instrument, or the wooden piece in a piano on which the strings resonate. Also referred to as ahenk tahtas, gs, gs tahtas, titreim tahtas and rezonans tahtas
Akber

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

A compound makam once used in Turkish Classical Music. No examples have survived to the present.
Akta (=Hakta)

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

Akort (=Uygu, Dzen):

A tuning of a musical instrument

Aksak

In Turkish Classical Music, a nine-beat minor usl, composed of the joining of the usls Sofyan and Trk Aksa. There are variations as well, such as Ar Aksak, Yrk Aksak and Orta Aksak.
Aksak Usl (=Aksak Ol)

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 Sem

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

A ten-beat minor usl used in Turkish Classical Music, composed of two joined Trk Aksa 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 Usl

A major usl 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 Hseyn.
Anahtar (=Ak)

Cleff.
Ana l "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 (=Sesde) notes

Two notes with the same value but different names, such as C# and Eb, etc.
Ana Usl (Main Usl)

One of three different metric structures used in Turkish folk music: two-, three- and fourbeat meters.
Anber-Efn

A compound makam used in Turkish Classical Music. Developed by Sheikh Abdrrahhim Knh Dede, it is composed of the basic scale of the makam Nihvend with the addition of the basic scale of the makam Sultn Yegh. It is of a descendingascending character. Its tonic is yegh (D/re), and its dominants are nev (D/re), dgh (A/la) and rast (G/sol). Its suspended cadences are the flavors Bselik from argh (C/do), argh from krd (B/si five komas flat), Krd and Hicz from dgh (F/fa), Bselik and Nikrz from rast (G/sol), argh from acemarn (F/fa) and Krd from hseyn arn (E/mi). Hicz on nev (D/re) and Nikrz on argh (C/do) may sometimes, though rarely, also be suspended cadences.
Araban (=Arabn)

1. A makam used in Turkish Classical Music. Some theoreticians define it as a transposed (ed) makam. It is a variant of edd-i Araban which resolves on nev (D/re) instead of yegh (D/re). It is of a descending character. Its tonic is nev, and its dominant is dgh (D/re). Its suspended cadences are the flavors Bselik and Hicz from gerdniye (G/sol) and Nikriz, Bselik 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.
Arabn-Bselik

A variant of the makam Araban. It is formed by the addition of a Bselik pentachord from rast (G/sol) to a Hicaz tetrachord from yegh (Re/D).
Arabn- Cedid

A variant of the makam Araban.

Arabn-Krd

A variety of the makam Araban believed to have been developed by smail Dede Efendi, it is also referred to as evk-i Cedd and Zevk-u Tarab. It resolves with the Krd tetrachord of the basic scale of the makam Bayat Arabn. The tonic of this makam is dgh (A/la) and its dominant is nev (D/re).
Arabn-Nigr

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.
Aralk

Interval.
rm- Cn

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

A makam of Turkish Classical Music.

Araname

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

Arap

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

A compound makam of Turkish Classical Music, formed by adding a Rast pentachord from argh (C/do) and a Beyat scale from dgh (A/la) to the Beyt scale from Nev (D/re). It is descending in character. Its tonic is dgh (A/la), and its dominants are gerdniye (G/sol) and nev (D/re). Its hanging motifs are the flavors Bselik and Hicz on gerdniye (G/sol), Nikrz on acem (F/fa), Uk and Hicz on nev (D/re), Nikrz and Rast on argh (C/do) and Segh and Eksik Ferahnk on segh (B/si one koma flat).
Arazbr-Bselik

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

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

Arazbr-Zemzeme

A variant of the makam Arazbr used in Turkish Classical Music, made by adding a Krd tetrachord to the basic Arazbr 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, Erfne, 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 Az

The musical performance style of Malatya's Arguvan region.

Arza (=Deiim)

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)
k

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.
k az

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

In Turkish Classical Music, the abbreviated name for both the note hseyn-aran (E/mi) and the makam Hseyn-Aran.
Aran-Bselik

See Bselik-Aran.
Aran-Mye

A variation of the makam Aran used in Turkish Classical Music, formed by adding an Uk tetrachord transposed to hstyn-aran (E/mi) to the scale of the Bselik-Aran scale. It is descending in character. Its tonic is hseyn-arn (E/mi) and its dominants are hseyn (E/mi) and dgh (A/la).

Ak-Efz

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

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

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

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

Lit. "on horseback," a type of melody sung by aks 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.

vz (vze)

A term used to classify makams in Turkish Classical Music.

Avaz etme

To play/sing a piece, to perform.

vz- Zenbr

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 k literature and music, a theme or subject. 4. A scale. 5. In some forms, a term used to fine different groups of melodies.
Ayak ama

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

Ayakl 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 ak of the particular tune to be used an atma by the rest of the pacticipating ks.
Aydn

A nine-beat usl 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 "Ayt dost," meaning "say/sing, friend."
Ayrt

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

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.
yn-han

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

yn-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 yn-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.
yn-i erf

The highest religious form of Turkish Classical Music; the musical work performed in the Mevlev order for their sem ceremonies, known as mukaabele
Azer az

The term for the musical style typical of Azerbaijan.

Azr

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

B
Bd- Sab

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

A dance tune of the Ankara region, with a slow 2/4 meter.

Balama

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 (balamak = to tie). Found in almost every region of Turkey, it is played with different techniques/styles (tavr) from region to region. In Anatolia, the balama is also frequently called the saz. See Saz.
Balama Family

The family of instruments composed of various sized balamas. Although known by a great variety of names, the most common names from large to small are: Divan, Balama, Tambura and Cura.
Balama Tuning

A tuning of the balama 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).
Balamak

To sing a folk song to write a composition.

Balant

The refrain of a song; also called nakarat or kavutak.

Baryank

An uzun hava (free-meter folk song) of the Elaz region.

Bahr

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

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 Nzik (=Evc-i Bahr-i Nzik)

A compound makam of Turkish Classical Music. Based on surviving examples, some theoreticians consider this makam to be a form of Hicz with a transition in the Segh scale or a part of it.
Bakiyye

The symbol for a four-koma sharp or flat in Turkish Classical Music, abbreviated to "B."
Bakiyye Bemol

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 Havas

The melody that accompanies a bar dance

Barak Az

An uzun hava singing style of the Turkmen tribes of the area to the southeast of Gaziantep.
Barak Havas

The musical repertoire unique to the Barak.

Barana

In Balkesir 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 havas

The repertoire unique to the Barana.

Basit sfahn

A simple makam used in Turkish Classical Music. Its tonic is dgh (A/la) and its dominant is nev (D/re). It is ascending-descending in character.
Basit Makam

See Simple Makam.

Ba vme havas

A folk song or quatrain sung at wedding, praising the good and beautiful qualities of the bride.
Bapre

The mouthpiece used on some Turkish instruments, made of ivory, horn, or various woods such as ebony and palisander.
Ba Taksim

A type of taksim used in Turkish Classical Music, played before the perev in order to accustom the listener to its makam. Thus it is of the same makam as the perev to be played.
Batak

In Turkish Classical Music, the piece played by a single instrument. (See Karabatak)
Bayt (=Beyt)

1. The name given to today's nm hisr pitch in the Edvr of Safyddn Urmev. 2. A simple makam of Turkish Classical Music. It is composed of a Bselik pentachord from nev (Re/D) added to (in place of) an Uk tetrachord from dgh (La/A). Though it resembles the makam Uk, it departs from it with certain features. It is ascendingdescending in character. Its tonic is dgh (La/A), and its dominant is nev (Re/D). Its suspended cadences are, as in the makam Uk, the note Segh, the Segh and Ferahnk pentachords. What distinguishes it from the makam Uk is the notes nev (Re/D) and argh (Do/C), as well as the flavors Hicz transposed to nev (Re/D) and Nikrz transposed to argh).
Bayt Arabn

In Turkish Classical Music, a variation of the makam Bayt, composed of adding the Bayt scale from (in place of) the dgh (La/A) onto a Zirgle'li Hicaz scale on nev which is known as the Arabn scale). It is descending in character. Its tonic is dgh (La/A), and its dominants are muhayyer (La/A) and nev (Re/D). Its suspended cadences are Bselik from gerdniye (Sol/G), Zirgle'li Hicz from nev, Hicz and Bselik, Nikriz from argh (Do/C), enis of Segh or Eksik Ferahnk on segh (Si/B one koma flat) and a Segh third on segh.
Bayt Arabn Krd

See Arabn Krd

Bayt-Buselik

In Turkish Classical Music, a variety of the makam Bayt developed by Zek Dede Efendi (1825-1897). It is composed of a Bselik tetrachord or pentachord on a basic Bayt scale. Its tonic is dgh (La/A), and its dominants are nev (Re/D) and hseyn (Mi/E).
Bayt-Hisr

A variant of the makam Bayt. No examples have survived to the present.

Bayt Isfahn

A variant of the makam Bayt. It is still used in the music of Azerbaijan.

Bayt Ry-i Acem

A variant of the makam A variant of the makam Bayat. No examples have survived to the present..
Bayt-Krd

A variant of the makam Bayt, constructed by adding a Krd tetrachord to the basic scale of the makam Bayt. It is still used in the music of Azerbaijan.
Bayt-Sultn

A variant of the makam Bayt. Its tonic is dgh (La/A). It is still used in Arab music.
Bayt-rz

A variant of the Bayt of Turkish Classical Music. It is mostly used in folk music.
Bayram Salt

See Salt.
Beg (=Bey Havas)

Another name for a Harput maya (See Maya).

Bek

The mouthpiece of a clarinet or saxophone.

Bekar

Accidental natural.
Bekt Devr-i Revn

A 13-beat minor usl of Turkish Classical Music, created by combining a measure of Sofyn, Trk aksa and Sofyn. Used mainly in Bekt music, it also appears in some folk songs.
Bekt Divanisi

A type of divan in Northeastern Anatolia, one of the common k makams.

Bekta Makam

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.
Bekt Music

The music of communities which belong to the Bekt sect. The genre is extremely broad and includes tens of varieties employing special makams and rhythms. It and Mevlev music comprise the two most important tarikat (religious order) genres of Turkish music. Performed in the Ayn-i Cem of the Bekt 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 balama, dvan, tanbura and cura but also local instruments such as the violin and kabak kemne.

Bekt Raks

See Raks
Bemol

A flat, or the sign indicating a flat.

Bend-i Bselik

A compound makam of Turkish Classical Music devised by Sdeddin Heper.

Bend-i Hisar

A compound makam of Turkish Classical Music. Devised by Ahmet Avni Konuk, it consists of a Sultn Yegh scale from yegh (Re/D - in its place) added to the scale of the makam Hisar-Bselik.
Bengi

A type of zeybek danced by men in the Balkesir 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 Irk 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-hne, Nakarat-hne, Miyn-hne and Nakarat hne respectively. They are generally set to major usls.
Besteci

Composer.
Beste Devr-i Revn

One of the 26-beat major usls of Turkish Classical Music. It is composed of one measure of Trk Aksa, two measures of Sofyn, one of Trk Aksa and two more of Sofyan. Because Itr's Nev Kr is in this usl, it is also referred to as the "Nev Kr Usl."
Beste-Hicz

A variant of the Hicz makam used in Turkish Classical Music, composed of the basic scale of Hicz with the addition of an Irk tetrachord. According to some theoreticians, this makam has the same characteristics as the makam Raht'l-Ervh.
Beste-Hisr

A variant of the makam Hisr used in Turkish Classical Music, composed of a Segh tetrachord from rak (Fa/f four komas sharp) added to the basic scale of the makam Hisr.

Beste-Isfahn

A variant of the makam Isfahn used in Turkish Classical Music. It is obtained by adding a Segh tetrachord from rak (Fa/F four komas sharp) to any of the scals of the makam Isfahn from dgh (La/A). It is usually descending-ascending in character. Its tonic is rak (Fa/F four komas sharp), and its dominants are nev (Re/D) and dgh (La/A). Its suspended cadences are a Segh and Eksik Ferahnk pentachord from segh (Si/B one koma flat), a Segg third, enis of Uk and Rast from dgh (La/A) and dgh.
Beste-Nev

A variant of the makam Nev used in Turkish Classical Music, developed by Tanbr Abdlbk Gkek. It consists of the basic scale of the makam Nev with the addition of an Irak tetrachord.
Bestenigr

A compound makam in Turkish Classical Music, composed of the scale of the makam Sab from dgh (La/A) with addition of the Segh tetrachord from rak (Fa/F four komas sharp), and is mostly descending-ascending, and sometimes ascending in character. Its tonic is rak, and its dominants are argh (Do/C), dgh (La/a) and segh (Si/B one koma flat).
Bestenigr-Hisrek

A variant of the makam Bestenigr of Turkish Classical Music. No examples have survived to the present.
Bestenigr-Atyk

A variant of the makam Bestenigr of Turkish Classical Music. Its tonic is dgh (La/A).
Bestenigr-I Kadm

A variant of the makam Bestenigr of Turkish Classical Music. Its tonic is dgh (La/A).
Beir

A type of uzun hava sung in the regions of Urfa, Elaz and Kerkk.
Beliler

Pentachords, the name give to the scale patterns composed of five tones which form the scales of the makams in Turkish Classical Music. The rgh, Bselik, Krd, Rast, Hseyn and Hicz pentachords are the pentachords are basic components in the formation of the simple makams; from the standpoint of intervalic relationships, the Mster, Hzzm, Nikrz, Pengh, Ferahnk and Nibur 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.

Beyz

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

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 Sab to the basic scale of the makam Nihvend. (See Sab) Its tonic is rast (Sol/G), and its dominants are nev (Re/D), argh (Do/C) and dgh (La/A).
Bilr (=Blr)

The name used for various fipple and end-blown flutes of Eastern Anatolia.
Birleik Usl (Compound Usl)

A type of usl (meter) formed by the combination of at least two of the main usls. Composed of 2- and 3-beat measures in Turkish Classical Music, usls created with 5-9 different arrangements are to be found in folk music.
Bikur

A type of ney, or end-blown flute, used by the Crimean and Kazan Turks.
Boaz Gaydas ("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.
Boma

A balama playing technique in which the upper string is pressed with the thumb, and the middle and lower strings are pressed with the index finger.
Bolhenk

A tuning used in Turkish Classical music. In this tuning, the tone dgh (La/A in the middle octave) is transposed to nev (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 Krat Bozla, Trkmen Bozla, Aydost Bozla, etc.
Bozlak Dzeni (Bozlak Tuning)

A balama 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 balama 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 Dzeni (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.

Buhr

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 balama family played either with the fingers or with a plectrum. Some hold that its name refers from a balama 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 Dzeni (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 emsi elebi, son of Akemseddn-zde Hamdullh Hamd eleb.
Burgu

Tuning peg. Also kulak, burga.

Burguluk

The pegbox of a stringed instrument.

Burngi lng

A term for "song" in Kirghiz.

Bselik

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 Krd tetrachord transposed to hseyni (mi/E) to the Buselik pentachord on la/A (in its place); the other is formmed by adding a Hicaz tetrachord on hseyni to the Bselik pentachord on dgh. It mostly exhibits an ascending, and sometimes ascending-descending

character. Its tonic is dgh (la/A), and its dominant is hseyn (mi/E) and sometimes argh (do/C). Its suspended cadences are the flavors Hicz transposed to nev (re/D) and Nikriz transposed to argh (do/C), as well as the Uk tetrachord transposed to hseyn (mi/E).
Bselik-Arn

A variant of the makam Bselik used in Turkish Classical Music. It displays two different types of scales. One consists of a Bselik pentachord on dgh (la/A, in its place) on top of a Hseyn pentachord transposed to hseyn, with the addition of a Hseyn pentrachord transposed to hseyn arn (mi/E). The other is formed by adding a Hseyini pentachord on hseyn arn to the Bselik scale on dgh. It possesses descending character. Its tonic is hseyn arn (mi/E), and its dominant is hseyn (mi/E). Its suspended cadences are the flavors Bselik, Hicz, argh and Nikrz transposed to nev (re/D); argh on argh (do/C), Bselik and Hicz transposed to dgh (la/A); Nikrz and argh transposed to rast (sol/G); the Eksik Ferahnk pentachord and Segh trichord on rak (fa a bakiye sharp), and a Rast pentachord transposed to yegh (re/D).
Bselik Belisi (Bselik Pentachord)

In Turkish Classical Music, five-tone scale pattern formed by adding one whole tone to the Bselik tetrachord on dgh (la/A - in its place) (See Bselik Drtls).
Bselik Drtls (Bselik Tetrachord)

In Turkish Classical Music, a four-tone scale pattern on dgh (la/A) forming a perfect fourth.
Bselik-Gerdniye

In Turkish Classical Music, a variant of the Bselik makam of which no examples have survived to the present.
Bselik-Gevet

In Turkish Classical Music, a variant of the Bselik makam of which no examples have survived to the present.
Bselik-Mye

A variant of the makam Bselik in Turkish Classical Music. Some theoreticians define it as a form of the makam Mye (See Mye) on bselik (si/B). No examples have survived to the present
Bselik-Nevrz

In Turkish Classical Music, a variant of the Bselik makam of which no examples have survived to the present.
Bselik-Selmak

In Turkish Classical Music, a variant of the Bselik makam of which no examples have survived to the present.

Bselik-ehnz

In Turkish Classical Music, a variant of the Bselik makam of which no examples have survived to the present.
Buvben

The Kazakh name for the tambourine/tef.

Blr

See Bilr
Byk Mcenneb

An accidental symbol used in Turkish Classical Music to indicate an interval of eight komas. Its letter counterpart is "K."
Byk Mcenneb Bemol (Flat)

A symbol used in Turkish Classical Music to indicate an eight-koma flat.

Byk Mcenneb Diyezi (Sharp)

A symbol used in Turkish Classical Music to indicate an eight-koma sharp.

Byk (Great) Usl

In Turkish Classical Music, the general term used to describe all the usls from 16 to 124 beats long.
Bzrk (Bzrg)

A compound makam used in Turkish Classical Music, formed either by adding a Bselik pentachord or Bselik scale on dgh (la/A - in its place) to a Hseyn pentachord transposed to hseyn (mi/E), and on top of this, a argh pentachord transposed to rast (sol/G). It is descending-ascending in character. Its tonic is rast (sol/G), and its dominant is hseyn (mi/E). Its suspended cadences are the flavors Krd transposed to hseyn (mi/E) and of Bselik transposed to nev (re); a flavor of Bselik transposed to dgh (la/A) and hseyn aran with the leading tone hseyn arn.
Bzrk-Gerdniye

In Turkish Classical Music, a variant of the makam Bzrk. No examples have survived to the present.
Bzrk-Gevet

In Turkish Classical Music, a variant of the makam Bzrk. No examples have survived to the present.
Bzrk-Mye

InTurkish Classical Music, a variant of the makam Bzrk. No examples have survived to the present.
Bzrk-Nevrz

In Turkish Classical Music, a variant of the makam Bzrk. No examples have survived to the present.

Bzrk-Selmek

In Turkish Classical Music, a variant of the makam Bzrk. No examples have survived to the present.
Bzrk-ehnz

In Turkish Classical Music, a variant of the makam Bzrk. No examples have survived to the present.

C
Cm Dmbelei

See Dmbelek
Can Direi (Lit. "soul/life column")

The support column that runs from the neck through the body of certain stringed instruments; the dowelstick.
Cnfez

A compound makam used in Turkish Classical Music, also known as a variant of the makam evk-u Tarab. According to some theoreticians, it is created by adding a Krd tetrachord above the Sab scale from dgh (la/A) and Acem-arn scale from acem (fa/F) which create the evk-u Tarab. Some also hold that there are two different formulas for the Cnfez makam. One of these is to add an Uk tetrachord transposed to hseyn arn (mi/E) to the scale of the makam Sab; and the other is to add a rgh pentachord from acem-arn (fa/F) to the basic Sab scale. The makam is descendingascending in character. Its tonic is hseyn arn, and its dominants are dgh (la/A) and argh.
Cnkurtaran (Lit.

In Turkish Classical Music, the name used to refer to an easily-played style of saz semsi and perev. In later years this was replaced by the medhal form. See Medhal.
Cem

Gathering, refers especially to religious gatherings. See Ayin-i Cem

Cenze Salt (Sals)

See Salt, Sal

Ceng-i Harb (=eng-i Harb)

1. A ten-beat minor usl used in Turkish Classical Music, consisting of two measures of Nim Sofyan followed by two of Sem. It has been used in marches, as well as some bestes and in the fourth vers of saz semsis. 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 Krolu melodies.

Cerr

One of the usls used in Turkish Classical Music. No examples have survived to the present.
Cerr-i Haff

An usl 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.
Cezr Hl

See Kk Hli.
Cr

A term for folk songs, makams and melodies, used mostly by the Tatars, also r. Sung on a variety of subjects, crs are most often performed as wedding songs and concern this subject.
Crlak

A term for a strong, high pitched sound.

Cia

Pun, poems in which words are imbued with new/different meanings.

Cigal Tecnis

An k 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 balama.

Cinas

Puns, the art of making puns. See Hoyrat, Cia.

Cin Delii (=eytan Delii)

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 Havas

The special repertoire played for folk javelin (cirit) events.

Clarinet (Klrnet)

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 Salt

See Salt
Cumhr

1. In religious music, the term for a section performed in unison. See Cumhur lahi 2. The general term for a piece being sung by the entire ensemble.
Cumhr lh

1. In Turkish Classical Music, an ilahi composed for choir in unison. 2. An ilahi sung together.
Cura

The smallest member of the balama family.

Cura Davul

A small-diameter folk drum played mostly in and around the provinces of Adana, Gaziantep and Trabzon.
Cura Dzeni

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 usl used in Turkish Classical Music, composed of two joined Trk Aksa usls. It is used in ark, trk, ilh and dance tunes, as well as the fourth verse of saz semsis.
Curcuna Evferi

A ten-beat minor usl 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.
Cmb (=Cnb)

1. A stringed instrument used in classical Turkish music, invented in the 1930s by Zeynel Abidin Cmb 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.

Cmle

A musical phrase.


aana

1. A wind instrument (flemeli alglar) used in 17th-century Turkish Classical Music. 2. A percussion instrument used in Turkish Classical Music, played in pairs by engis (female dancers), a type of metal castanet/finger cymbal.
armak (=rmak)

To sing a trk or mani.

artma Dd (rtma Dd)

See rtma, Ddk.

alg

A general term for a musical instrument. In Anatolia, the verb almak 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 "alt- musiki" were used in the cities.
algc

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 sanat ("local artist") became widespread.
alglama

To arrange a piece instrumentally.

alg Mzii

Instrumental music (with no vocal accompaniment).

algc

An instrumentalist.
almak

Verb. Colloqualliy, to strike anything on something else; in music, to play a musical instrument. Also the source of the word alg (See above).
alpara

An instrument consisting of a pair of tongs with one or more pairs of cymbals on the ends.
amh Az (amh Style)

The style of singing uzun hava in the amh region of Sivas.

apak

An instrument used in Turkish Classical Music. According to Merg, it is the Turkish name for the mskar- hty of East Turkistan (See Mskar- Hty). It consists of neys arranged side-by-side and blown with a brass pipe.
argh

1. The high Do/C in Turkish Classical Music 2. A simple makam used in Turkish Classical Music, formed by adding a argh tetrachord from Sol/G to a argh pentachord on argh (Do/C) or kaba argh (low Do/C). It is ascending and ascendingdescending in character. Its tonic is argh (Do/C), or kaba argh (low Do/C), and its dominant is rast (Sol/G) or gerdaniye (Sol/G).
argh-Acem

A variant of the makam argh used in Turkish Classical Music. No examples have survived to the present.
argh Belisi

argh Pentachord. In Turkish Classical Music, an array of five notes formed by adding one tanini (whole tone) to a argh tetrachord on kaba argh (low Do/C) or argh (Do/C).
argh Drtls

argh Tetrachord. In Turkish Classical Music, the array of four notes from kaba argh (low Do/C) or argh (Do/C) to form a perfect fourth.
rgh-Gerdniye

A variant of the makam argh used in Turkish Classical Music. No examples have survived to the present.
argh-Mhr

A variant of the makam argh in Turkish Classical Music, formed by adding the basic scale of the makam Mhr to the basic scale of argh.
rpre (=alpara)

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 kekes, both by singers and keks (male dancers dressed as women). In later years, it was replaced by a pair of metal cymbals.
arpma

A type of ornament consisting of a quick tap on the first tone above the main note thus emphasizing the main note.
r-Tr

(Lit. "Four String") A fretted stringed instrument played with a plectrum used in 17thcentury Turkish Classical Music.

r-Usl

A variant on the 124-beat usl Darbeyn used in Turkish Classical Music. It is formed by the combination of the usls Nm Sakyl, Sakyl, Fhte and Berefn.
atal

Lit. "Fork" - the use of the words of one piece or folk song in another piece.
ehr-gaazin

A compound makam used in Turkish Classical Music, created by Santr Edhem Efendi by adding a scale of the makam Zengle from dgh (La/A - in its place) onto the basic scale of the makam Sz-i Dil. Its tonic is La/A, and its dominants are hseyn (Mi/E) and bselik (Si/B).
enber

A 24-beat major usl used in Turkish Classical Music, consisting of a combination of two Sofyn, two Yrk Sem and one Sofyn. It is frequently used in such genres as Perev, kr, beste, tevh and ilh.
eng (enk)

A type of harp with varying numbers of strings used in Turkish Classical Music up until the 18th century.
eng

1. The name used for a player of the eng (See above.) 2. The term for female dancers in various parts of Anatolia.
eng-i Harb

See Ceng-i Harb

eng Takm

A troupe of eng dancers.

epik

Hand clapping
ete

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.
evgn

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.
rtma

A common folk wind instrument played in Elaz and its surroundings as well as the Teke region. It is an end-blown flute made of an eagle wing or stork leg bone

ldr Divanisi

An k makam common in Kars and the surrounding region.

ngrak

Rattle, a type of bell used in Turkish music.

rpma

A balama picking technique in which the pick is drawn upward over the strings.
ifte

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 singlenote drone.
ifte Ddk

Another name used for the ifte in some regions. Similarly, the instrument is sometimes known as ifte kaval.
ifte Dyek

A 16-beat major usl used in Turkish Classical Music, composed of two Dyeks, and used mostly in 16/4. It is frequently in forms such as perev, kr, beste, tevh and ilh.
ifte Kaval

See ifte Ddk.

ifte Nara (Naara)

The common name for the double nakkare, a percussion instrument used in Turkish Classical Music. See Nakkare.
ifte Nakkare

See Nakkare.
ifte Sofyan

A 16-beat major usl used in Turkish Classical Music, formed by combining the usls Sofyan and Trk Aksa.
iftetelli

A type of folk dance most common in western Anatolia, and the lively tune that accompanies this dance, generally in 4/4. iftetelli 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
D

A term used by city people to define a local singing style. Compound terms exist, such as Da Hseyn, Da Hicaz, D ark, D Trk.
D Beyt

A compound makam once used in Turkish Classical Music, of which no examples have survived to the present.
D Keke

The name given to folk songs of a local nature taken from the Keke repertoire.
Dire

A folk percussion instrument. See Def.

Dire-zen

A person who plays dire.

Damaak (Damak)

A makam once used in Turkish Classical Music, of which no examples have survived to the present.
Dambra

See Tambura.
Dan

Kazakh for tef/def.

Dnivern

A compound makam of Turkish Classical Music, of which no examples have survived to the present.
Darabn

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 usls of Turkish Classical Music. 2. A musical form in Turkish Classical Music.
Darb-engz

A 10-beat minor usl used in Turkish Classical Music.

Darbeniyye

A 33-beat usl of Turkish Classical Music used only in the music of Yavuz Yektay, formed by the combination of Trk Aksa, Sem, Msemmen, Evfer and one more Msemmen.
Darbeyn Uslleri

The name for "double" usls in Turkish Classical Music, created by playing two of the major usls one after the other, once or twice. This type of usl is mostly used in forms such as perev, kr and beste. The darbeyn usls encountered in various works include: 1 Fer-1 Muhammes; 1 Nm Sakyl-1 Berefan; 1 Devr-i Kebr-1 Berefn; 2 Remel-1 Muhammes; 2 Freng Fer-2 Devr-i Kebr; 3 Freng Fer- 1 Berefn; 2 Remel-2 Muhammes; 2 Devr-i Kebr-2 Berefn; and Nm Sakyl-Sakyl-Fahte.
Darb- Cedd

A 14-beat usl of Turkish Classical Music created by Abdlkdir Merg.

Darb- Fetih (Zarb- Fetih)

An 88-count major usl used in Turkish Classical Music. According to some theoreticians, it is a combination of 1 Sofyn, 1 Yrk Sem, 3 Sofyn, 3 Yrk Sem, 2 Sofyn, 1 Yrk Sem, 3 Sofyn, 3 Yrk Sem, 2 Sofyn, 1 Yrk Sem and 1 Nm Haff. According to others, although it was originally created by Abdlkdir Merg as a 98-beat usl, it later came to be used in Ottoman music as an 88-meter usl composed of 1 Sofyan, 1 Yrk Sem, 5 Sofyn, 2 Yrk Sem, 1 Sofyn, 1 Yrk Sem, 5 Sofyn and 1 Nm Haff. It shows up in certain works in the perev and beste forms as well as military music.
Darb- Hner

A 38-beat major usl used in Turkish Classical Music, created by Varda Kosta Ahmet Aa of 4 Sofyn, 1 Yrk Sem and 4 Sofyn. No examples have survived to the present.
Darb- Kasr

An usl of Turkish Classical Music. No examples have survived to the present.

Darb- Kumriyye

A five-beat minor usl of Turkish Classical Music.

Darb- Perev

A minor usl used in Turkish Classical Music. No examples have survived to the present.
Darb- h

A minor usl used in Turkish Classical Music. No examples have survived to the present.
Darb- Tavl

A minor usl used in Turkish Classical Music. No examples have survived to the present.
Darb- Trk (Trk Darb)

An 18-beat major usl used in Turkish Classical Music composed of 1 Yrk Sem and 3 Sofyn. It is used in religious forms such as tevh, salt, ilh and na't, as well as secular forms such as kr, best and ark.

Darbuka

A goblet-shaped drum made of metal or clay used in Turkish music. Also known by such local variations as dmbelek, dmbek, dmbeke, delbek and deblek.
Darb'l-Hadd

A14-beat minor usl used in Turkish Classical Music. No examples have survived to the present.
Darb'l-Mietyen (=Devr-i Mieteyn)

A 200-beat major usl used in Turkish Classical Music. It was created by Abdlkdir Merg in honor of Muhammed Mirz, grandson and successor of Timur. No examples have survived to the present.
Darb'l-Reb

A 24-beat major usl used in Turkish Classical Music. No examples have survived to the present.
Dstan

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 ubuk 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 deyi, duvaz, semah etc. with their own balamas. Several dedes thus take on the duty of zakir.
Dede Saz

The name for a small-sized balama 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 deyi in the Tunceli region.

Deli Hasan

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 Deyi.
Demece

An antiphonal style of folk singing or atma (musical sparring).

Depki

A stroke, a hit. Based on this word, percussion instruments are sometimes referred to as depki alglar.
Deramed

A short instrumental section played before a free-rhythm tune known as mugam. Mostly known from the music of Azerbaijan.
Derbeder

An k 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.

Derv 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 srafil/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 dervi 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.

Destgh

One of the various groupings of modes comprising the whole of Azerbaijan and Iranian music.
Devr

In Turkish Classical Music, the term used for the whole of an usl 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 usl used in Turkish Classical Music, developed by Abdlkdir Merg in honor of hruh.
Devr-i Hind

A 7-beat minor usl used in Turkish Classical Music, composed of the combination of the Sem and Sofyn usls. It is used in forms such as ark, ilhi, trk and keke, as well as the fourth section of saz sems.
Devr-i Kebr

A 28-beat major usl used in Turkish Classical Music that consists of the combination of 1 Sengin Sem, 2 Sofyn, 1 Sengin Sem and 2 Sofyn usls. Its velveleli variant is known as "Muzaf Devr-i Kebr." It is used in forms such as Kr, tevh, ilh, yn-i erf, beste and perev.
Devr-i Remel

A 12-beat minor usl used in Turkish Classical Music. No examples have survived to the present.
Devr-i Revn (=yn Devr-i Revn)

A 14-beat minor usl used in Turkish Classical Music, which consists of the combination of 1 Sem, 1 Sofyn, 1 Sem and 1 Sofyn. It used in the first selm in Mevlev music, as well as in forms such as kr, perev, beste, ark, ilh and tevh.
Devr-i h

A 60-beat major usl used in Turkish Classical Music developed by Abdlkdir Merg in honor of Sultan Ahmed Celhir. No examples have survived to the present.
Devr-i Trn

A 7-beat minor usl used in Turkish Classical Music, consisting of the combination of Sem and Sofyn. It is used in forms such as ark, trk, keke and ilh, as well as the fourth hane of saz sems.

Deyi

1. Colloquially, a term to mean "saying, telling." In this sense it has come to be used for all types of trk, 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 musc.
Deyime

The antiphonal singing of trk and mani style melodies; the reciprocal atma of ks.
Deynek

One name for the wooden beater used to play a davul.

Dmdan

A type of dance performed in the Teke region; the melody that accompanies this dance.
Dngra

A general name used for instruments in the balama family, derived from the verb tngrmak/tngrdatmak. 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-Aran

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 Gevet

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 Hisr

In Turkish Classical Music, Re/D eight komas sharp or Mi/E one koma flat in the high octave.
Dik Krd

In Turkish Classical Music, La.A one koma sharp or Si/B 8 komas flat in the middle octave.
Dik Mhr

In Turkish Classical Music, Fa/F eight komas sharp or Sol/G one koma flat in the high octave.
Dik Snble

In Turkish Classical Music, La/A one koma sharp or Si/B eight komas flat in the high octave.
Dik ehnz

In Turkish Classical Music, Sol/G eight komas sharp or La/A one koma flat in the high octave.
Dik Zengle (Zirgle)

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-r

A compound makam in Turkish Classical Music, created by rif Mehmet Aa. No examples have survived to the present.
Dil-viz

A compound makam in Turkish Classical Music, thought to have been devised by Abdlbki Nsr Dede. No examples have survived to the present.
Dildr

A compound makam used in Turkish Classical Music, created by Abdlbki Nsr Dede by combining the basic scales of the makams Nev and Rast. Its tonic is rast (Sol/G).
Dil-Efrz

A compound makam used in Turkish Classical Music. Its tonic is yegh.

Dilke-Havern

A compound makam of Turkish Classical Music. It is created by adding a Segh tetrachord transposed rak (Fa/F four komas sharp) or a section of the scale of the makam Irak onto the scale of the makam Hseyn on dgah (La/A) (in its place). It is descending in character. Its tonic is rak (Fa four komas sharp), and its dominants are hseyn (Mi/E) and dgh (La/A). Its suspended cadences are the flavors Bselik transposed to nev

(Re/D), argh transposed to argh (Do/C), a descending Rast on nev, a descending Pengh on argh and Hseyn transposed to hseyn (Mi/E), which are also the suspended cadences of the makam Hseyn, as well as a Segh trichord transposed to segh (Si/B one koma flat), a full or diminished Ferahnk pentachord and Segh
Dil-Kede

A compound makam of Turkish Classical Music, achieved by adding the scale of the makam Ferahvez on yegh (Re/D) to the scale of the makam Hseyn on dgh (La/A). It is descending in character. Its tonic is yegh (Re/D), and its dominant is hseyn (Mi/E). Its suspended cadencies are argh on argh (Do/C), the flavors Hseyn transposed to dgh (La/A), the Segh and Ferahnk pentachord on segh and Segh trichord, which are also the suspended cadences of the makams Hseyn and Ferahfez; as well as the flavors Bselik transposed to nev (Re/D), argh on argh (Do/C), Krd and Hicz transposed to dgh (La/A), Bselik transposed to rast (Sol/G) and argh transposed to acemarn (Fa/F).
Dil-K

A compound makam in Turkish Classical Music, created by rif Aa.

Dilli flemeli

Fipple flutes such as the ddks and kavals found nearly everywhere in Anatolia.
Dilli Ddk

Another name for the dilli kaval, or fipple flute.

Dil-Nevz

A compound makam in Turkish Classical Music.

Dil-Nin

A compound makam in Turkish Classical Music, comprised of the combination of the makams Hseyn and Rast. Its tonic is rast (Sol/G).
Dil-Rb

A compound makam in Turkish Classical Music. No examples have survived to the present.
Dil-Sz

A compound makam in Turkish Classical Music. No examples have survived to the present.
Din D Mzik (Secular Music)

A category within Turkish Classical Music recognized by theoreticians, which may include all types of music considered "worldly" in their makams and usls. These include instrumental forms written with no religious motive such as Taksm, Perev, Medhal, Saz Semsi, Longa, Sirto, Oyun Havas and Araname, as well as vocal forms such as Kr, Kr- ntk, Kre, Beste, Ar Sem, Yrk Sem, Gazel, ark, Trk and Keke. Secular music is not merely a formal classification of folk and classical music, it involves different styles as well.

Din Mzik (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 , yin, Na't, Durak, Mircye, lh, Tevih, ugl, Ezan, Mahfel srmesi, Tekbr, Temcd, Tesbh, Salt, Selm, Mncaat and Mevld. 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.
Dvn

1. A form of Turkish music. Although it bears certain similarities to the ark 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 usl. 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.
Divan

The name given to divan by folk poets. There are various forms, such as Yerli Divanisi and Mereke Divanisi.
Divan Saz

The largest of the instruments in the balama family.

Diyez

Sharp (#).
Dizi

Scale
Doalama (Domaca)

1. Improvisation 2. Vocal improvisation, especially by ks, 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 Domaca.
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-Gh

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

Syn. Vurmal alglar, percussion instruments.

Drtleme

In Turkish Classical Music, a quartet, or a piece written for four instruments or parts.
Drtl

See Tetrachord
Deme

The setting of words or poetry to music.

Dvmek

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
Dvlgenler

Syn. Vurmal alglar, Depki alglar, Percussion instrument.

Du

1. Lit. "prayer," a genre in Turkish Classical Music and poetry. 2. The introductory section of some semahs.
Dudak Demez

Lit. "The lips do not touch." A competitive practice in the Northern Anatolian k tradition, in which at least two ks 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 ks 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 usl Durak Evferi.
Durak Evferi

A 21-beat major usl of Turkish Classical Music, formed by the combination of one Trk Aksa and four Sofyns, thus far used exclusively in religious music. It is used in genres such as na't, durak, tevih and mersiye.
Dutar (=Dtar)

A two-stringe, long-necked lute of the Central Asian Turkic peoples, played either with the fingers or with a pick.
Duvaz (Duvaz mam)

A type of poetry in the Alevi-Bektashi belief system, usually in the koma meter, containing the names of the twelve Imams. Duvaz mam pieces are performed within melodic patterns unique to each region.
Dbeyt

A type of poetry and music within the Northern Anatolian ak tradition.

Dblek

See Dmbelek.

Ddk

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 dkks carved from hard woods, they are called dilli ddk or kaval. As Evliya elebi stated in his Sehayatnme, there were many players in 17th century Istanbul, and many different types, including kaba ddk, yelli ddk, arab ddk, rtma dd, macar dd, mehter dd, mzmz (mizmar) dd, dangil dd and tulum dd. It is still common today, especially among children.
Dgh

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 yegh (re) to the scale of the makam Sab on dgh (La/A). It possesses an ascending character. Its tonic is dgh (La/A), its dominants are argh (Do/C) as well as dgh (La/A), the dominant of the makam Nev'eser, transposed to yegh. Its suspended candences are the same as those of the makams Sab and Zrgleli Hicz as well as a flavor of Hicz transposed to hsayn arn (Mi/E).
Dgh-Bselik

A variant of the makam Dgh of Turkish Classical Music, formed by adding the Bselik pentachord to the basic scale of the makam Dgh. Its tonic is dgh (La/A), and its dominants are sab (that is, today's hicz - Re/D 4 komas flat), and argh (Do/C).
Dgh- Acem

A compound makam once used in, formed by adding the makam Acem to the basic scale of the makam Dgh. This Dgh is the same as the scale of today's Uk makam. No examples have survived to the present.
Dgh- Hicz

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 Dgh. No examples have survived to the present.
Dgh- Kadm

Lit. "Old Dgh." 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 Uk makam. No examples have survived to the present.
Dgh-Mye

A variant of the makam Dgh used in Turkish Classical Music. It is formed by adding the scale of the makam Segh on segh (Si/B one koma flat) onto the scale of the makam Uk transposed to dgh (La/A), and then once more adding the scale of the makam Uk on dgh (La/A). It is ascending in character, and its tonic is dgh (La/A).
Dn Havas

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.

Dm

1. In Turkish Classical Music, the syllable used to imitate the strong beats of an usl. 2. The side or part of drums such as the davul, darbuka, kudm etc. which produces the strong beat.
Dmbelek

The folk term for an instrument similar to the darbuka, mostly made of clay in darbuka form with a skin stretched over the top.
Dvaz-mam

See Duvaz.
Dyek

A 9-beat minor usl used in Turkish Classical Music, formed by joining two Sofyns. 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 perev, beste, ark and ilhi.
Dz

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.
Dzen

A tuning of a string instrument.

Dzenleme

An arrangement.
Dzenlemek (=Dzen vermek):

To tune a stringed instrument.

Dzm

An arrangement of strong and weak beats or section of an usl which combine to form an usl of Turkish music.

E
Ebced Notas

See Notation System.

Eb-Selik

The old name for the makam Bselik in Turkish Classical Music.
Ed

Style.
Edvr

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 usls that have come down through the different schools of musical theory.
Efrhten

A compound makam of Turkish Classical Music.

Egit

See Hegit.
Ein Az

The singing style of Erzincan's Kemaliye-Ein province. The term is used chiefly to refer to the uzun hava style of the area.
Eri

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 Artmak

"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 Elaz and Urfa regions, and an uzun hava sung in this makam. The course of the makam Elezber contains elements of that of the makams Uk, Hseyn and Gerdniye.
Elifb Notas

See Notation Systems

Engin Havas

The term for songs sung mostly within a one-octave range. Tunes that go beyond an octave into the high register are called yksek hava (high airs), which is very important information from the standpoint of folk etymology. Tunes known as engin hava include henna songs, some laments, deyi etc.
Erkn- Msiki

In Turkish Classical Music, the name given in some edvars to the terennm section of vocal works in the high forms such as kr, beste and sem.
Erkek Az

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 az" are koaklama, yiitleme (songs in praise manliness, heroic deeds) and those with obscene lyrics. Despite this, the themes of erkek az songs and the women's counter part, kadn az, often overlap. Still, the singing style is always different.
Erzurum Az

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 aks of Eastern Anatolia and the heavy style of divan sung in this melodic pattern.
Es

A rest.
Esnetmek

Vibrato.
Evc (=Evi)

In Turkish Classical Music, the four-note scale pattern achieved by transposing the segh tetrachord to the note rak, in order to form a whole tetrachord.
Evcr

A makam used in Turkish Classical Music. Some theoreticians consider it a transposed (ed) makam, while others consider it a compound makam. The makam's basic scale is created by transposing the basic scale of Zirgle'li Hicaz to rak (Fa/F 4 komas sharp). Onto this scale, a Segh and Mstear tetrachord or pentachord on evi (Fa/F 4 komas sharp) is added. The makam is descending in character. Its tonic is rak (Fa/F 4 komas sharp), and its dominants are evi (Fa/F 4 komas sharp) and nm hicz (Do/C 4 komas sharp). Its suspended cadences are the flavors Mstear transposed to evi (Fa/F 4 komas sharp), Hicz transposed to nm hicz (Do/C 4 komas sharp), Nikrz transposed to segh (Si/B one koma flat) and sometimes Segh transposed to nm hicz (Do/C 4 komas sharp).
Evc-Arn

See Evc-Hz

Evc-Bselik

A variant of the makam Evc used in Turkish Classical Music, created by adding a Bselik pentachord to the Evc scale. Its tonic is dgh (La/A), and its dominants are evc and rak
Evc-Gerdniye

A variant of the makam Evc used in Turkish Classical Music, created by adding the scale of the makam Gerdniye to the Evc scale.
Evc-Hz

A variant of the makam Evc used in Turkish Classical Music, created by adding the scale of the makam Hz to the Evc scale. Its tonic is dgh (La/A).
Evc-Isfahn

A variant of the makam Evc used in Turkish Classical Music, created by adding the scale of the makam Isfahn to the Evc scale. Its tonic is dgh (La/A).
Evc-i evk

A variant of the makam Evc used in Turkish Classical Music, created by Akn zkan. Its tonic is hseyn arn.
Evc-Krd

A variant of the makam Evc used in Turkish Classical Music, created by the addition of a Krd tetrachord to the Evc scale. It is believed to have been created by Sultan Selim III.
Evc-Muhlif

A variant of the makam Evc used in Turkish Classical Music, and is created by adding the basic scale of any makam in the Hicz family to the Evc scale. Its tonic is dgh (La/A).
Evc-Matlb (Evc-Maklb)

A variant of the makam Evc used in Turkish Classical Music

Evc-Mye

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

Evc-Nihvend

A variant of the makam Evc used in Turkish Classical Music, created by adding the Nihvend makam to the Evc scale. Its tonic is rast (Sol/G). No examples have survived to the present.
Evc-Ry-i Nev

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

Evc-Sab

A variant of the makam Evc used in Turkish Classical Music, created by adding the makam Sab onto the Evc scale.
Evfer

A nine-beat minor usl used in Turkish Classical Music. It is created by combining Sofyn and Trk Aksa with its three-count at the beginning. Its 9/4 form is known as

Mevlev Evfer. It used used in the ark, trk and ilh forms as well as Mevlev ceremonies.
Evfer-Msr

A 19-beat major usl found in Arab countries in which the Turkish Classical Musical system is used.
Evi

See Evc.
Evsat

A 26-beat major usl used in Turkish Classical Music, created by combinging one Trk Aksa, two Sofyn, another Trk Aksa and two more Sofyn. It is used in forms such as ilh, beste, ark and perev.
Ezn

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 ezns.
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 ezg or zg. It is the root of a great many derivative words, such as ezgilendirmek, ezgilemek, ezgi az, ezgi dzeni, etc. The most commonly used is ezgilemek.
Ezgilemek

To set a poem to music, either already extant or newly composed.

Ezgi Yry

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 kasde form in Turkish Classical Music. There are also kasdes that are independent of the kside form and sung in a manner close to that of gazels. See. Gazel.
Fhte

A 20-beat major usl used in Turkish Classical Music, compsed of one meter of Sofyn, two of Yrk Sem and one more Sofyn. It is used in forms such as perev, ilh 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) trbe of Southern Anatolia. They are mostly in eight-syllable hece form, but there are Farsaks set to other rhythmic patterns as well. See Vara.
Fasl

A type of Turkish Classical Music performance in which pieces in a variety of forms are played in increasingly rapid tempos. The classcal order of forms in a fasl concert is taksim, perev, kr, birinci best, ar sem, yrk sem and saz sems. Today however, the order is kr, beste, ar sem and yrk sem. Sometimes however a keke is played instead of the saz semsi, and forms such oyun havas, longa and sirto forms are sometimes added at the end.
Fsla

See Aralk.
Fasl Heyeti

A fasl ensemble. See Fasl.

Fazla (=Ziyde/Koma)

See Koma.

Fer' (=Fer'i/Fer'i Muhammes)

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

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

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

Ferahfez

A compound makam used in Turkish Classical Music. It is created by adding the basic scale of the makam Acemarn and a Bselik scale transposed to yegh (Re/D) to the scale of the makam Acem. It is descending in character. Its tonic is yegh (Re/D), and its dominant is acem (Fa/F). Its suspended cadences are the flavors argh on argh (Do/C - in its place), Krd transposed to dgh (La/A), Uk and Hicz; Bselik and Hicz transposed to nev, which are also suspended cadences of the makam Bayt; Nikrz transposed to argh, the Segh trichord on segh (Si/B one koma flat) and the Ferahnk pentachord.
Ferahi Dzeni

The term used in the Uak region for the Bozuk/Kara Dzen saz tuning.
Ferahnk

A compound makam of Turkish Classical Music, created by adding a Hicaz tetrachord transposed to nm Hicz (Do/C four komas sharp), a Ferahnk pentachord transposed to segh (Si/B one koma flat), a Rast pentachord transposed to dgh (La/A) and a Ferahnk fifth on rak (Fa/F four komas sharp - in its place), to a Rast pentachord transposed to nev (Re/D). In the progression of the makam, the Ferahnk pentachord is also used as Eksik Ferahnk. The makam has a descending character. Its tonic is rak (Fa/F four komas sharp), and its dominants are nev (Re/D) and Evc (Fa/F four komas sharp). Its hanging cadencs are Krdi, Uk and Hicz transposed to dgh (La/A), the flavors argh transposed to acemarn (Fa/F), Bselik and Hicz transposed to nev (Re/D), which are also the suspended cadences of the makam Bayt, Nikrz transposed to argh, the Segh trichord on segh (Si/B one koma flat) and the Ferahnk pentachord.
Ferahnk-Arn

A variant of the makam Ferahnk used in Turkish Classical Music, created by Neyzen Doan Ergin. It is created by adding an Uk tetrachord transposed to hseyn arn (Mi/E) to the Ferahnk scale.
Ferahnk Belisi (Ferahnk Pentchord)

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

Ferahnm

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

A compound makam used in Turkish Classical Music.

Ferah-zyi

A compound makam used in Turkish Classical Music. Some theoreticians consider the scale of this makam to be identical to those of Ferahnm (See Ferahnm) and Ferahzr (See Ferahzr).
Fer'i Muhammes

See Fer'.
Feth-i Badat

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 Hicz

A compound makam used in Turkish Classical Music.

Fevka'l-Mahatt

See Durak st.

Frttm Havas

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

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

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 Perev

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

An instrument once used in Turkish music. Some theoreticians believe that it is the same as the kst invented by Abdlkdir Merg.
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).
Fireng Fer'

A 28-beat major usl of Turkish Classical Music. It is composed of two measures of Sengin Sem and four of Sofyn. Derived from the usl Firenkin, it is used in the beste form.
Firenkin

A 12-beat minor usl of Turkish Classical Music composed of two measures of Sem and three of Nm Sofyn. It is used in forms such as perev 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 Mzii)

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 anlurfa regions.
Gamz-ed

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

Western music. Though it is a European-centered music, the term applies to American musi as well.
Garb Hicz (Hicz- Garb)

In Turkish Classical Music, the name given by certain 20th-century composers to the makam Hmayun, due to the emphasis on the note Si/B.
Garip

A folk music makam taking its name from k 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, Ar Garip, Garibin Urum'a Gidii, etc.
Garip Havas

The name for uzun havas of the Teke region, in the area around Mula/Milas. Also known as Gurbet Havas (songs of exile)
Gayda

1. Colloquially, a term meaning tune, melody or makam. In addition to terms like hafif gayda (light gayda), or ar gayda (heavy gayda), they may also bear personal names like Emine'nin gaydas (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.

Gazl

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 meyn (See Miyan) section.They are also frequently punctuated with exclamantions such "Of," "Aman," "Medet," "Ey," etc.
Gazel-Hn

A performer of gazels.
Geici Geki

See Sreksiz Geki.

Geici Karar

See Asma Karar.

Geki

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 geki, 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 sreksiz geki (temporary geki); if the performer does not return to the original makam but stays on the new makam, it is called a srekli geki (permanent/lasting geki). Geki may be made between both similar makams and widely differing makams.
Gelin Alatma Havas

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 Gtrme Havas

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 Okamas

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.

Gerdniye

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 Hseyn on dgh (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 gerdniye (Sol/G) and nev (Re/D). Its suspended cadences are the flavors Bselik transposed to gerdniye (Sol/G), Uk transposed to muhayyer (La/A), Rst and Bselik transposed to nev (Re/D), argh and Pengh transposed to argh (Do/C), and Rst on rst (Sol/G), and the diminished or full Ferahnk pentachord on segh (Si/B one koma flat), the Segh trichord and the notes hseyn (Mi/E) segh and rst.
Gerdniye-Arn

A variant of the makam Gerdniye in Turkish Classical Music. It is created by adding the Hseyn fourth to the scale of the makam Gerdniye.
Gerdniye-Bselik

A variant of the makam Gerdniye in Turkish Classical Music. It is created by adding the Bselik pentachord to the scale of the makam Gerdniye. Its tonic is dgh (La/A).
Gerdniye-Bzrk

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Hicz

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Hseyn

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Irk

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Isfahn

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Kek

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Krd

A variant of the makam Gerdniye in Turkish Classical Music. It was created in 1780 by Sultan Selim II, by the addition of the Krd tetrachord to the Gerdniye scale. Its tonic is dgh (La/A).

Gerdniye-Nev

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Nigr

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Nikriz

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Rast

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Rehv

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Uk

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Gerdniye-Zengle

A variant of the makam Gerdniye in Turkish Classical Music. No examples have survived to the present.
Get- Gzr- Bahr

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 Adyaman, anlurfa and Mardin.
Gevet (Gevt)

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 segh (Si/B one koma flat) and its dominant is mahr (Sol/G four komas flat).
Gevet-Bselik

A variant of the makam Gevet once used in Turkish Classical Music. No examples have survived to the present.
Gevet-Bzrk

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

Gevet-Gerdniye

A variant of the makam Gevet once used in Turkish Classical Music. No examples have survived to the present.
Gevet-Hicz

A variant of the makam Gevet once used in Turkish Classical Music. No examples have survived to the present.
Gevet-Hseyn

A variant of the makam Gevet once used in Turkish Classical Music. No examples have survived to the present.
Gevet-Isfahn

A variant of the makam Gevet once used in Turkish Classical Music. No examples have survived to the present.
Gevet-Kek

A variant of the makam Gevet once used in Turkish Classical Music. No examples have survived to the present.
Gevet-Nev

A variant of the makam Gevet once used in Turkish Classical Music. No examples have survived to the present.
Gevet-Rehv

A variant of the makam Gevet once used in Turkish Classical Music. No examples have survived to the present.
Gevet-Uk

A variant of the makam Gevet once used in Turkish Classical Music. No examples have survived to the present.
Gevher

1. A special name used in the Ankara region for the Central Anatolian tune "iekda." 2. An k makam in common use in Eastern and Northeastern Anatolia. 3. A folk makam in which k Gevheri sang his deyi. Also known as Gevheri Makam or Gevheri Aya.
Gezek

A type of folk celebration with music and dance held in around Bursa, Uak, 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.

Gcek (=Gicek, Gijek, Gycak

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.
Gd-y Rh

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.
Grnata

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 sm Bey.
Gonca-i R'n

A makam used in Turkish Classical Music, created by adding a Hseyn pentachord transposed to yegh (Re/D) to the makam Heftgh on segh (in its place). Its tonic is yegh (Re/D).
Govend

The general name for slow tempo dance tunes played in the Eastern and Southestern Anatolian regions.
Grme (=Grm/Gerim)

1. To arrange a piece written for any instrument or voice for performance by another instrument or ensemble. 2. Another name for the ed (transposition) in Turkish Classical Music, achieved by transposing all of the "flavors" or scales of a simple or compound makam to another note.
Gs

Lit. "breast," the soundboard of stringed instruments, and the frame/hoop of percussion instruments.
Gs Delii (=Glgn)

Lit. "Breast hole," the sound hole in the soundboard of a stringed instrument.
Gn

The skin of percussion instruments.

Guba Kerem

One of the k makams of Eastern Anatolia. In addition to being the most common of the kerem havas, its other important characteristic is that it is sung in the yedekli koma meter

Gumuz

A local colloquial form of the word kopuz. See Kopuz.

Gurbet Havas

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 (balama, kaval or kabak kemane) may begin with a freerhythm 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.
Gurr

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

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.
Gfte

Lyrics.
Glbnk

1. A religious form of Turkish Classical Music. 2. Among the Bektashis, a prayer sung with a melody.
Gl-Bse

A compound makam of, created by Cinuen Tanrkorur.

Gldeste

A compound makam used in Turkish Classical Music, created by adding the basic scales of Rhnvz and Mahr to the Zrgle'li Hicz transposed to Bselik (Si/B). It is descending in character. Its tonic is rst (Sol/G), and its dominant is hseyn (Mi/E).
Glistn

A compound makam once used in. No examples have survived to the present.
Glizr

A compound makam once used in Turkish Classical Music.

Glnr

A compound makam once used in Turkish Classical Music.

Gl-Rh

A compound makam used in Turkish Classical Music, created by Abdlbki Nsr Dede by adding the basic scale of the makam Rst to the scale of the makam Isfahn.

Glen-i Vef

A compounded makam used in Turkish Classical Music, created by Vefa Efendi by adding the scale of the makam Yegh to the basic scale of the makam Hicz. Its tonic is yegh (Re/D).
Glzr

A compound makam used in Turkish Classical Music, created by adding an Uk tetrachord transposed to hseyn arn (Mi/E) to the basic scale of the makam Rst. Its tonic is hseyn arn (Mi/E).
Gre Havas

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.
Gvende

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 deyi. Alson called zakir.
Gzelleme

A musical and literary term for poems read to praise any person, animal or natural object, and the melodies that accompany them. A gzelleme may be sung for a sweetheart, but gzellemes have also been written for horses, birds, mountains, meadows and rivers.

H
Hbt

Descending, as a characteristic of a melody.

Hadr

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

A 32-beat major usl used in Turkish Classical Music, consisting of eight measures of Sofyn in different arrangements. It is used in forms such as perev, kr, best, ilh and tevh.
Haff'l-Hezec

A light version of the major usl Hezec (See Hezec) used in Turkish Classical Music. No examples have survived to the present
Hkim

See Gl.
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.
Halle

See Zil.
Halle-Zen

See Zil-Zen.
Halk Oyunu

See Folk Dance.

Halk Mzii

See Folk Music.

Halk Trks

The urban turm for local folk songs.

Hamdiyye

A type of ilh in Turkish Classical Music, comprised of those which contain lyrics thanking God.

Hne

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 nak form, almost all forms contain four hnes. The first hne is known as the zemin-hne (ground hane) or ser-hne (head hne); the second as the nakarat or mlazime; the third as the meyan-hne and the fourth as the son-hne (last hne), nakarat or mlazime.
Hnende

A vocalist in Turkish Classical Music.

Harput Az

The term for the uzun hava singing style common in the Harput/Elaz region.
Harrn

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

A fourteen-beet minor usl once used in Turkish Classical Music, composed of two measures of Trk Aksa and one of Sofyn. 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 trk or mani that have been set to music.
Hava ekmek

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.
Hav (=Hev/Merdem-Zd)

In Turkish folk music, an older term for the taksim.

Hver

A makam once used in Turkish Classical Music.

Hv

A 64-beat major usl used in Turkish Classical Music, composed of two measures of Sofyn, two of Yrk Sem, seven of Sofyn and one Nm Haff. It is used in the beste and perev forms.
Hayl-i Murd

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

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 trk, mani and uzun hava. Aytmak.
Hazn

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.
Heftgh

A makam used in Turkish Classical Music, defined by some theoreticians as a transposed (ed) makam. It is created by transposing the scale of the makam Segh to nm hicz (Do/C four komas sharp). Its tonic is nm hicz (Do/C four komas sharp) and its dominant is hseyn arn (Mi/E).
Hegit

A bowed string instrument once used mostly by the southern Turkmen but no longer in use today. Syn. egit, eit.
Helhele

Ululation, a sound consisting of li li li li or l l l l, made by women in Southern Anatolia to express excitement, joy or grief. Also known as zlgt.
Hezec

A 22-beat major usl used in Turkish Classical Music, used in the perev, beste and kr forms. It has variants such as Hezec-i Arab and Hezec-i Trk, as well as degrees such as Hezec-i Haff and Hezec-i Sakyl.
Hicz

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 Rst pentachord transposed to nev (Re/D) to the Hicz tetrachord on dgh (La/A - in its place). It usually exhibits a descending-ascending character, and sometimes a purely ascending one. Its tonic is dgh (La/A), and its dominant is nev (Re/D). Its suspended cadences are nm hicz (Do/C four komas sharp) with the Nikrz flavor, and dik krd (Si/B four komas flat), which are also the suspended cadences of the makam Humayn; as well as the semitonics of the other makams in the Hicz family (See Hicz Family) These nclude Bselik transposed to nev (Re/D), Uk transposed to hseyn arn (Mi/E) and flavors of Hicz.
Hicz-Acem

A makam once used in Turkish Classical Music.

Hicz-Arn

See Rhatfez.

Hicz-Bselik

A variant of the makam Hicz used in Turkish Classical Music, created by Dede Efendi by adding a Bselik pentachord or the basic scale of the makam Bselik to the basic Hicz scale. Its tonic is dgh (La/A) and its dominant is nev (Re/D).
Hicz-Bzrk

A makam once used in Turkish Classical Music.

Hicz-Dilke

A makam once used in Turkish Classical Music.

Hicz Family

A category of simple makams in Turkish Classical Music. The makams Hmyn, Hicz, Uzzal and Zirgleli Hicaz, which resolve on dgh (La/A) with the Hicz 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 Hicz famil makams.
Hicz-Gerdniye

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

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

The name given to the makam Hisr by Al-h.

Hicz-Mye

A variant of the makam Hicz once used in Turkish Classical Music. No examples have survived to the present.
Hicz-Nevrz

A variant of the makam Hicz once used in Turkish Classical Music. No examples have survived to the present.
Hicz-Selmek

A variant of the makam Hicz once used in Turkish Classical Music. No examples have survived to the present.
Hicz-ehnz

A variant of the makam Hicz once used in Turkish Classical Music. No examples have survived to the present.
Hicz-Zemzeme

A varant of the makam Hicz used in Turkish Classical Music, created by adding the Krd tetrachord to the basic Hicz scale. Its tonic is dgh (La/A), and its dominant is nev (Re/D).

Hicz-Zengle

See Zengle.
Hicz-Zirgle

See Zengle.
Hicaz Pentachord

A five-note scale pattern created by adding a whole tone to one Hicz tetrachord (See Hicz tetrachord) on dgh (La/A - in its place).
Hicz- Garb

See Garb Hicz.

Hicz- Hicz

A variant of the makam Hicz once used in Turkish Classical Music. No examples have survived to the present.
Hicz- Hmyun

See Hmyun.
Hicz- Muhlif

See Rhatfez.
Hicz- Muhlifek

A variant of the makam Hicz used in Turkish Classical Music

Hicz- Irk (=Hicz Irk)

A variant of the makam Hicz used in Turkish Classical Music, created by adding an rk tetrachord (which is the segh tetrachord transposed to rak - Fa/F four komas sharp) to the basis scale of the makam Hicz. Its tonic is rk, and its dominants are dgh (La/A) and nev (Re/D).
Hicz- Rekb

A variant of the makam Hicz once used in Turkish Classical Music. No examples have survived to the present.
Hicz- Rm

A variant of the makam Hicz used in Turkish Classical Music, created by adding the basic scale of the makam Hisr to the basic Hicz scale.
Hicz- Trk (=Trk Hicz)

A variant of the makam Hicz used in Turkish Classical Music, created by adding the basic scale of the makam Nikrz to the basic Hicz scale. Its tonic is rast (Sol/G).
Hiczeyn

A variant of the makam Hicz used in Turkish Classical Music, created by Sultan Selim III by adding a Hicz scale transposed to hseyn arn (Mi/E) to the basic scald of the makam Hicz. The reason for the name Hiczeyn, meaning "Two Hicz" is the use of two Hicz scales in the makam. Its tonic is hseyn arn (Mi/E), and its dominants are dgh (La/A) and nev (Re/D).

Hicz

One of the old names for the makam Hicz.

Hicz Irk

See Hicz- Irk.

Hicz Isfahn

A variant of the makam Hicz once used in Turkish Classical Music. No examples have survived to the present.
Hicz Uk

A variant of the makam Hicz used in Turkish Classical Music, created by adding the basic scale of the makam Uk or Hseyn to the basic Hicz or Hmayn scale. Appearing in one nefes, this makam was named by Rauf Yekt Bey. Its tonic is dgh (La/A), and its dominants are nev (Re/D) and hseyn (Mi/E).
Hiczkr

A makam used in Turkish Classical Music. According to some theoreticians, it is a transposed (ed) makam. Howwever, it has also been used as compound makam with an altered scale. When the main scale is not changed, only transposed to rst (Sol/G), it is created by transposing the basic scale of the makam Zirgle'li Hicz to rst (Sol/G). It is descending in character. Its tonic is rst (Sol/G), and its dominants are gerdniye (Sol/G) and nev (Re/D). When the main scale does not change, its suspended cadences are the flavors Hicz transposed to nev (Re/D), Nikrz transposed to argh (Do/C) and Hzzm transposed to segh (Si/B one koma flat). When the scale does change, they are the flavors Krd transposed to nev (Re/D) and Bselik transposed to argh (Do/C).
Hiczkr-Bselik

A variant of the makam Hiczkr used in, created by Santr Ethem Efendi by adding the Bselik pentachord or basic scale to the basic Hiczkr scale. Its tonic is dgh (La/A) and its dominant is nev (Re/D).
Hiczkr- Kadm

A variant of the makam Hiczkr once used in Turkish Classical Music.

Hiczkr-Krd

The old name of the makam Krd'li Hiczkr.

Hicrn

The name of an k makam of Northern Anatolia. In other parts of Anatolia, this word is used as a title or adjective: Hicrani Kerem, Hicrani at, Hcrani makam.
Hisr

The note Re/D five komas sharp or Mi/E four komas flat in the high octave.
Hisr-Arn

A variant of the makam Hisr used in Turkish Classical Music, created by Rkim Elkutlu by adding an Uk tetrachord transposed to hseyn arn (Mi/E) to the basic scale of

the makam Sz-i Dil. Its tonic is hseyn-arn (Mi/E), and its dominant is bselik (Si/B).
Hisr-Bselik

A variant of the makam Hisr 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 Bselik pentachord or basic scale to one of the scales that creates the makam Hisr; the other is created by adding the basic pentachord or basic scale of the makam Bselik directly to the Sz-i Dil makam instead of the Hseyn pentachord or basic scale. It is descending-ascending in character. Its tonic is dgh (La/A), and its dominant is hseyn (Mi/E).
Hisrek

A variant of the makam Hisr once used in Turkish Classical Music. No examples have survived to the present.
Hisr-Evc

A variant of the makam Hisr once used in Turkish Classical Music. No examples have survived to the present.
Hisr- Bzrk

A variant of the makam Hisr once used in Turkish Classical Music. No examples have survived to the present.
Hisr- Gayr- Mster

A variant of the makam Hisr once used in Turkish Classical Music. No examples have survived to the present.
Hisr- Nk

A variant of the makam Hisr once used in Turkish Classical Music. No examples have survived to the present.
Hisr- Vecch-i ehnz

A variant of the makam Hisr used in Turkish Classical Music, created by combining the scales of the makams ehnz and Hisr. Its tonic is dgh (La/A).
Hisr-Krd

A variant of the makam Hisr once used in Turkish Classical Music, created by Abdkbki Nsr dede by adding a Krd tetrachord to the scale of the makam Hisr. Its tonic is dgh (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.
Horsn

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 Hseyn, Dgh, Uzzl and Zengle to the basic scale of the makam Uk. Its tonic is dgh (La/A).
Horsn-i Bayt

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 szlatmak.
Horon

Any of several line dances of the Central and Eastern Black Sea, and the music that accompanies these dances.
Ho-ver

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

A 17-beat major usl used in Turkish Classical Music. No examples have survived to the present.
Ho-Ser(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.
Hcet

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

A compound makam once used in Turkish Classical Music.

Hfte-Isfahan

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

Hz

A compound makam used in Turkish Classical Music, created by adding a argh pentachord to the basic scale of the makam Uk. Its tonic is dgh (La/A) and its dominant is argh (Do/C) or nev (Re/D).
Hz-Arn

A variant of the makam Hz used in Turkish Classical Music, formed by adding a Hseyn pentachord on hseyn arn (Mi/E) to the basic scale of the makam Hz. Its tonic is hseyn arn (Mi/E) and its dominants are dgh (La/A), argh (Do/C) and nev (Re/D).
Hz-Bselik

A variant of the makam Hz used in Turkish Classical Music, formed by adding a Bselik basic scale or pentachord to the Hz scale. Its tonic is dgh (La/A).
Hz Nigr

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

Hdayda

One of the most common folk melodies in the Ankara region.

Hdayda Dzeni (Tuning)

The saz tuning adapted to the tune Hdayda of the Ankara region. The lower string is La/A, and the middle and upper strings are Re/D.
Hmyn (=Hicz Hmyn)

A simple makam used in Turkish Classical Music, formed by adding a Bselik pentachord transpoased to nev (Re/D) to the Hicz tetrachord on dgh (La/A - in its place). It is mostly ascending-descending, and sometimes purely ascending in character. It's tonic is dgh (La/A), and its dominant is nev (Re/D). Its suspended cadences are the Nikrz flavor on rst (Sol/G - in its place) which, the notes nm hicz (Do/C four komas sharp) and dik krd (Si/B four komas flat), which are also the suspended cadences of the makam Hicz, as well as the flavors Rst transposed to nev (Re/D), Uk transposed to hseyn (Mi/E) and Hicz, which flavors on the other domints comprising the Hicz family.
Hseyn

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 Uk tetrachord transposed to hseyn (Mi/E) to the Hseyn pentachord on dgh (La/A - in its usual place). It is descending-ascending in character. Its tonic is dgh (La/A), and its dominant is hseyn (Mi/E). Its suspended candences are argh (Do/C), segh (Si/B one koma flat) and nev (Re/D), as well as the flavors argh on argh (in its place), Pengh transposed to argh, Segh on segh (in its place) Eksik Segh, Ferahnk and Eksik Ferahnk transposed to segh, and Rast and Bselik transposed to nev, as well as the Segh trichord. 3. A makam commonly used in Alevi-Bektashi communities, as well as melodic patterns performed in this makam.

Hseyn-Acem

A variant of the makam Hseyn once used in Turkish Classical Music. No examples have survived to the present.
Hseyn-Arabn

A variant of the makam Hseyn used in Turkish Classical Music, formed by adding the basic scale of the makam Arabn to the Hseyn scale.
Hseyn-Arn

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 Uk tetrachord transposed to hseyn aran (Mi/E) to the basic scale of the makam Hseyn on dgh (in its place). It is descending in character. Its tonic is hseyn arn (Mi/E), and its dominants are hseyn (Mi/E) and dgh (La/A). Its suspended cadences are the flavors argh on argh (Do/C), Rst and Bselik on nev (Re/D), Segh and Ferahnk on segh (Si/B one koma flat), Rst on rst (Sol/G), Segh on rk (Fa/F four komas sharp) and Rst on yegh (Re/D) as well as the Segh trichord on segh.
Hseyn-Arn- Cedd (=Arn- Cedd)

In Turkish Classical Music, the name given in musical journals by Sadullah Aa to the Hseyn Arn fasl, composed of Zincir and Hafif bestes, and the Sengin andYrk Sems of Sultan Selim III
Hseyn-Bselik

A variant of the makam Hseyn used in Turkish Classical Music, created by Kzm Uz by adding a Bselik pentachord or basic scale to the basic scale of the makam Hseyn. Its tonic is dgh (La/A) and its dominant is hseyn (Mi/E).
Hseyn-Gerdniye

A variant of the makam Hseyni once used in Turkish Classical Music. No example have survived to the present.
Hseyn-Gevet

A variant of the makam Hseyni once used in Turkish Classical Music. No example have survived to the present.
Hseyn-Krd

See Hseyn-Zemzeme.
Hseyn-Nevrz

A variant of the makam Hseyni once used in Turkish Classical Music. No examples have survived to the present.
Hseyn-Nikrz

A variant of the makam Hseyni once used in Turkish Classical Music.

Hseyn-Rehvi

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

Hseyn-Sab

A variant of the makam Hseyni used in Turkish Classical Music created by adding the basic scale of the makam Sab to the basic Hseyn scale. Its tonic is argh (Do/C) and its dominants are dgh (La/A) and hseyn (Mi/E).
Hseyn-ehnz

A variant of the makam Hseyni once used in Turkish Classical Music. No example have survived to the present.
Hseyn-Zemzeme (=Hseyn-Krd)

A variant of the makam Hseyni used in Turkish Classical Music, formed by adding a Krd tetrachord to the basic Hseyn scale. Its tonic is dgh (La/A) and its dominats are hseyn (Mi/E) and nev (Re/D).
Hseyni Belisi (Pentachord)

A five-note scale pattern used in Turkish Classical Music,formed by adding a whole step to the Uk tetrachord on dgh (La/A - in its place).
Hsn- n

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

A compound makam used in Turkish Classical Music. It is creater adding a Hicz tetrachord transposed to evc (Fa/F four komas sharp) to the Hzzam pentachord on segh (Si/B one koma flat - in its place). Its tonic is segh (Si/B one koma flat) and its dominant is nev (Re/D).
Hzzam- Cedid

A variant on the makam Hzzam used in Turkish Classical Music, formed by adding a Segh tetrachord on rk (Fa/F four komas sharp) to the basic scale of the makam Hzzam. Its tonic is rk, and its dominants are nev (Re/D) and segh (Si/B one koma flat).
Hzzam- Kadm

"Old Hzzam." A variant of the makam Hzzam once used in Turkish Classical Music. No examples have survived to the present.
Hzzam- Rm (=Anadolu Hzzam)

"Old Hzzam." A variant of the makam Hzzam once used in Turkish Classical Music. No examples have survived to the present.
Hzzam Belisi (Pentachord)

A five-note scale pattern used in Turkish Classical Music formed by adding a whole tone to the Hzzam tetrachord (See Hzzam Tetrachord) on segh.
Hzzam Drtls (Tetrachord)

A four-note scale pattern in formed from the note segh (Si/B one koma flat - in its place) so as to form a diminished fourth.

I
Ikl

1. A long-necked instrument with three strings and a horsehair bow, considered to be an ancestor of the kemene and similar bowed instruments. 2. A general term for bowed instruments. Also Iklk.
Ir

A sung melody, makam, air, folk song. Also Yr. Always used in reference to songs with lyrics.
Irk

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 Uk tetrachord in its place to the Segh tetrachord on rk (Fa/F four komas sharp). It is ascending in character. Its tonic is rk (Fa/F four komas sharp) and its dominant is dgh (La/A). Its suspended cadences are the Segh pentachord on rk (Fa/F four komas sharp) and the Hicz flavor on kaba nm hicz (Re/D four komas sharp).
Irk-Arn

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

Irk-Gerdniye

A variant of the makam Irk once used in Turkish Classical Music. No examples have survived to the present.
Irk-Gevet

A variant of the makam Irk once used in Turkish Classical Music. No examples have survived to the present.
Irk-Mye

A variant of the makam Irk once used in Turkish Classical Music. No examples have survived to the present.
Irk-Nevrz

A makam created by Sultan Murat II.

Irk-Selmek

A variant of the makam Irk once used in Turkish Classical Music. No examples have survived to the present.
Irk-ehnaz

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

Irk- Acem

A variant of the makam Irk once used in Turkish Classical Music. No examples have survived to the present.
Irk Drtls (Tetrachord)

A four-note scale pattern used in formed by transposing the segh tetrachord to the note rk so as to form a perfect fourth.
Irzva

A small instrument in the balama 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.
Isfahn

A compound makam used in Turkish Classical Music, formed by adding the Rst tetrachord transposed to dgh (La/A) to the basic scale of themakam Isfahn. Its tonic is dgh (La/A) and its dominant is nev (Re/D). It is descending-ascending in character.
Isfahn-Bselik

A variant of the makam Isfahn used in Turkish Classical Music, formed by adding a Bselik pentachord to the scale of the makam Isfahn. No examples have survived to the present day
Isfahn-Gerdniye

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present.
Isfahn-Gevet

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present.
Isfahn-Irak

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present
Isfahn-Mye

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present.
Isfahn-Nevrz

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present.

Isfahn-Ry-i Nev

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present.
Isfahn-Selmek

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present.
Isfahn-ehnz

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present.
Isfahn-Zemzeme

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present.
Isfahn- Cedd

See Isfahnek-i Cedd.

Isfahn- Sultn

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present.
Isfahnek

A compound makam used in Turkish Classical Music, formed by adding a Sab tetrachord in its place to the Isfahn scale. It is ascending-descending in character. Its dominant is dgh (La/A), and its dominant is nev (Re/D). Its suspended cadences and extension are identical with that of the simple Isfahnmakam. See Isfahn.
Isfahnek-i Atyk

A variant of the makam Isfahn onced used in Turkish Classical Music.

Isfahnek-i Cedd

A variant of the makam Isfahn onced used in Turkish Classical Music, which was created by Sultan Selim III.
Isfahn

A compound makam of Turkish Classical Music.

Isthb

See Dzen.
brhm

1. A makam used in Turkish Classical Music. 2. An k makam used in Northern Anatolia. 3. A free-rythm melodic pattern used in anlurfa and Diyarbakr.
cr 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.

hvnu's-Saf

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 Resil, this work's fifth volume was devoted to music.
kaa

The usl patterns of Turkish Classical Music.

kaa Terennm

See Terennm-i kaa'i

Isfahn-Irak

A variant of the makam Isfahn onced used in Turkish Classical Music. No examples have to the present.
kinci Beste

In the classical fasl progression, the second of two bestes and two sems composed by the same composer in the beste form. It is quicker and livelier than the first beste.
ki Telli (kitelli)

A folk instrument in the balama 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 iftteli. It has fallen from favor in modern-day Anatolia.
kiz Aksak

A 12-beat minor usl used in Turkish Classical Music, composed of one cycle of Devr-i Hind and one of Trk Aksa
lh

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 ilhs sung among the people, such as the Beik lhsi (Cradle lh) as well as those for the bride and the applying of henna. Such ilhs serve the main purpose of blessing the person in question and entreating God for his blessings.
lhci

A singer of ilhs
mle

The extension of a short syllable in a poetic meter.

ncesaz

The Turkish Classical Musical ensemble including both vocalists and instrumentalists.
nici

Descending, used both to describe descent of a scale, as well as the seyir (course, progression) of the makams of Turkish Classical Music.

ntikaal

See Geki.
rh

The Arabic term for "koma."

rticl

Spontaneous music or poetry.

skender

A type of hoyrat common among the Turkmen of Iraq. This type of melody has recently become quite common in Turkey as well.
leme (=Ssleme)

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 argh

In Turkish Classical Music, middle Do/C.

Kaba Dik Hicz

In Turkish Classical Music, the note Do/C 8 komas sharp or Re/D one koma flat in the middle octave.
Kaba Dik Hisr

In Turkish Classical Music, the note Re/D 8 komas sharp or Mi/E one koma flat.
Kaba Ddk

A type of flute made of boxwood.

Kaba Hicz

In Turkish Classical Music, the note Do/C five komas flat or Re/D four komas sharp in the middle octave
Kaba Hisr

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 Kemene

An alto kemene, said once to have been used during keke performances.
Kaba Nm Hicz

In Turkish Classical Music, Do/C five komas sharp or Re/D four komas flat in the middle octave.
Kaba Nm Hisr

In Turkish Classical Music, the note Re/D four komas sharp or five komas flat in the middle octave.
Kaba Sz

In Turkish Classical Music, the ensemble that plays dance music and keke 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 balamas, wind and percussion instruments. See Ikl.
Kbil

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

The general name used n Anatola for a singing style unique to women. The subjects of "kadn az" 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.

Kalender

1. A melodic pattern dedicated to the Kalender 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'l mef'l mef'l fe'ln;" 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.
Kalp

Form, pattern, mold.

Kalp Ezgi

In folk music, a set melodic pattern which is part of local performance and determined by traditional rules.
Kal

See Karar
Kalyonca

An old Turkish palace dance.

Kam

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.
Kann

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.
Kann

A player of the kann.

Knn-i Murassa'i Mdevver

An old type of kann.

Kapak

The face/soundboard of a stringed instrument.

Kapal-Az (Kapal Azla)

Lit. "(With) Closed mouth." To hum a piece.

Kr

The highest form of Turkish secular music, generally composed in the major usls and with Persian lyrics. In fasl performance, it comes between the perev and the best. Its lyrics are in the murabb (quatrain) form but usually with more lines, and with much terennm (vocal ornamented passages). They are distinguished from the bestes by the fact that they begin with terennm, feature geki (See Geki) 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 krs.
Karab

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 perevs and saz semsis.
Karai

The term for musical ensembles used in Southern Anatolia, particularly in the area of anlurfa, Mardin, Adyaman, Diyarbakr and Siirt.

Karadzen

1. A common tuning used with nearly all the members of the balama 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 balama 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.
Karargh

See Durak, Karar.

Karar Sesi (Karar Perdesi)

The tone on which a melody resolves.

Karcar

A simple makam of Turkish Classical Music, formed by adding a Hicz pentachord transposed to nev to an Uk tetrachord in place. It is descending-ascending in character. Its tonic is dgh (La/A) and its dominant is Re/D). Its suspended cadences are the flavors Nikrz on argh and Sz'nk on rst, the Hzzam pentachord on segh, and the notes evi and hisr.
Kre

A smaller, shorter version of the kr form. See Kr.

Kr- Ntk (=Kr- Fihrist)

A type of kr. It departs from the true kr form in that every line of its lyrics is in a different makam and usl. They are generally referred to by the makam in which they begin, and they conclude with that same makam.
Karma Fasl

A fasl program featuring a repertoire chosen from several different makams.

Karlama

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.
Kse

Lit. "Bowl." An old percussion instrument. See Tas.

Kasde

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.

Kasde-Han

A performer of kasde.
Kak

Lit. spoon. In the context of music, the folk percussion instrument consisting of shortand long-handled wooden spoons. They are played mostly in Central and Western Anatolia
Katakofti

In Turkish Classical Music, an eight-beat minor usl, consisting of one cycle each of sem and Trk Aksa, better known as Msemmen. See Msemmen.
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.
Kavutak

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 balant, nakarat and dnderme are used regionally.
Kavvl

In Turkish Classical Music, a term once used instead of hnende. In some eastern societies the term (qawwal) is used to denote singers of ilh.
Kayaba

A folk makam used in the Elaz region for uzun havas, and by Northern Anatolian ks for rhythmic songs. Although the term frequently appears in historical texts, we have very little qualitative information about it.
Kayda

See Gayda, Kaide.

Kaynana Zrlts

Ratchet (Percussion instrument). Sometimes used in street festivities.

Kayta

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.
Kazanclar Dyei

A variant of the usl dyek created in the 1880s by smail Hakk Bey.

Kebter

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

Violin.
Kemana

An example of the stringed instruments from Azerbaijan. It is also called Kamana.

Kemne

Fiddle. The general Turkish name for bowed upright string instruments. Ex. kabak kemne (gourd fiddle), trnak kemne (the pear-shaped fiddles played by stopping the strings with the fingernails), Kbrs kemnesi (Cyprus fiddle), etc.
Kemene

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 yegh, rst and nev.
Kemeneci (=Kemenev)

A player of the kemene.

Kemn

A violinist.
Kerem

The name of tunes set to the poetry of k Kerem, with differing rangers and makam characteristics from region to region, indicated by names such as Kesik Kerem, Yank Kerem, Guba Kerem, etc. Today there are many songs referred to by ths name but with lyrics that do not belong to k Kerem.
Kesik

Lit. "cut," a type of uzun hava sung in the Elaz area.

Kesik Kerem

A type of Kerem havas. See Kerem.

Kesinti

The term for the instrumental break in Zeybek songs. Instrumental break.
Kbrs Kemanesi

The name used in the el region for the kabak kemane (gourd fiddle) and sometimes the trnak kemane (pear-shaped lyre).
Kl Kopuz

A type of kopuz, commonly used by the Kazakhs.

Kna Havas

The term for folk songs sung in nearly ever region of Anatolia for the bride and groom on the henna night.
Krk Dzen

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.
Krk 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.
Krk kadans (=Krk kal)

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.
Krklar Semah

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
Krnata

A folk term for the clarinet. Also grnata and among Gypsies, granet.
Kt'a

A section of a poem composed of quatrains, consisting of at least two quatrains.

Kz Havas

Lit. "girl tunes," dance-type folk songs performed at womens' festivities in the Thrace and Teke regions.
Kz Neyi

1. A type of ney with a tuning based on the note gerdniye one octave above La/A. 2. The basic tuning based on gerdniye.
Kiri

Old-style gut strings. Although they were once in common use, especially on bowed string instruments, they are not generally used today.
Kitab'l-Edvr

The music book written in Arabic by Safiyddin Urmev.

Klsik 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.
Koaklama

A term for folk songs with lyrics dealing with such subjects as bravery, nobility and heroism.

Kokarca

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 Bast (=Kolbast)

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 Semsi

A special type of saz semsi composed in order to be played on a solo instrument in concert rather than at the end of a fasl performance as is the usual case. The term was coined by Hseyin 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.
Koa Naara

The Azerbaijani term for the double naara.

Koma

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 Yelpk Koma, Acem Koma, Sral Koma etc
Komak

To create a melody, a folk term for a type of composition. See Yakmak.

Kouk

The name for various forms of quatrains in folk poetry. Koma, Mani.
Kek

Male dancers who dance accompanied by local music, usually dressed as women.
Kek Takm

A group of several kek dancers. Kek ensembles played a leading role in all festivities in Anatolia; such groups still perform in Central and Northern Anatolia.
Keke

A type of melody, usually Anatolian and Rumeli folk songs played as a dance melody. Dede Efendi and uhacyan both arranged these sorts of works.
Keke Takm

A collection of kekes in the same makam played end-on-end. Their refrains are sometimes joined with dance tunes.
Krolu

A famous folk hero and minstrel; the general name for this minstrel's songs.
Ks (Ks)

A percussion instrument of mehter music played with two beaters.

Kvr

Another instrument for the r, an instrument in the balama family.

Kubuz

The name used for the el armonikas by the immigrants from the Caucasus living in the Tokat, Eskiehir, Adana and Mardin.
Kek

A compound makam used in Turkish Classical Music, formed by adding a Hseyn pentachord transposed to hseyn-arn to the scale of the makam Sab. Its tonic is dgh (La/A), and its dominants are argh (Do/C) and arn (Mi/E). It is ascending in character. Its suspended cadences are the flavors Hicz on gerdniye (Sol/G), Nikrz on acem-arn (Fa/F), Hzzam on dik hisr (Re/D eight komas sharp) and Segh; as well as suspended cadences on hseyn (Mi/E).
Kek-Gevet

A variant of the makam Kek once used in Turkish Classical Music. No example have survived to the present.
Kek-Mye

A variant of the makam Kek once used in Turkish Classical Music. No example have survived to the present.
Kek-Nev

A variant of the makam Kek once used in Turkish Classical Music. No example have survived to the present.

Kek-Nevrz

A variant of the makam Kek once used in Turkish Classical Music. No example have survived to the present.
Kek-Selmek

A variant of the makam Kek once used in Turkish Classical Music. No example have survived to the present.
Kek-Snble

A variant of the makam Kek once used in Turkish Classical Music. No example have survived to the present.
Kek-ehnz

A variant of the makam Kek once used in Turkish Classical Music. No example have survived to the present.
Kek-Zemzeme

A variant of the makam Kek once used in Turkish Classical Music. No example have survived to the present.
Kudm

A percussion instrument consisting of two drums, used in Turkish Classical Music to beat the usl. It is used chiefly in mystic music, mehter music and rarely in ssecular music as well.
Kudmzen

A player of kudm.
Kudmzenba

The master kudmzen who directs ayin ceremony.

Kulak

Tuning pegs of string instruments. See Burgu.

Kutb

A special term for composers of whom only a single work has survived to the present day.
Kk Mcenneb

The term for an interval of five komas.

Kk Mcenneb Bemol

The sign for five komas flat.

Kk Mcenneb Diyezi

The sign for five komas sharp.

Kk Usl

A minor usl of Turkish Classical Music, having less than fifteen beats.

K (=Ky)

Music, composition. The term was recommended on the grounds that the word k 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.
Klliyt

A type of perev that includes a large number of makams.

Kll'd-Durb va'n-Negam

The collective name for all of the rhythms and melodies of Turkish music.
Kll'n-Negm

The old name for the Kr- Ntk.

Kme Fasl

Lit. a "league/group" fasl. 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.
Kp

A type of percussion instrument used in Turkish Classical Music.

Krd

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 Bselik pentachord transposed to nev (Re/D) to the Krd tetrachord in its place. It is ascending, and sometimes ascending-descending in character. Its toni is dgh (La/A), and its dominant is nev (Re/D). Its suspended cadences are argh on argh (Do/C) and Bselik on rst with flavor and on krd (Si/B four komas flat) with no flavor.
Krd-Arn

A variant on the makam Krd onced used in Turkish Classical Music. No examples have survived to the present.
Krd Pentachord

In Turkish Classical Music, a five-note scale pattern formed by adding a whole note to the Krd tetrachord on dgh (La/A - in its place) to form a perfect fifth.
Krdli Hiczkr

A makam used in Turkish Classical Music. Some theoreticians define it as a transposed (ed) makam. It is formed by transposing the scale of the makam Krd to rst (Sol/G). Its tonic is rst (Sol/G), and its dominants are gerdniye (Sol/G) and argh (Do/C). Its suspended cadences are the flavors Bselik on argh (Do/C), Krd on nev, Bselik on acem-arn and argh on krd.
Kreny

A brass instrument once used in Turkish Classical Music, made of bronze or silver.

Kd

A term for an opening or introductory musical break.

Ktahya Dzeni

A tuning used on instruments in the balama 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 (Hdayda) tuning.

L
Ldin Mzik

Secular music.
Ledr

An anonymous piece.
Lhin

A melody.
Lle-Gl

A compound makam used in Turkish Classical Music, created by Hseyin Saadettin Arel by adding the edd-i Arabn makam to the makam Hzzm. Its dominant is segh (Si/B one koma flat).
Lle-Ruh

A compound makam of Turkish Classical Music, formed by adding the makam Arn to the makam Pengh.
Laterna

A type of large cranked music box used by street musicians

Lvin

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 Demez

Lit. "The lips do not touch." A competitive practice in the Northern Anatolian k tradition, in which at least two ks sing their poetry without touching their lips, thus not pronouncing the labial consonants b, p and m.
Lenk-Fhte

A ten-beat minor usl of, consisting of one cycle each of Yrk Sem and Sofyn. It is used in minor forms, especially in perev, nak beste and Mevlev 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.

Lti

A lutenist.

M
Mbeyn

The term used for the half tones.

Mahalli Sanat

Local musician.
Mahfel Srmesi

See Tesbih.
Mahfzat

In Turkish Classical Music, a term for learning music by memory.

Mahlas

A pseudonym used by ks, who generally write it into the last verse of their deyi as a sort of "signature."
Mahn

In Azerbaijani music, the term for a song, folk song, melody.

Mhr

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 (ed) makam by theoreticians, and is formed by transposing the basic scale of the makam argh to rst (Sol/G). It is descending in character. It's tonic is rst, and its dominants are gerdniye (Sol/G) and nev (Re/D). Its suspended cadences are the flavors argh on argh (in its place) and Bselik on hseyn arn.
Mhr-Arn

1. A variant of the makam Mhr once used in Turkish Classical Music, formed by adding an Uk tetrachord on arn (Fa/F) in the low end of the makam Mhr. No examples have survived to the present. 2. The other type of mhr is a compound makam, created by adding descending Rst, Acem'li Rst, descending Hseyn and descending Beyt on rst (in its place), and using them in combination. Its tonic is rst (G/Sol) and its dominants are gerdniye (Sol/G) and nev (Re/D). Its suspended cadences are the flavors argh on argh (Do/C); Bselik on hseyn arn (Mi/E); argh, Rst and Bselik on gerdniy (Sol/G); Bselik and Uk on hseyn (Mi/E); argh, Rst and Buselik on nev; Krd on bselik (Si/B), Ferahnk and Segh on segh (Si/B one koma flat), Bselik and Uk on dgh (La/A); argh and Rst on rst (sol/G); Uk on hseyn arn; and argh and Rst on yegh (Re/D).

Mhr-Bselik

A variant of the makam Mhr once used in Turkish Classical Music, formed by adding a Bselik pentachord and sometimes an entire Bselik scale to the makam Mhr. It's tonic is dgh (La/A) and its dominant is nev (Re/D).
Mhr-Hn

In Turkish Classical Music, a compound makam created by smail Hakk Bey. It is formed by combining the Mhr and Hicz flavors. Its tonic is Bselik.
Mhrrek

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

An usl used in Turkish Classical Music.

Mhr-i Kebr

A variant of the makam Mhr once used in Turkish Classical Music. No examples have survived to the present day.
Mhr-i Kebr-i Kadm

An alternative name for Mhr-i Kebr.

Mhr-i Sagyr

A variant of the makam Mhr 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, gl 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-ed (Transposed) Makam, 3Birleik (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.
Mni

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 mnis, some related to each other and others completely unrelated. Mnis are also used in atma, the verbal sparring competition between ks.

Mansr

1. In Turkish Classical Music, the tuning from La/A. 2. A type of ney.

Mar (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 "stikll Mar" (Independence March), the Turkish national anthem.
Mk

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

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

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

A compound makam used in Turkish Classical Music, formed by adding the makam Nihavent to the makam Hmyn. Its tonic is rst (Sol/G).
Maya

A type of uzun hava of Eastern and Southern Anatolia.

Mye

A compound makam used in Turkish Classical Music, formed by adding the makam Segh to the makam Uk. Its tonic is segh (Si/B one koma flat), and its dominant is nev (Re/D).
Mye-Ar'an

A variant of the makam Mye once used in Turkish Classical Music. It is formed by adding the Arn (Uk) tetrachord to the Mye scale.
Mye-Bzrg

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Bzrg resolving on segh (Si/B one koma flat). No examples have survived to the present.
Mye-Hicz

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Hicz resolving on segh (Si/B one koma flat). No examples have survived to the present.

Mye-Hseyn

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Hseyn resolving on segh (Si/B one koma flat). No examples have survived to the present.
Mye-Irk

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Irk resolving on segh (Si/B one koma flat). No examples have survived to the present.
Mye-Isfahn

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Isfahn resolving on segh (Si/B one koma flat). No examples have survived to the present.
Mye-i Atyk

A variant of the makam Mye once used in Turkish Classical Music.

Mye-i Kebr

A variation of the makam Mye once used in Turkish Classical Music. No examples have survived to the present.
Mye-i Kevser

A variation of the makam Mye once used in Turkish Classical Music. No examples have survived to the present.
Mye-Kek

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Kek resolving on segh (Si/B one koma flat). No examples have survived to the present.
Mye-Nev

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Nev resolving on segh (Si/B one koma flat). No examples have survived to the present.
Mye-Rst

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Rst resolving on segh (Si/B one koma flat). No examples have survived to the present.
Mye-Rehv

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Rehv resolving on segh (Si/B one koma flat). No examples have survived to the present.

Mye-Uk

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Uk resolving on segh (Si/B one koma flat). No examples have survived to the present.
Mye-Zengle

A variation of the makam Mye once used in Turkish Classical Music. Some theoreticians define it as the makam Zengle resolving on segh (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 Mevlev, Kadir and Rufa orders, in open zikr.
Mazhar-Zen

A player of Mazhar
Meik (=Mek)

One name for the thin rod used in playing the davul.
Meclis-Efrz

A compound makam once used in Turkish Classical Music, formed by adding an Uk makam transposed to yegh (Re/D) to the scale of the makam Irk. Its tonic is yegh (Re/D).
Meclis

The term for fasl among the Azerbaijanis.

Mecma

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 perev, the medhal consists of two sections and is generally in even-count minor usls. It is freer in form than the perev.
Mehdiye

A Turkish classical song form generally written in praise of a personality, sometimes a sultan.
Mehtb (iyye) Fasl

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-Hne

See Mehter Music.

Mehter Music (Mehter Mzii)

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.
Mellh

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 Tahtacs, 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-Hn

A singer of mersiye, mostly male. See Mevlidhan.

Mertebe

Used in Turkish Classical Music for the speed of usls.

Mesnevi

A type of uzun hava sung in the anlurfa region.

Mek

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.
Mek Silsilesi

Lit. "Mek 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.

Mevlev Evfer

See Evfer.
Mevlev Music (Mevlev Mzii)

An important branch of mystic Turkish religious music, unique to the Mevlev order. Existing within the context of the formal worship ceremony called the yn-i erif, it is performed for the Mevlev turning dance known as the sema. A significant number of Turkish Classical Music composers were Mevlev, and of these, many were Mevlev dervshes known as dedes.
Mevlid (=Mevlt)

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 Mevlidhns.
Mevlidhn

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.
Meydn Fasl

In Turkish Classical Music, fasl music played on a larger version of the incesaz ensemble. Ottoman records mention meydan fasls consisting of over 100 performers. Such ensembles performed mainly at large celebrations and weddings.
Meydan Saz (=Divan Saz)

The largest of the balama family.

Mezdekn

A makam once used in Turkish Classical Music. No examples have survived to the present.
Mskal (=Miskal)

Also known as the mskar, a Pan flute once played in Turkish Classical Music. No longer played in Turkey, it appears in many musical cultures.
Mskal

A player of the mskal.

Mtrp

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 Mutrb, meaning the musical ensemble of the Mevlevs. See Mutrb.
Mzrp

Plectrum, which may be made of bone, tree bark, plastic or other materials, depending on the instrument.
Mzrapl Sazlar

Instruments played with a plectrum.

Mihr-i Cn

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

(Turkish: Basit Usl.) A type of usl (metric pattern) used in Turkish Classical Music, defined in terms of their smallest metric units. Accordigly, the two-beat Nim Sofyn and the three-beat Sem are the two minor usls which occur in all the usls.
Mirciyye

A religious form of Turkish Classical Music, written about the Prophet Muhammed's ascent to heaven (mirac-mi'raj).
Miralama

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.
Miyn (Meyn)

The term for the middle section of the ark, perev, nak sem and sem forms of Turkish Classical Music. The meyan section begins on the 6th, 7th or 8th degree and sometimes continues on higher notes.
Muula

A hoyrat (a type of uzun hava) sung by the Iraqi Turkmen in a set melody in the makam hicz.
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.

Mugann

A singer.
Muganniye

A female singer.
Mugn

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 usl of Turkish Classical Music. No examples have survived to the present.
Muhaccer Dolab

An alternative name for the makam Maklb.

Muhlif

1. A compound makam used in Turkish Classical Music, formed by adding the makam Segh to the makam Nikrz. Its tonic is segh (Si/B one koma flat). Its suspended cadences are the notes nm hicz (Do/C five komas sharp) and dik krd (Si/B five komas flat), as well as Nikrz on rst, and the Ferahnk tetrachord on rk (Fa/F five komas sharp). Suspended cadences with Hzzm on rk (Fa/F five komas sharp) and Rst on yegh (Re/D) may also be performed. 2. A type of hoyrat in Iraqi Turkmen music.
Muhlifek

A makam once used in Turkish Classical Music. No examples have survived to the present.
Muhlif-i Irk

A variant of the makam Muhlif once used in Turkish Classical Music.

Muhlif-i Rst

A variant of the makam Muhlif once used in Turkish Classical Music, formed by adding the makam Hmyun to the makam Rst> Its tonic is dgh (La/A).
Muhlif-i Uk

A variant of the makam Muhlif once used in Turkish Classical Music.

Muhammes

A 32-beat major usl of Turkish Classical Music, consisting of eight measures of Sofyn. It is used mainly in forms such as perev, kr, beste and ilh.
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 Uk tetrachord transposed to hseyn (Mi/E) to the Hseyn pentachord on dgh (La/A - in its place). It is the descending form of the makam Hseyn. Its tonic is dgh (La/A), and its dominants are muhayyer

(La/A) and hseyn (Mi/E). Its suspended cadences are the flavors Rst transposed to nev (Re/D), argh and Pengh on argh (Do/C - in its place), and Segh and Ferahnk on segh (Si/B one koma flat).
Muhayyer-Bselik

A variant of the makam Muhayyer used in Turkish Classical Music, formed by adding the Bselik pentachord and rarely the entire Bselik scale to the basic scale of the makam MuhayyerIts tonic is dgh (La/A) and its dominant is hseyn (Mi/E).
Muhayyer-Krd

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 Krd.
Muhayyer-Snble

A variant of the makam Muhayyer used in Turkish Classical Music, formed by adding the scale of the makam Sab to the scale or flavor of argh transposed to Acem (Fa/F). It is descending in character. Its tonic is dgh (La/A), and its dominantsa re krd (Si/B four komas flat) and argh (Do/C). Its suspended cadences are the flavors argh transposed to acem (Fa/F), Hicz transposed to gerdniye (Sol/G), Nikrz transposed to acem (Fa/F), Hzzm transposed to dik hisr (Re/D eight komas sharp) and Segh.
Muhayyer-Zengle

A variant of the makam Muhayyer used in Turkish Classical Music, formed by adding the scale of the makam Zengle to the scale of the makam Muhayyer. Its tonic is dgh (La/A) and its dominant is hseyn (Mi/E).
Muhayyer-Zrke

A variant of the makam Muhayyer used in Turkish Classical Music. No examples have survived to the present.
Mukbele

The zikr ceremony in mystic music.

Mulyemet

See Derli.
Murabb

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-Hn

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

1. A stringed instrument once used in Turkish Classical Music. 2. A musical form once used in Turkish Classical Music.
Msikar

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

The Turkish form of the word "music." Although the term msiki was used by the Turks for many years, the term mzik 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.
Msiki-i Osmn Mekbebi

The music school founded and directed by smail Hakk Bey, a form of conservatory.
Msikins

A person who loves and is knowledgable about music.

Mtedil

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

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 Mevlev music, but appears in other orders as well. Mevlev mutrbs have employed a variety of musical instruments including the ney, kudm, tanbur, ud, kanun, rebab and viol d'amore. See Mtrp.
Mutrbn

1. A makam once used in Turkish Classical Music. No examples have survived to the present. 2. Another name - the plural form - for the mutrb ensemble.
Muvfk

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

See Asma Karar.

Muzaf Devr-i Kebr

A flowery term for the usl Devr-i Kebr.

Mberkaa

A compound makam once used in Turkish Classical Music. According to some theoreticians, this makam was formed by combining the makams argh and Segh, and its tonic was segh, while others maintain that its tonic later changed to dgh. No examples have survived to the present.
Mcenneb-i Kebr

See Byk Mcenneb.

Mcenneb-i Sagyr

See Kk Mcenneb.
Mcenneb'r-Remel

An old makam once used in Turkish Classical Music.

Mezzin

A singer of the ezan (adhan), the Muslim call to prayer.

Mjdegn

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

In Turkish Classical Music, the term used for repeated sections.

Mlyim

See Derli.
Mlzime

The portion repeated after the hne.

Mnct

A religious genre of Turkish Classical Music, based on kasde style poems expressing an entreatment to God.
Mnferet

See Dersiz.
Mntesib Makam

See Yakn Makam.

Mrekkeb 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 (geki).
Mrekkeb Usl

A compound usl; that is, the usls of Turkish Classical Music formed by combining more than one of the minor usls. All of the usls other than Nm Sofyn and Sem are compound usls.
Mrgak

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

1. A 26-beat major usl of Turkish Classical Music, created by Keman Hzr Aa. 2. A type of lyric containing seven lines in each verse.
Mselles

1. A makam once used in Turkish Classical Music. 2. A type of lyric containing three lines in each verse.
Msemmen

An eight-beat minor usl of Turkish Classical Music, used mostly in ark-type works as well as ilh, trk and oyun havas forms. See Katakofti.
Mstahsen

A tuning range of Turkish Classical Music in which the pitch Fa/F is transposed to La/A.
Mster

A compound makam used in Turkish Classical Music, which resembles the makam Segh, the only difference being that the use of the Uk tetrachord on segh (Si/B one koma flat), known as the Mster tetrachord. Its suspended cadences are the flavors Bselik and Uk transposed to nev (Re/D), and Segh and Ferahnk transposed to dik hisar (Re/D four komas sharp).
Mstesrek

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

1. A form of Turkish poetry. 2. A type of makam resembling Mhr and Acemarn, and used mainly in Eastern and Southern Anatolia.
Mstezat Dzeni

A tuning of the balama. The lowest string is La/A, the middle string is Sol/G and the upper string is Fa/F.
Mkye

A compound makam used in Turkish Classical Music. It is a form of Segh, which resolves in an Uk tetrachord transposed to the pitch arn.
Mteadd

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

N
Nagam (t)

See Name
Naara

The name used in Azarbaijan for the koltuk davul, a smaller form of davul. In Anatolia, an alternative name for the davul.
Name

In its most general meaning, a sound. In Turkish Classical Music, it refers to a motif or a set collection of melodies.
Name-i Kbil

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.
Nakart

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 Balant, Kavutak.
Nak

A special type of the beste and sem forms. Although nak bestes are little used, most of the sems are of the nak type. In this type, the first two verses of the lyrics come one after the other, then the terennm (See terennm) comes and forms the third verse. The fouth verse follows immediately, and then there is a return to the terennm. Thus these pieces contain two terennms and two hnes. The different types of nak beste and nak sems are: Nak Ar Aksak Sem, Nak Ar Sem, Nak Ar Sengin Sem, Nak Ar Yrk Sem, Nak Aksak Sem, Nak Sem, Nak Sengin Sem, Nak Yrk Sem and Nak Yrk Yrk Sem.
Nak Beste

A type of beste usually composed to the usl Lenk-Fhte, and with the terennm coming after two verses. Rarely, varieties counted with the usl Devr-i Revn occur as well.
Naklama (=Ssleme)

A musical motif with ornamentations.

Nakkre

A percussion instrument used in Mehter music, a type of small davul. Also called the "double davul," the nakkre is related to the kudm. It is played with sticks called zahme.
Nakre

An usl time mentioned in the old Edvr books.

N-Murd

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

A compound makam used in Turkish Classical Music.

N't

A type of Turkish religious music. Written in preaise of the Prophet Muhammed, they are composed in various usls, and in Arabic, Persian and Turkish.
N't-Hn

A singer of N't.
Ny

See Ney.
Nay- Balaban

A wind instrument once used in Turkish Classical Music rembling a mey or zurna.
Nay- Cvr

A wind instrument once used in Turkish Classical Music.

Nay- Hyk

A wind instrument once used in Turkish Classical Music, a sort of bagpipe.

Nay- Tanbr

An old instrument once used in Turkish Classical Music which resembled today's yayl (bowed) tanbr.
Ny

Neyzen (Nyzen), a player of ney.

Nz

A compound makam once used in Turkish Classical Music, formed by adding the scale of the makam Pengh on rst (Sol/G - in its place) to the scale of the makam Uzzal on dgh (La/A - in its place). Its tonic is rst (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 Urmev, Farab and Merag. 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 Abdlkadir Tre remain as the only modern theories.
Nzenin

A makam once used in Turkish Classical Music, constructed by adding the scale of the makam Dgh in its place to the scale of the makam Hzzam on segh (B one koma flat in its place). Its tonic is dgh (La/A).
Nzm

One of the three makam groups defined by the old theoreticians.

Nzil

See nici.
Nzl Devr-i Hind

A twelve-count minor usl created by smail Hakk Bey.

Necd-i Hseyn

A simple makam used in Turkish Classical Music. It remembles the makam Hseyn, 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 Uk in which the note nev (Re/D) is replaced by hseyn (Mi/E).
Nefes

A religious/mystical musical genre performed mostly in the yin-i cem of the Bektashi order.
Nefesli alglar

Wind instruments. See flemeli alglar.

Nefr

A wind instruments used by dervishes in tekke music. See Dervi Borusu.

Nefr

A player of the nefr.

Neresin

A compound makam used in Turkish Classical Music.

Nerme Sesi

Another name for the note dik hicz (Do/C eight komas sharp or Re/D one koma flat).
Nerm

The term used in the old edvrs for "low."

Nesm

A compound makam once used in Turkish Classical Music, which resembles the makam Sabh. Its tonic is dgh (La/A).
Net-ver

A compound makam once used in Turkish Classical Music.

Nev

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 Rst pentachord transposed to nev (Re/D) to the Uk tetrachord on dgh (La/A - in its place). It is ascending in character. Its tonic is dgh (La/A), and its dominant is nev (Re/D). Its suspended cadences are the flavors Rst on nev (Re/D), Segh and Ferahnk on evc, argh on argh (Do/C), Segh on segh (Si/B one koma flat) and Rst on rst (Sol/G).
Nev-cem

A variation of the makam Nev once used in Turkish Classical Music. No examples have survived to the present.
Nev-Arn

A variation of the makam Nev once used in Turkish Classical Music. No examples have survived to the present.
Nev-Badad

A variation of the makam Nev once used in Turkish Classical Music.

Nev-Bselik

A variation of the makam Nev once used in Turkish Classical Music, formed by adding the entire Bselik scale to the scale of the makam Nev. Its toni is dgh (La/A) and its dominants are nev (Re/D) and hseyn (Mi/E).
Nev-Dilke

A variation of the makam Nev once used in Turkish Classical Music.

Nev-Gerdniye

A variation of the makam Nev once used in Turkish Classical Music. No examples have survived to the present.
Nev-Gevet

A variation of the makam Nev once used in Turkish Classical Music. No examples have survived to the present.
Nev-Krd

A variation of the makam Nev once used in Turkish Classical Music formed by addng a Krd tetrachord on dgh (La/A - in its place) to the scale of the makam Nev. Its tonic is dgh (La/A) and its dominants are nev (Re/D) and argh(Do/C).

Nev-Mye

A variation of the makam Nev once used in Turkish Classical Music. No examples have survived to the present.
Nev-Nevrz

A variation of the makam Nev once used in Turkish Classical Music. No examples have survived to the present.
Nev-Selmek

A variation of the makam Nev once used in Turkish Classical Music. No examples have survived to the present.
Nev-ehnz

A variation of the makam Nev once used in Turkish Classical Music. No examples have survived to the present.
Nevy

A makam once used in Turkish Classical Music. No examples have survived to the present.
Nev-yi Hseyn

A variation of the makam Nev once used in Turkish Classical Music, formed bhy adding the scale of the makam Hseyn on dgh (La/A - in its place) to the basic scale of the makam Nev. In later periods, the name Nev-Hseyn was given to the transposition of the makam Hseyn to nev (Re/D).
Nev-yi Snble

A variation of the makam Nev once used in Turkish Classical Music. No examples have survived to the present.
Nev-yi Uk

A variation of the makam Nev once used in Turkish Classical Music. No examples have survived to the present.
Nevzi

A compound makam once used in Turkish Classical Music.

Nev-Bahr

A makam onceused in. No examples have survived to the present.

Nevbe

A type of large davul used in Mehter music.

Nevbet-i Mretteb (e)

A Turkish Classical Music form, comprised of vocal and instrumental pieces arranged one after the other.
Nev-Ed

A compound makam once used in Turkish Classical Music.

Nev-Eser

A compound makam used in Turkish Classical Music, formed by adding a Hicz tetrachord on dgh (La/A - in its place) to the Nikrz pentachord on rst (Sol/G - in its place). Its tonic is rst (Sol/G), and its dominant is nev (Re/D). It is descendingascending in character. Its suspended cadences are nm hicz (Do/C four komas sharp) and dik krd (Si/B four komas flat), as well as the flavors Hicz on dgh (La/A) and Hicz on yegh.
Nevke

A compound makam used in Turkish Classical Music.

Nev-Resde

A compound makam used in Turkish Classical Music, created by Ahmed Irsoy.

Nevrz

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 Hseyn scale, but in later years, this name was given to the makam Acem-Arn resolving on acem (Fa/F). 3. A type of uzun hava sung in Southeastern Anatolia.
Nevrz-Acem

A variation of the makam Nevrz once used in Turkish Classical Music, considered by some theoreticians to be another name for the true makam Nevrz.
Nevrz-Beyti

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz-Bselik

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz-Bzrg

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz-Hicz

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz-Hseyn

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz- Arab

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

Nevrz- Asl

See Nevrz.
Nevrz- Hr

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz-Irk

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz- Rm

A variation of the makam Nevrz once used in Turkish Classical Music.

Nevrz-Isfahn

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz- Sultn

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz- Uk

See Nevrz-Uk.
Nevrz- Kek

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz- Nev

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz- Rst

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz- Rehv

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz- Sab

A variation of the makam Nevrz once used in Turkish Classical Music. No examples have survived to the present.
Nevrz- Uk

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

Nevrz- Zengle

A variation of the makam Nevrz 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.

Nsfiye

A type of ney used in Turkish Classical Music.

Nsfiye-Zen

A player of the nsfiye.

Nigr

A compound makam used in Turkish Classical Music. Some theoreticians consider it to be similar to the makams Bzrg and Sz-i Dilr.
Nigrek

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

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

A makam once used in Turkish Classical Music. No examples have survived to the present.
Nigr- Nk-Acem

1. A makam used in Turkish Classical Music, considered by some theoreticians to be a transposed (ed) makam. It is formed by transposing the basic scale of the makam Bselik to rst (Sol/G), and is descending-ascending in character. Its tonic is rst, and its dominant is nev. Its suspended cadences are the flavors argh transposed to nm hisr (Si/B four komas flat), Bselik transposed to argh (Do/C) and Krd transposed to dgh (La/A). 2. The name used in some of the old theory books and periodicals for the note krd (Si/B four komas flat).

Nihvend

1. A makam used in Turkish Classical Music, considered by some theoreticians to be a transposed (ed) makam. It is formed by transposing the basic scale of the makam Bselik to rst (Sol/G), and is descending-ascending in character. Its tonic is rst, and its dominant is nev. Its suspended cadences are the flavors argh transposed to nm hisr (Si/B four komas flat), Bselik transposed to argh (Do/C) and Krd transposed to dgh (La/A). 2. The name used in some of the old theory books and periodicals for the note krd (Si/B four komas flat).
Nihavend-i Cedd

The name used by the Selim III school of Turkish Classical Music for the makam Nihvend using the Krd tetrachord.
Nihvend-i Kebr

A compound makam used in Turkish Classical Music, formed by the combination of the Sultan- Yegh makam to the form of the makam Bselik which is the makam Nihvend transposed to the note rst. Its tonic is rst (Sol/G), and its dominants are nev (Re/D) and dgh (La/A).
Nihvend-i Rm

A compound makam once used in Turkish Classical Music, formed by adding the Hicz tetrachord to the basic scale of the makam Nihvend on rst (Sol/G - in its place). Its tonic is sab. In later periods, this name was also used for today's Nihvend.
Nihvend-i Sagyr

The name used during the period of Sultan Mehmet the Conqueror for today's Nihvend makam.
Nihft

See Nhft.
Nikrz

A compound makam used in Turkish Classical Music. There are two types: Nikrz-i Kebr and Nikrz-i Sagyr. The first type is formed by adding a Rst tetrachord transposed to nev (Re/D) to the Nikrz pentachord on rst (in its place); the second is formed by adding a Bselik tetrachord transposed to nev (Re/D) to the Nikrz pentachord on rst (in its place). Its tonic is rst (Sol/G), and its dominant is nev (Re/D). It possesses a descending-ascending character. Its suspended cadences are nm hicz (Si/B four komas flat) and dik krd (Si/B five komas flat) and the flavors flavors Bselik and Rst transposed to nev (Re/D), Uk transposed to hseyn (Mi/E), Hicz on dgh (La/A in its place) and Segh and Ferahnk on segh (Si/B one koma flat - in its place).
Nikrz-i Kebr

In Turkish Classical Music, the old name for the makam Nikrz.
Nikrz-i Sagyr

A variant oft he makam Nikrz in Turkish Classical Music.

Nikrz-Segh

A makam once used in Turkish Classical Music. No examples have survived to the present.
Nikriz Pentachord (Nikriz Belisi)

In Turkish Classical Music, a five-note scale pattern formed by adding a whole step to the lower register of the Hicz tetrachord on dgh (La/A - in its place). Thus the scale is based on rst (Sol/G).
Nm

1. Persian "half." In Turkish Classical Music, when it occurs before the name of an usl, it indicates an usl lasting half as long as the usl in question. Ex. Nm Berefn. 2. When it occurs before the name of a note, it indicates the note one koma flat. Ex. Nm Hicz.
Nm Berefn

A 16-beat major usl of Turkish Classical Music, formed of one cycle each of Sem, and Trk Aksa and two of Sofyn. It is used in perevs and bestes.
Nm enber

A 12-beat minor usl of Turkish Classical Music, formed of one cycle each of Sofyn, Yrk Sem and Nm Sofyn. It is used in perevs and bestes.
Nm Devr

An 18-beat major usl used in Turkish Classical Music, formed of one cycle of Yrk Sem and three of Sofyn. It is used in perevs and bestes.
Nm Dyek

In Turkish Classical Music, the name used for the usl Nm Sofyn in the early 20th century.
Nm Evsat

A 13-beat minor usl used in Turkish Classical Music, formed of two measures of Sofyn. It is mostly used in ilhs, and less frequently in some arks and trks.
Nm Fahte

In Turkish Classical Music, another name for the usl Lenk-Fhte.

Nm Haff

A 16-beat major usl used in Turkish Classical Music, formed of four measures of the usl Sofyn. It is used in perevs and bestes.
Nm Hezec

A 14-beat minor usl used in Turkish Classical Music.

Nm Hicz

In Turkish Classical Music, the name for the note Do/C five komas high or Re/D four komas flat in the high register.

Nm Hisr

In Turkish Classical Music, the name for the note Re/D five komas sharp or Mi/E four komas flat in the high register.
Nm Kav

In Turkish Classical Music, the term for a medium-strength beat of an usl.

Nm Muhammes

A 16-beat major usl used in Turkish Classical Music, formed of four measures of Sofyn.
Nm Sakyl

A 24-beat major usl used in Turkish Classical Music, formed of one cycle of Sofyn, two of Yrk Sem and two of Sofyn. It is used in perevs, bestes and krs.
Nm Sofyn

A two-beat simple minor usl 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 arks and ilhs.
Nm ehnz

In Turkish Classical Music, the name for the note Sol/G five komas sharp or La/A four komas flat in the high register.
Nm Zencir

A 60-beat major usl used in Turkish Classical Music. It is used mainly in perevs and bestes.
Nm Zengle

In Turkish Classical Music, the name for the note Sol/G five komas sharp or La/A four komas flat in the middle register.
Nm Zirgle

See Nm Zengle.
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. At Ninni (Lament lullaby), Trk Ninni (Folk song lullaby), etc.
Nrz

The old name for the makam Nikrz used in Turkish Classical Music.
Niseb-i erife

The collective name for several octaves, fifths and fourths within the octave.

Nbr

A compound makam used in Turkish Classical Music, formed by adding a Krd tetrachord transposed to hseyn (Mi/E), a argh tetrachord transposed to acem (Fa/F) and a Bselik scale transposed to nev (Re/D) to the Nsbr tetrachord on bselik (Si/B in its place). It is ascending in character. Its tonic is bselik (Si/B), and its dominant is nev (Re/D). Its suspended cadences are the flavors Krd on hseyn (Mi/E), Rst on dgh (La/A) and Pengh on rst (Sol/G), as well as the note nm hicz.
Nbrek

A compound makam used in Turkish Classical Music, formed by adding a Bselik tetrachord on hseyn (Mi/E), a Rst tetrachord also on hseyn (Mi/E) and a Nsbr tetrachord on bselik (Si/B - in its place) to a Rst pentachord transposed to dgh (La/A). It is descending-ascending in character. Its tonic is dgh (La/A), and its dominant is hseyn (Mi/E). It suspended cadences are the flavors Nsbr on bselik (Si/B - in its place), Rst on hseyn (Mi/E) and Rst on hseyn arn (Mi/E).
Nbr ls

In Turkish Classical Music, a eni (flavor) composed of a small trichord.

Npr

See Nbr.
Nverek

Another name for the makam Nbr used in some edvrs.

Niyz

A compound makam used in Turkish Classical Music, created by Abdlbki Nsr Dede. It is formed by adding the makam Isfahn to the makam Hicz on dgh (La/A - in its place). Its tonic is dgh (La/A).
Noksan Durgu

A half cadence. See Durgu.

Nin-Gl

A compound makam once used in Turkish Classical Music.

Nutk- 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.
Nhft

A compound makam used in Turkish Classical Music, formed by adding an Uk tetrachord transposed to arn (Fa/F) to the makam Yegh. Its tonic is arn, and its dominants are nev (Re/D) and dgh (La/A). Its suspended cadences are the flavors Segh and Ferahnk on evc (Fa/F five komas sharp), Bselik on nev (Re/D), argh on argh (Do/C), Segh and Ferahnk on segh (Si/B one koma flat - in its place), Uk and Rst on dgh (La/A) and Rst on yegh (Re/D).

Nhft-Hicz

A variant on the makam Nhft once used in Turkish Classical Music. No examples have survived to the present.
Nhft-Kadm

A variant on the makam Nhft 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 balama family with four courses of strings, each composed of three strings. The instrument may be known by various regional names such as meydan saz, divan saz and r.
Orta Aksak

A minor usl used in Turkish Classical Music. It is a special form of the usl Aksak, and like Ar Aksak, it is written in 9/4, but it is a bit faster than Ar Aksak.
Osmanl Bozuu

The name of a makam used in the k music of Northeastern Anatolia. The name bozuk (bozu-) refers to the instrument by the same name on which it is played.
Osmanl Divanisi

The name of a makam used in the k music of Northeastern Anatolia, and the melodic pattern to which this sort of divan is sung.
Oturak Havas

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 k Garibi.
Oynak

A 9-beat minor usl used in Turkish Classical Music, composed of one cycle each of Sem and Yrk Sem. In its 9/4 form it is known as ar oynak. It is used in the trk, ark, ilh and oyun havas forms.
Oyun Havas

1. Lit. "dance tune/air." The term used in Anatolia for almost all of the music played to accompany dancing. There are oyun havass with and without associated songs, known as trkl (with a folk song) and trksz (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 havas.
Ozan

An k, or folk poet. The name for local poets and musicians who usually sing their own and others' poems accompanied by the saz/balama.

Ozanlama

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

P
Psbn

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

A kek, a dancer.
Py-Zen-i Sab

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

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

1. In Turkish Classical Music, the old name for the note nev. 2. A compound makam used in Turkish Classical Music. There are two types: Pengh- Asl, and Pengh- Zid. See Pengh- Asl, and Pengh- Zid
Pengh Pentachord (Pengh Belisi)

In Turkish Classical Music, five note scale pattern formed by adding a whole tone to the low end of the Rst tetrachord transposed to dgh (La/A). Thus the pentachord is based on rst (Sol/G).
Pengh- Asl

A compound makam used in Turkish Classical Music, formed by combining the makams Basit Isfahn (Bayti), Nev, Rst and Acem'li Rast (Rst containing the note acem). It is descending-ascending in characger. Because of the Rst flavor its tonic is rst (G/Sol), and its dominant is nev (Re/D). Its suspended cadences are the flavors Uk transposed to hseyn (Mi/E), Bselik on nev (Re/D), and Segh and Ferahnk on segh (Si/B one koma flat - in its place), as well as the Segh trichord, and the Pengh pentachord on rst (Sol/G).
Pengh- Irk

A variation on the makam Pengh once used in Turkish Classical Music. No examples have survived to the present.
Pengh- Zid

A compound makam used in Turkish Classical Music, formed by adding the Pengh pentachord on rst (Sol/G), or the Rst or Acem'li Rst scales on rst to the scale of the makam Isfahn. It is descending-ascending in character. Its tonic is rst (Sol/G), and its dominant is nev (Re/D). Its suspended cadences are the flavors Bselik on nev (Re/D),

Ferahnk on segh (Si/B one koma flat), Nibr on bselik (Si/B) and Uk and Rst on dgh (La/A), as well as the Segh trichord on segh and the Pengh pentachord on rst (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 edvrs on Turkish classical music for "makam."
Perr-i Zerrn

A compound makam once used in Turkish Classical Music.

Pesendde

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 Nibr on bselik (Si/B - in its place), and a portion of the scale of the makam Bselik transposed to nev to the scale of the makam Rst or the Rst pentachord on rst (Sol/G - in its place). It is descendingascending in character. Its tonic is rst (Sol/G), and its dominant is nev (Re/D). Its suspended cadences are the flavors Nibr on bselik (Si/B, Rst on dgh (La/A), Pengh on rst (Sol/G - in its place), Segh and Ferahnk on segh (Si/B one koma flat in its place), Uk on dgh (La/A - in its place) Uk and Hseyn on hseyn arn (Mi/E) and Rst on yegh (Re/D).
Pest

Low, in terms of register.

Pest Sekizli

A low octave.
Perev

1. An instrumental form in Turkish Classical Music. With the exception of a few basic usls, they are always composed in the major usls, and every section is called a hne, after each of which comes the section called the mlzime. Although according to some sources state that perevs may include up to 15 hnes, from the 16th century on the genre became fixed and is generally composed with four hnes. 2. An instrumental opening played by the duo of davul and zurna at wrestling competitions.
Peyk-i Net

A compound makam once used in Turkish Classical Music.

Peyk-i Saf

A compound makam once used in Turkish Classical Music.

Pe (Be)

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.
Pselik

See Bselik.
Pegn

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

R
Rhat-Fez

A compound makam used in Turkish Classical Music, formed bhy adding the Hseyn pentachord transposed to hseyn arn (Mi/E) to the makam Hmyn, Hicz or Uzzl. Its tonic is hseyn arn (Mi/E), and its dominats are nev (Re/E), hseyn (Mi/E) and dgh (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 nm hicz (Do/C four komas sharp) and dik krd (Si/B four komas flat), and the flavors Nikrz on rst (Sol/G - in its place), Hzzm on rk (Fa/F four komas sharp) and Rst on yegh (Re/D); as well as the Ferahnk tetrachord on rk.
Rahat'l-Ervh

A compound makam used in Turkish Classical Music. It is formed by adding a Segh tetrachord (See Segh tetrachord) transposed to irk (Fa/F sharp) to the scale of the makam Hmyn, Hicz or Uzzl on dgh (La/A). It is descending in character. Its tonic is dgh (La/A) and its dominants are nev (Re/D) and hseyn (Mi/E). Its suspended cadences are the flavors Rst or Bselik on nev, Uk on hseyn, Hicz on dgh (La/A - in its place), Nikrz on rst (G/Sol - in its place) and Hzzm on rk (Fa/F four komas sharp), as well as the notes nm hicz (Do/C four komas sharp) and dik krd (Si/B four komas flat).
Rh-i Gl

A compound makam once used in Turkish Classical Music. No examples have survived to the present.
Rh-i Hr-Ken

A compound makam once used in Turkish Classical Music. No examples have survived to the present.
Rh-i Hr-Ke

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

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

A 44-beat major usl once used in Turkish Classical Music.

Rh-i Rh

A compound makam once used in Turkish Classical Music.

Rakkas

A dancer, a dancing man, a kek.

Rakkse

A professional female dancer.

Raks

Dance.
Raks (Bekt Raks)

A 16-beat major usl used in Turkish Classical Music. It is composed of two measures of Trk Aksa, and one each of Sofyn and Nm Sofyn. This usl occurs only in one Bektashi nefes in the makam Hcz Uk.
Raks Aksa

A 9-beat minor usl used in Turkish Classical Music, composed of a combination of the Trk Aksa and Sofyn usls. It is used mainly in the ark, trk and oyun havas forms.
Raksn

A 15-beat usl used in Turkish Classical Music. There are two variants: The first is a combination of one cycle of Sem, Trk Aksa, Sofyn and one more of Sem; and the second is a combination of the second form of Trk Aksa and the usl Aksak Sem. They have been used in Bektashi nefes, trk and folk music.
Raksiyye

A genre of vocal or instrumental music within Turkish Classical Music, used for dancing.
Raks-Sem

An 18-beat major usl used in Turkish Classical Music. It was created by smail Hakk Bey and was used in only two pieces.
Rmi-Huvr

An old makam once used in Turkish Classical Music.

Rmi-i Cn

A compound makam once used in Turkish Classical Music.

Rsim

In Turkish Classical Music, the term for a group of makams.

Rst

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 Rst tetrachord transposed to nev (Re/D) to a Rst pentachord on rst (Sol/G - in its place). It is descending in character. Its dominant is rst, and its jdominant is nev (Re/D). Its suspended cadences are the flavors Uk on dgh (La/A), Segh on segh (Si/B one koma flat), Rst on yegh (Re/D) and Uk and Nibr on hseyn arn (Mi/E), as well as the Ferahnk pentachord on segh.
Rst-Acem

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

Rast-Arn

A compound makam used in Turkish Classical Music.

Rst-Gerdniye

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

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

A compound makam used in Turkish Classical Music, formed by adding the low tetrachord of the makam Irk to the basic Rst scale.
Rst- Cedd

A compound makam once used in Turkish Classical Music, created by Sultan Selim III. It is formed by adding the scale of the makam Rst on rst (Sol/G - in its place) to the makam Hicz transposed to yegh. Its tonic is rst (Sol/G), and its dominant is nev (Re/D).
Rst- Rm

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

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

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

A compound makam used in Turkish Classical Music. It was created by Kemn Serkis by adding a Krd tetrachord on dgh (in its place) to the basic scale of the makam Rst. Its tonic is dgh, and its dominants are rst (Sol/G) and nev (Re/D). The only example is in Kemn Serkis' own perev.
Rst-Mye

A compound makam used in Turkish Classical Music.

Rst-Nevrz

A compound makam once used in Turkish Classical Music. No examples have survived to the present.
Rast Pentachord (Rst Belisi)

In Turkish Classical Music, a five-note scale pattern formed by adding a whole tone to the Rst tetrachord on rst (Sol/G - in its place). (See Rst Tetrachord).

Rst Tetrachord (Rst Drtls)

A four-note scale pattern based on rst (Sol/G) so as to form a perfect fourth.

Rst-Selmek

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

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 krllah Bey. Although it has no relation to the instrument known as the rzva played in Southern Anatolia, the similarity of the name is notable.
Rebb

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.
Rebb- Ny

A woodwind instrument once used in Turkish Classical Music.

Rebb

A maker or player of the rebb.

Redif

Rhyme. Synonymous with the ayak of k poetry.

Rehv

A makam used in Turkish Classical Music. There are two forms, one simple and one compound. The first is the makam Rst that features a Rst tetrachord on yegh (Re/D) during its resolution. The second is the same as Rst in every way, formed by the combination of the scales of the makams Rst and Bayt. It is descending in character. Its tonic is rst (Sol/G), and its dominant is nev (Re/D).
Rehv-Gerdniye

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

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

Rehv-Mye

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

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

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

The name used by Kantemir in his edvr for the note gevet (Sol/G).
Rehv-ehnz

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 Nevrz

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

A compound makam used in Turkish Classical Music.

Remel

A 28-beat major usl used in Turkish Classical Music, formed of the combination of one cycle each of Sofyn, Sengn Sem, Sofyn, Sengn Sem and two more of Sofyn. It is used in pereves and bestes.
Remel-i Haff

A light form of the usl Remel. See Remel.

Remel-i Kasyr

A variant of the usl Remel used in Turkish Classical Music.

Remel-i Sakyl

See Remel.
Remel-i Tavl

A variant of the usl Remel used in Turkish Classical Music.

Remel-i Trk

See Remel.

Reng-i Dil

A makam used in Turkish Classical Music. Some theoreticians consider it to be a transposed (ed) makam. It was created by Mhendis Hlis Bey by transposing the makam Nev'eser to acem-arn (Fa/F). Its tonic is acem aran, and its dominant is argh.
Revn

A 9-beat minor usl used in Turkish Classical Music.

Revnk-Nm

A compound makam used in Turkish Classical Music, formed by adding either the entire scale or the low tetrachord of the makam Irk to the scale of the makam Mstear. Its tonic is rk (Fa/F four komas sharp) and its dominants are segh (Si/B one koma flat) and dgh (La/A).
Rdvn

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

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

A 32-beat major usl once used in Turkish Classical Music. No examples have survived to the present.
Rku'l-Habb

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

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

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.
Rhnevz (=Rhnvaz)

A makam used in Turkish Classical Music, defined by some theoreticians as a transposed (ed) makam. It was created by Dr. Suphi Ezgi by transposing the basic scale of the makam Bselik to hseyn aran (Mi/E). Its tonic is hseyn arn, and its dominant is bselik (Si/B). It is ascending and descending in character.
Ry-i Arn

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

Ry-i Dilr

A compound makam once used in Turkish Classical Music.

Ry-i Hicz

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

A compound makam used in Turkish Classical Music, formed by adding a Segh tetrachord transposed to rk (Fa/F sharp) to the scale of the makam Segh. It is ascending in character. Its tonic is rk (Fa/F four komas sharp) and its dominants are segh (Si/B one koma flat), dgh (La/A) and nev (Re/D). Its suspended cadences are the flavors Bselik and Uk on nev, Segh or Ferahnk on dik hisr (Mi/E one koma flat) and Rst on argh (Do/C).
Ruzba

See Irzva.

S
Sab

1. In Turkish Classical Music, the name once used for the note hicz (Do/C five komas sharp or Re/D four komas flat). 2. A compound makam of Turkish Classical Music, formed by adding a Sab tetrachord to the Zrgle'li Hicz scale transposed to argh (Do/C). It is ascending and ascending-descendingin character. Its tonic is dgh (La/A) and its dominant is argh (Do/C). Its suspended cadences are the flavors Zrgle'li Hicz on argh (Do/C, Hicz on gerdniye (Sol/G), Nikrz on acem (Fa/F) and Hzzm or Segh on dik hisr (Si/B one koma flat), as well as the Rst tetrachord on rst (Sol/G).
Sab-Arn

A variant of the makam Sab used in Turkish Classical Music, formed by the addition of either the entire Uk scale or the Uk tetrachord transposed to hseyn arn to the scale of the makam Sab. It is descending in character. Its tonic is hseyn arn (Mi/E) and its dominants are argh (Do/C) and dgh (La/A).
Saba-Bselik

A variant of the makam Sab used in Turkish Classical Music. It was created by Dede Efendi by adding either the Bselik pentachord or entire scale ton dgh (La/A) to the scale of the makam Saba. Its tonic is dgh, and its dominants are argh (Do/C) and hseyn (Mi/E).
Sab Tetrachord (Sab Drtls)

In Turkish Classical Music, a four-note scale pattern based on dgh (La/A) so as to form a diminished fourth.
Sabah Havas

A melody played on davul and zurna in order to awake the wedding guests and their hosts the morning after the wedding. See Tan Havas.
Sabah

The name used in and around Ankara for the common Central Anatolian son "iekda."
Sab-Krd

In a name given in some sources for the makam Sab-Zemzeme.

Sab-Uk

A variant on the makam Sab once used in Turkish Classical Music. No examples have survived to the present.
Sab-Zemzeme

A variant on the makam Sab used in Turkish Classical Music, formed by adding a Krd tetrachord on dgh (La/A - in its place) to the scale of the makam Sab. It is descendingascending in character. Its tonic is dgh (La/A) and its dominants are argh (Do/C) and nev (Re/D).

Sd

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

A compound makam once used in Turkish Classical Music; a form of the makam Sab with modulations to Muhayyer and Uk. No examples have survived to the present.
Safr

A type of flute once popular in Istanbul.

Safr-i Blbl

A type of flute with a sound resembling that of a nightingale.

Sar Perde

Lit. "Deaf Fret." Frets on the instruments of the Balama family for notes which are normally not used. They have a "hidden" function in that they enable certain transpositions.
Sama

See Zahma.
Sau

A lament; the term is used chiefly among the Central Asian Turkic peoples, as well as in some areas of Anatolia, especially anakkale, Isparta, Kastamon and ankr. There are different types with their associated names, such as Yiit Sausu, Gelin Sausu, Asker Sausu (Brave young man, Bride, Soldier), etc.
Sakyl

A 48-beat major usl used in Turkish Classical Music. It is a combination of one cycle of Sofyn, one of Sengn Sem, one Sofyn, three of Sengn Sem and four of Sofyn. Its 48/2 form is called Ar Sakyl. It is mostly used in compositions in the perev, kr, best and ilh forms
Sakyl-i Remel

A major usl once used in Turkish Classical Music.

Sakyl'l-Hezec (=Sakyl-i Hezec)

A major usl once used in Turkish Classical Music.

Salt

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 Salt (Funeral Salt), Cum'a Salt (Friday Salt), Bayram Salt (Feast Salt), etc.
Salt- mmiye

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 Gmane 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: Divrii Seman, Bozok Semah, Krklar Semah 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 Mzii

Lit. "Art Music." The term was first coined in order to identify the works of great Turkish composers such as Itr, Dede Efendi etc. However over time, it departed significantly from its original meaning, and came to signify fasl and religious music, and finally, the whole of entertainment music.
Santr

A hammer dulcimer, once much used in Turkish music and closely identified with the Turkish composer Santur 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 Mzii

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 Endern, 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 balama family. 2. An entertainment venue with music and drink; a music hall.
Sazbent

A term form instrumental ensembles in Southern Anatolia. See Mtrp.

Sazc

A player of saz/balama. 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 sanats" ("instrument artist").
Szende

An instrumentalist, a person who has attained mastery of his instrument. Not everyone who plays an instrument is called a sazende.
Sz- Dlb

A stringed instrument once used in Turkish Classical Music.

Sz- Gaay

A stringed instrument once used in Turkish Classical Music.

Szkr

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 Segh and Rst to the Uk tetrachord on dgh (in its place). It is descending-ascending in characger. Its tonic is rst (Sol/G), and its dominants are nev (Re/D), segh (Si/B one koma flat) and dgh (La/A). Its suspended cadences are the suspended cadences of the makams that comprise the makam (Uk, Segh and Rst), as well as the flavor Rst on yegh (Re/D).
Sz Semsi

One of the oldest instrumental musical forms of Turkish Classical Music. In the last to be played in the classical fasl suite. In the old days, saz sems were composed to the usls aksak sem, sengn sem, yrk sem and curcuna; today however, only aksak sem is used. Saz sems generally consist of four hnes, but today there is no limit on the number of hnes; in addition, each hne may be played in any makam and usl desired.
Saz airi

Lit. "saz poet," an k or minstrel who sings his own or others' poetry with saz accompaniment.
Saz Takm

A saz ensemble; which may be composed of various instruments such as balama, 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 Hisr

A variant of the makam Sebz which was once used in Turkish Classical Music. Its tonic is dgh (La/A). No examples have survived to the present.
Sebz-Ender-Sebz-i Kadm

A variant of the makam Sebz once used in Turkish Classical Music. Its tonic is dgh (La/A). No examples have survived to the present.
Sebz

A compound makam once used in Turkish Classical Music. Its tonic is dgh (La/A). No examples have survived to the present.
Sebz-i Hisr

A variant of the makam Sebz once used in Turkish Classical Music. Its tonic is dgh (La/A). No examples have survived to the present.
Sebz-i Tze

A variant of the makam Sebz once used in Turkish Classical Music. Its tonic is dgh (La/A). No examples have survived to the present.
Segh

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 segh, and in the high octave, tiz segh. 2. A compound makam used in Turkish Classical Music, formed by adding a Hicz tetrachord to a Segh pentachord. It is ascending in character. Its tonic is segh (Si/B one koma flat) and its dominant is nev (Re/D). Its suspended cadences are the flavors Bselik and Uk on nev (Re/D), Segh or Ferahnk on dik hisr (Mi/E one koma flat) and Rst on argh (Do/C).
Segh-Acem

A variant of the makam Segh used in Turkish Classical Music, formed by adding the scale of the makam Acem to a Segh scale on dgh (La/A). Its tonic is dgh (La/A).
Segh-Arabn

A variant of the makam Segh used in Turkish Classical Music, formed by adding the scale of the makam Arabn to a Segh scale on yegh (Re/D). Its tonic is yegh (Re/D).
Segh-Arabn

See Segh-Arabn.
Segh-Mye

In Turkish Classical Music, there are two variations of the makam Mye, one based on dgh (La/A) and the other on segh (Si/B one koma flat). Segh-Mye is the term for the second of the two.

Segh-Muhayyer

A variation of the makam Segh used in Turkish Classical Music, formed by adding the scale of the makam Muhayyer to a Segh scale on dgh (La/A). Its tonic is dgh (La/A).
Segh Pentachord (Segh Belisi)

In Turkish Classical Music, a five-note scale pattern based on segh (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.
Segh Tetrachord (Segh Drtls)

In Turkish Classical Music, a four-note scale pattern based on segh (Si/B one koma flat) forming a perfect fourth. The addition of one whole tone produces the Segh pentachord.
Seh-Darb

A 32-beat major usl used in Turkish Classical Music. No examples have survived to the present.
Seh-Endr

A 14-beat minor usl 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 Rst and Hseyn. Its tonic is rst (Sol/G) and its dominants are nev (Re/D), dgh (La/A) and hseyn (Mi/E).
Selmek-Bzrg

A variant on the makam Selmek once used in Turkish Classical Music, formed by adding the scale of the makam Bzrg to the Selmek scale. Its tonic is rst (Sol/G). No examples have survived to the present.
Selmek-Hicz

A variant on the makam Selmek once used in Turkish Classical Music. No examples have survived to the present.
Selmek-Hseyn

A variant on the makam Selmek once used in Turkish Classical Music. No examples have survived to the present
Selmek-Irk

A variant on the makam Selmek once used in Turkish Classical Music. No examples have survived to the present
Selmek-Isfahn

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

Selmek-i Kebr

A variant on the makam Selmek once used in Turkish Classical Music.

Selmek-i Sagyr

A variant on the makam Selmek once used in Turkish Classical Music.

Selmek-Kek

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-Rst

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-Rehv

A variant on the makam Selmek once used in Turkish Classical Music.

Selmek-Zengle

A variant on the makam Selmek once used in Turkish Classical Music. Its tonic is dgh (La/A).
Sema

Religious/mystic dances created by the Mevlev and Bektashi people as part of their belief. Although it is used in the form sema' by the Mevlevs, the Bektashis use the term semah, especially in central and eastern Anatolia. The meaning of the sema' is very similar to both the Mevlevs 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 usls Aksak Sem, Yrk Sem and various variations thereof. 3. One of two simple usls in Turkish classical music. It has 3 beats. Used chiefly in ark forms, they also appear in the last hnes of saz semsis and some religious pieces.
Sem-i Harb

The old name for the usl Ceng-i Harb.

Sem-zen

A dervish who dances the sem in the Mevlev yin.

Sengn

Persian "heavy." In Turkish Classical Music, a word used in the sense of "heavy, slow."

Sengn Devr-i Hind

The 7/4 variant on the 7/8 Devr-i Hind usl used in Turkish Classical Music.
Sengn Sem

1. The slow (6/4) variant of the usl Yrk Sem used in Turkish Classical Music. 2. The variant of the Ar Sem form counted in 6/4.
Ser-Bend

In Turkish Classical Music, the old name for the mlzime section of the perev form.
Segh Pentachord (Segh Belisi)

In Turkish Classical Music, a five-note scale pattern based on segh (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.
Segh Tetrachord (Segh Drtls)

In Turkish Classical Music, a four-note scale pattern based on segh (Si/B one koma flat) forming a perfect fourth. The addition of one whole tone produces the Segh pentachord.
Ser-Blend

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

A compound makam used in Turkish Classical Music.

Ser-Hne

The first hne in a pereve and saz semsi.

Ser-Hnende

The lead singer, who sings with a def (tambourine) in hand, and directs the fasl.
Ser-Henk

A compound makam used in. No examples have survived to the present.

Ser-i Trk

See Darb- Trk.

Seri'l-Hezec

A faster form of the usl Hezec used in Turkish Classical Music.

Ser-Mezzin

The highest-ranking mezzin in the Imperial Palace during the Ottoman period. See Mezzin.
Ser-Ny (=Ser-Neyzen)

The lead ney player of the musical ensemble in the Mevlev yin, the neyzenba.
Ser-Zkir

See Zkirba.

Setar

A three-stringed tambura-type folk instrument.

Sevgi

A five-beat minor usl, created by Dr. Refet Kayseriliolu, and used in two pieces by the same composer.
Seyir

The characteristic progression through the makams in Turkish Classical Music.

Sbzg

The Central Asian name for a form of Pan flute consisting of eight to ten reeds.
Sra Gecesi

The name for musical gatherings of friends held in Southern Anatolia and especially in the city of anlurfa. They are hosted in turn ("sra") by the regular participants. In the region, such gatherings are sometimes known simply as "sra" or "sra gezme."
Sra Gezme

See Sra Gecesi.

Szlatma

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: rgh, Bselik (its descending form is ehnz Bselik), Krd, Rast, Uk (its descending-ascending form form is Beyt), Nev (its descending form is Thir), Hmyn, Hicz, Uzzl, Zrgleli Hicz, Karcar, Basit Sz'nk and Hseyn (its descending form is Muhayyer).
Snekemn

Lit. "breast fiddle." Viola d'amore, an ancestor of the violin used in the West and in Turkish music. It generally had seven strings.
Snekemn

A player of the snekemn.

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 ehnz and Hisr scales. The makam's new form is created by the combination of the Hisr and Kek scales. The first type resolves on dgh (La/A), and its dominant is hseyn (Mi/E) as well as nev (Re/D). The new Sipihr's dominant is argh (Do/C). In the old Sipihr, the suspended cadences are the flavors Uk on hseyn arn (Mi/E), Rst on nev (Re/D), argh on argh (Do/C), and Segh or Ferahnk on segh (Si/B one koma flat). New Sipihr also includes the suspended cadences on nm hicz and dik krd with no flavors.
Sipihr Hseyn

A variant of the makam Sipihr used in Turkish Classical Music. It is formed by the addition of the scale of the makam Hseyn to that of the makam Sipihr on dgh (La/A in its place). Its tonic is dhh (La/A). No examples have survived to the present.
Sipihr-Uk

A variant of the makam Sipihr used in Turkish Classical Music, formed by the addition of the Uk scale on to a Sipihr scale on dgh (La/A - in its place). It is descending in character. Its tonic is dgh (La/A). Its suspended cadences are the flavors Uk on hseyn (Mi/E), Rst on nev (Re/D), argh on argh (Do/C), and Segh or Ferahnk on segh (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.
Siprde

In Turkish Classical Music, the tuning based on hseyn (La/A) transposed to hseyn (Mi/E). It is also known as Ahter.
Sreng

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

An oyun havas played in Turkish Classical Music, counted as the longa, with the usl Nm Sofyn.
Sofyn (Sfiyyn)

A four-beat minor usl used in Turkish Classical Music, and composed of two measures of Nm Sofyn. This usl is used in the ark, perev, oyun havas, tevh, several ilhs 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 usl Aksak in Krolu songs. Another feature of these songs is that they begin with a free-rhythm (uzun hava) section.
Son-Hne

The name given to the last (generally the fourth) hne in perevs and saz semsis.
Sz Mzii

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. Kr- Ntk, Kr, yn, Mnct) and "small" forms (ex: ark, Trk, lh, Nefes). These may be either religious or secular.
Sultn

A compound makam used in Turkish Classical Music.

Sultn-Bselik

A variation of the makam Sultn used in Turkish Classical Music, formed by adding a Bselik pentachord or entire scale to the scale of the makam Sultn yegh. Its tonic is dgh (La/A).
Sultn-Evc

A variation of the makam Sultn used in Turkish Classical Music.

Sultn-Hzzm

A variation of the makam Sultn used in Turkish Classical Music. Its tonic is segh (La/A).
Sultn-Irk

A variation of the makam Sultn used in Turkish Classical Music. Its tonic is dgh (La/A), and its dominant is nev (Re/D). It is descending-ascending in character. Its suspended cadences are the Segh flavor on segh (Si/B one koma flat), the Segh trichord and Eksik Ferahnk pentachord, the Rst and Uk flavors on dgh (La/A), the Segh flavor on rk (Fa/F four komas sharp) and the Rst flavor on yegh (Re/D).
Sultn-i Cedd

A variation of the makam Sultn used in Turkish Classical Music, formed by adding the scale of the makam Ferahnm to that of the makam edd-i Arabn on yegh (Re/D - in its place). Its tonic is yegh (Re/D), and its dominats are dgh (La/A) and rst (Sol/G).
Sultn-Nev

A variation of the makam Sultn used in Turkish Classical Music, formed by addng a Rst pentachord on dgh (La/A) to the scale of the makam Nev on nev (Re/D - in its place). It is ascending in character. Its tonic is nev (Re/D) and its dominant is dgh (La/A).

Sultn-Segh

A variation of the makam Sultn used in, formed by adding the scales Mster and eddi Arabn to the scale of the makam Segh transposed to yegh (Re/D). It is descending in character. Its tonic is yegh (Re/D), and its dominants are segh (Si/B one koma flat) and dgh (La/A). Its suspended cadences are the same as those of the makams Segh, Mster and edd-i Arabn.
Sultn-Yegh

A makam used in Turkish Classical Music. Some theoreticians consider it to be a transposed (ed) makam. It is the makam Bselik transposed to yegh (Re/D). Descending in character, its tonic is yegh (Re/D), and its dominant is dgh (La/A). Its suspended cadences are the flavors Hicz and Krd on dgh (La/A), Bselik on rst (Sol/G) and Krd on hseyn arn (Mi/E). Cadences may also be performed with no flavors on the notes nm hicz (Do/C four komas sharp) and dik krd (Si/B four komas flat).
Sundar (=Snder)

A ten-stringed type of r, an instrument in the balama family.

Sriyye

A type of music played at feasts, weddings and celebrations.

Susta

The term for the middle section of a sirto. See Sirto.

Sz-i Dil

1. The name used in some sources for the note dik acem-arn. 2. A makam used in Turkish Classical Music, defined by some theoreticians as a transposed (ed) makam. It is the makam Zengle transposed to hseyn aran (Mi/E). Descending in character, its tonic is hseyn aran (Mi/E), and its dominant is bselik (Si/B). Its suspended cadence is the Bselik flavor on dgh (La/A).
Sz-i Dilra

A compound makam used in Turkish Classical Music, formed by combining the scales of the makams argh an Mhr. It is descending in character. Its tonic is rst (Sol/G) and its dominants are argh (Do/C) and nev (Re/D). It is the same as the makam Nigr (See Nigr), which was used earlier in Turkish music and forgotten over time. Its suspended cadences are the flavors argh on nev (Re/D) and argh (Do/C), Nikrz on rst (Sol/G), argh on yegh (Re/D), and Hicz on dgh (La/A).
Sznk

A simple makam used in Turkish Classical Music, formed by adding the Hicaz tetrachord to the Rst pentachord. This variant does not include the makam Zengle as in its other variant (See Zengleli Sznk). Its tonic is rst (Sol/G) and its dominant is nev (Re/D)
Sllem

The name given by Safiyuddin Urmev to the foundation of the Turkish Classical Music system.

Smmani Az

A common folk makam of Northern and Northwestern Anatolia. Although it takes its name from k Smmani, the deyi of other ks may be written in this pattern as well. Its most outstanding characteristic is that it consists of five beats, with pauses within the melody.
Snble

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-Snble. No examples have survived to the present.
Snble-i Kadm

An old name for the makam Snble.

Snble-Nihvend

A variant of the makam Snble once used in Turkish Classical Music, formed by adding the scale of the makam Nihvend to that of the makam Snble. Its tonic is rst (Sol/G).
Srekli Geki

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 hne.
Sreksiz Geki

A short modulation which may even last for only one note. This type of modulation involves no overall key change of the music.
Srr-Efz

A variant of the makam Srrin Turkish Classical Music.

Ssleme

Ornament.
diye

A 19th-century term for a female vocalist. The term has not been used since around the 1950s.
d-Km

A compound makam once used in Turkish Classical Music.

h

1. A tuning in Turkish Classical Music in which the note La is transposed to Segh (Si/B one koma flat) 2. A compound makam used in Turkish Classical Music. No examples have survived to the present.
h-Darb

A 30-beat major usl used in Turkish Classical Music. No examples have survived to the present.

A makam invented by Abdlkdir Merg's son Abdlaziz elebi. No examples have survived to the present.
h-Rd

An old stringed instruments; the same as the Rd.

ne

An old instrument once used in Turkish Classical Music.

ark

1. A form of vocal music in Turkish Classical Music. Generally easy to understand and composed in minor uslsit is the most-used form of Turkish music. Popular since the reign of Selim II, the ark form gained greatly in importance through the works of Hac rif Bey. ark 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 araname, which may also be played as an introduction to the song. 2. A four-stringed folk instrument played with a plectrum. See ark
ark Devr-i Revn

A 13-beat minor usl once used in Turkish Classical Music, which consists of one measure of the three-beat Sem and five of the two-beat Nm Sofyn. It was used in old and classical ark pieces. No examples have survived to the present.
ark Dyei

The old name of the usl Devr-i Hind.

ark

A four stringed instrument played with a plectrum. In his Seyahatnme (Travelogue), Evliya elebi states that this instrument was played mostly by Turkmen musicians.
ed

Transposition. During this process, the intervals of the scale remain the same, which may require the use of sharp and flat symbols
edd-i Arabn

A makam used in Turkish Classical Music, defined by some theoreticians as a transposed (ed) makam. It is the scale of the makam Zrglei Hicz transposed to the note yegh. Descending in character, its tonic is yegh (Re/D), and its dominant is nev (Re/D). Its suspended cadences are the flavors Bselik from gerdniye (Sol/G), and Nikrz (and rarely Rst) on rst (Sol/G).
edd-i Sab

A makam used in Turkish Classical Music.

ed 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 (ed) 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 (mrekkep) makams.
ehnz

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 zengle, and in the highest octave, tiz ehnz. 2. A compound makam used in Turkish Classical Music, formed by adding the scale of the makam Hmyn transposed to hseyn arn (Mi/E) to the scales of Uzzl, Hicz or Hmyn. Descending in character, its tonic is dgh (La/A), and its dominants are nev (Re/D) and hseyn (Mi/E). Its suspended cadences are the Hicz and Uk flavors on hseyn (Mi/E), and the Rst, Nikrz and Bselik flavors on nev (Re/D).
ehnz-Arn

A variant on the makam ehnz used in Turkish Classical Music, formed by adding an Uk tetrachord transposed to hseyn arn (Mi/E) to the scale of the makam ehnz. Its tonic is arn (Mi/E).
ehnz-Bselik

A variant of the makam ehnz 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 dgh (La/A) and the dominant hseyn. The second, compound form is formed by adding a Buselik pentachord to the ehnz scale. Its tonic is dgh (La/A), and its dominants are nev (Re/D) and hseyn (Mi/E).
ehnz-Bzrg

A variation of the makam ehnz once used in Turkish Classical Music. It is formed by adding the scale of the makam Bzrg onto a ehnz scale on rst. Its tonic is rst. No examples have survived to the present.
ehnz-Hvern

A variation of the makam ehnz once used in Turkish Classical Music. It is formed by adding the scale of the makam Irk onto a ehnz scale on rk (Fa/F four komas sharp). Its tonic is irk (Fa/F four komas sharp).
ehnz-Hicz

A variation of the makam ehnz once used in Turkish Classical Music. It is formed by adding the scale of the makam Hicz onto a ehnz scale on dgh (La/A - in its place). Its tonic is dgh (La/A). No examples have survived to the present
ehnz-Hseyn

A variant of the makam ehnz once used in Turkish Classical Music. Its tonic is dgh (La/A). No examples have survived to the present.

ehnz-Irk

A variant of the makam ehnz once used in Turkish Classical Music. In the 19th century, it was resurrected as ehnz-Hvern.
ehnz-Kek

A variant of the makam ehnz once used in Turkish Classical Music, formed by addng the scale of the makam Kek to a ehnz scale on dgh (La/A - in its place). Its tonic is dgh (La/A). No examples have survived to the present.
ehnz-Krd

A variant of the makam ehnz once used in Turkish Classical Music. Its tonic is dgh (La/A).
ehnz-Nev

A variant of the makam ehnz once used in Turkish Classical Music, formed by adding the scale of the makam Nev to a ehnz scale from dgh (La/A - in its place). Its tonic is dgh (La/A). No examples have survived to the present.
ehnz-Nibrek

A variant of the makam ehnz once used in Turkish Classical Music.

ehnz-Rst

A variant of the makam ehnz once used in Turkish Classical Music, formed by adding the scale of the makam Rst to a ehnz scale on rst (Sol/G). Its tonic is rst (Sol/G). No examples have survived to the present.
ehnz-Rehv

A variant of the makam ehnz once used in Turkish Classical Music, formed by adding the scale of the makam Rehv to a ehnz scale on rst (Sol/G). Its tonic is rst (Sol/G).. No examples have survived to the present.
ehnz-Uk

A variant of the makam ehnz once used in Turkish Classical Music. No examples have survived to the present.
ehnz-Zengle

A variant of the makam ehnz once used in Turkish Classical Music, formed by adding the scale of the makam Zengle to a ehnz scale on dgh (La/A). Its tonic is dgh (La/A). No examples have survived to the present.
ehr-i Nz (=ehr-Nz)

A compound makam once used in Turkish Classical Music, formed by adding a argh scale transposed to hseyn (Mi/E) to the makam Mhr. It is descending in character. Its tonic is hseyn (Mi/E). No examples have survived to the present.
ekil

A form, a shape.

elpe

The name for the technique of playing the balama and similar instruments with the hand and fingers rather than a plectrum
ems-Ceml

A compound makam used in Turkish Classical Music, formed by adding an Irk scale to that of the makam Nihvend. Its tonic is rk (Fa/F four komas sharp). No examples have survived to the present.
ems-Efrz

A compound makam used in Turkish Classical Music.

eref-i Hamd

The old name of the makam erefnm.

erefnm

A compound makam used in Turkish Classical Music. Its old name is eref-i Hamdiye. Formed by adding a Rst scale transposed to yegh (Re/D) to a Bayt scale transposed to arn (Mi/E), it is descending in character. Its tonic is yegh (Re/D), and its dominants are dgh (La/A) and nev (Re/D). Its suspended cadences are the flavors Uk or Hicz on hseyn (Mi/E), Nikrz on rst (Sol/G), Bselik, Rst or Hicz on dgh (La/A), a full or diminished Segh or Ferahnk pentachord or a Segh trichord on rk (Fa/F four komas sharp), Bselik on nev (Re/D), and Uk on hseyn arn (Mi/E). Suspended cadences on nm hicz (Do/C four komas sharp) and dik krd (Si/B four komas flat) with no flavor are also used.
eber

A six-stringed instrument in the balama family, played with a plectrum, from the Ktahya region.
egh

1. The name used for the note hseyn in old theory books. 2. A compound makam once used in Turkish Classical Music. No examples have survived to the present.
ehne

A six-stringed fretless instrument played with a plectrum, once used in Turkish Classical Music. Although it resembled the ud, its neck was longer.
etr

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.
etr

A player of the etr.

ety

According to information provided by Abdlkdir Merg, a stringed instrument resembling the ud and played with a plectrum. There were three varieties
evk

A compound makam used in Turkish Classical Music.

evk-ver

A variant of the makam evk used in Turkish Classical Music, which was created in the late 18th century by rif Mehmed Aa. It is formed by adding the makams Nihvend and Acem-arnto the makam Rst transposed to argh (Do/C). It is descending in character. Its tonic is acem-arn (Fa/F), and its dominants are argh (Do/C), rst (Sol/G) and nev (Re/D). Its suspended cadences are the flavors Uk, Hicz and Krd on nev (Re/d); Nikrz, Bselik and argh on argh (Do/C); Krd on dgh (La/A) and Bselik on rst (Sol/G).
evk-Efz

A variand of the makam evk used in Turkish Classical Music. It is formed by adding the makam Zengle transposed to argh (Do/C) and a Nikrz pentachord transposed to acem-arn to the scale of the makam Acem-arn on acem-arn (Fa/F - in its place). It is descending in character. Its tonic is acem-arn (Fa/F), and its dominants are gerdniye (Sol/G) and argh (Do/C). Its suspended cadences are the flavors Nikrz on acem (Fa/F), Hzzm on dik hisar (Mi/E one koma flat), argh and Zirgleli Hicz on argh (Do/C), Krd on dgh (La/A), Bselik on rst (Sol/G) and argh on acemarn (Fa/F).
evk-Engiz

A variant of the makam evk once used in Turkish Classical Music. Its tonic is hseyn (Mi/E). No examples have survived to the present
evk-i Cedd

A variant of the makam evk once used in Turkish Classical Music. It is the same as the makam Arabn-Krd.
evk-i Cihn

A variant of the makam evk once used in Turkish Classical Music.

evk-i Dil

A variant of the makam evk once used in Turkish Classical Music, formed by adding the scale of the makam Szink to a Rst scale on rst (Sol/G). It is descending in character. Its tonic is rst and its dominant is nev (Re/D).
evk-Engiz

A variant of the makam evk once used in Turkish Classical Music, formed by adding a Bselik scale and an Uk tetrachord transposed to arn (Mi/E) to the scale of the makam Sz-i Dil.
evk-u Tarb: evk-Engiz

A compound makam used in Turkish Classical Music. It is formed by adding the makam Acem-arn and a Krd tetrachord transposed to arn (Mi/E) to the makam Sab. It is

descending-ascending in character. Its tonic is arn (Mi/E), and its dominants are argh (Do/C), dgh (La/A) and acem-arn (Fa/F). All of the features of its suspended cadences, which concentrate on the notes segh and dgh of the makam Sab (See Sab), are valid for the makam evk-u Tarb as well. In addition, the entire basic scale of the makam Acem-arn is used (See Acem-arn), all of the suspended cadences for this makam are also valid for evk-u Tarb.
eytan Delii

Lit. "Devil's Holes," the holes on the lower end of zurnas and kavals which are not played but are opened for tuning purpose.
durgu

A four-stringed, long-necked instrument played with a plectrum, of the Uygur people in East Turkistan.
krdm Havas

The name of a 2/4 dance melody in the reagions of Sivas, Tokat and ankr.
ihb Zurna

A type of zurna once used in Turkish Classical Music.

ikeste

Lit. "Broken," the name of a melodic pattern used in the k music of Northestern Anatolia.
inver

A compound makam used in Turkish Classical Music.

irz

A compound makam once used in Turkish Classical Music.

irz-Snble

A compound makam once used in Turkish Classical Music, formed by adding the scale of the makam Snble to a irz scale on dgh (La/A). Its tonic is dgh. No examples have survived to the present.
irn

A 44-beat major usl used in Turkish Classical Music. It was created during the reign of Sultan Selim III by Sheikh Abdlbki Nsr Dede, but not used in later periods. It was used specifically in perev and beste forms.
irvan (=irvan)

The name used in the Elaz region for the makam Hicz and certain melodic patterns in that makam. It sometimes occurs in the names of pieces; ex. irvan Oyun Havas, irvan Hoyrat, etc.
ive

A local accent/dialect. The term is also used to identify a local musical style and especially a singing style.

vekr

A compound makam used in Turkish Classical Music.

veke

A compound makam used in Turkish Classical Music.

ivenm

A compound makam used in Turkish Classical Music. It is formed by adding the makams Acem-arn and Sultni Yegh to the makam Ferahvez. Descending in character, its tonic is yegh (Re/D), and its dominants are dgh (La/A), argh (Do/C) and acemarn (Fa/F). The suspended cadences of the makams Sab and Ferahfez (See Sab and Ferahfez) are valid for the makam ivenm as well.
ofar

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.
be

A term used in the classification of the makams of Turkish Classical Music.

ugl

An ilh composed by Turkish composers with Arabic lyrics.

ur

A makam used in the folk music of Azeribaijan which bears some characteristics in common with the makam Uk of Turkish Classical Music.
r

1. The name used for the note dik ehnz (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.
ster

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-Hne

A military ensemble in Islamic and Turkish states. During the Ottoman period it was known as Mehterhne.
Tabl-i Bz

A largish davul with camel skins.

T-Hek

In Turkish Classical Music, the term for striking both hands on the knees while beating out an usl.
Thir (=Baba Thir)

A simple makam used in Turkish Classical Music. It is the same as the makam Nev, but in its descending form (See Nev). Its tonic is dgh (La/A), and its dominant is nev (Re/D). Its suspended cadences are the flavors Bselik and Rst on nev (Re/D), argh on argh (Do/C) and Eksik Segh on ev (Fa/F four komas sharp).
Thir-Bselik

A variant of the makam Thir once used in Turkish Classical Music. It is descending in character.
Thir-i Kebr

A variant of the makam Thir once used in Turkish Classical Music.

Thir-i Sagyr

A variant of the makam Thir once used in Turkish Classical Music. No examples have survived to the present.
Thir-Krd

A variant of the makam Thir once used in Turkish Classical Music. No examples have survived to the present.
Tahmd

To praise. In music, to use the phrase elhamdlillah ("Praise be to God").

Tahm

See Muhammes.
Takm

A suite of Turkish Classical Music, generally composed by a single composer. It is the name given to the full fasl, which consists of a perev, a saz semsi, two bestes, two sems and a few songs in various usls.
Taklid

Lit. "Imitation." Playing the same musical phrase antiphonally or sequentially.

Taksm

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 Giri Taksimi (Introductory Taksim), the Ara Taksimi (Interlude Taksim) and the Gei Taksim (Transition Taksim).
Takt

Prosody
Takti le

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.
Tlim Mzik

Etudes, musical pieces composed for use in musical education.

Tamaa

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 balama family. Throughout the Turkic musical world the word for such long-necked instruments appears in various forms such as dombra, dmbra, tmbrdak, etc.
Tanbr

The old plural of the word tanbr.

Tanbr

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.
Tanbr

A player of the tanbr.

Tan Havas

A melody played on the morning of a wedding by a davul-zurna duo to waken the guests and hosts.
Tanbr-i Horsn

One of the old names for the Turkish tanbr.

Tanbr-i Kebr-i Trk

The word used for the uniquely Turkish form of tanbr in order to distinguish it from the Arab tanbr.
Tanbra-i Mool

An old Turkish instrument. It is encountered among the Turkic peoples of Central Asia.
Tanbr-i Rd

A type of tanbr.
Tanbr-i irvnn

A type of tanbr played mostly by the Azerbaijanis.

Tanbr-i Trk

The short form of the term Tanbr-i Kebr-i Trk.

Tanbra-i Trk

An old type of small Tanbr.

Tanbre-i d

An old Turkish instrument; a small tanbr which resembled an ut.

Tank

A compound makam created by Hseyin Fahr Tank, and used only by him.
Tann

In Turkish Classical Music, the name for a nine-koma interval (a whole note).
Tann Bemol

In Turkish Classical Music, the symbol that indicates a nine-koma flat.

Tann Diyezi

In Turkish Classical Music, the symbol that indicates a nine-koma sharp.

Tar (=Tr)

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-Engz

An old usl once used in Turkish Classical Music, no longer in use today.

Tarab- Rd

A type of the Rd, an instrument once used in Turkish Classical Music.

Tarab'l-Feth

An instrument once used in Turkish Classical Music.

Tarak Mizmr

A type of mizmr (double reed pipe) once used in Turkish Classical Music.
Tarama

A quick tremolo on a plucked instrument.

Tarhn

A genre within Turkic-Chagatay classical music.

Tarka

The old name for the perev form.

Tarkat Mzii

See Tasavvuf Mzii.

Tartm

Rhythm. The length/count of notes.

Tarz- Bihn

A compound makam created by Hseyin Fahri Tank.

Tarz- Cedd

A compound makam used in Turkish Classical Music, formed by adding the makams Nivvend and Acem-arn to the makam Sultn Yegh. It is descending-ascending in character. Its tonic is acem aran (Fa/F), and its dominants are nev (Re/D), dgh (La/A) and argh (Do/C). Its suspended cadences are the flavors Hicz and Krd on nev (Re/D), Bselik and Nikrz on argh (Do/C), Krd and Hicz on dgh (La/A), Bselik and Nikrz on rst (Sol/G), and argh on krd (Si/B five komas flat).
Tarz- Cihn

A compound makam used in Turkish Classical Music.

Tarz- Nevn

A compound makam used in Turkish Classical Music, formed by combining the second type of the makam evk-Efz which does not use the Nikrz pentachord (Zengle + Acem-arn) with the Krd tetrachord on rst. It is descending in character. Its tonic is rst (Sol/g), and its dominants are argh (Do/C) and acem-arn (Fa/F). Its suspended cadences are the flavors Nikrz on acem (Fa/F), Hzzm on dik hisr (Si/B one koma flat), Zirgli Hicz or Hicz on argh (Do/C), Nikrz on krd (Si/B five komas flat), argh on argh (Do/C), Krd on dgh (La/A), Bselik on rst (Sol/G), and argh on acem-arn.
Tas

Lit. "Bowl." An old Turkish instrument. See Kse.

Tasann

An exaggerated, showy style in music.

Tasavvuf Mzii

Mystic music, an important branch of Turkish religious music. Although strictly speaking it is "lodge music," or "religious order music," (tekke mzii, tarikat mzii), 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 (batn) 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-Bz

A player of the Tas.

Tasvr

See ed.
Talama

Part of the k tradition, poetry which minstrels use to joke or tease each other and compete.
Tatr

See Muhammes, Murabb.

Tatvan

See Tatyan
Tatyan

A folk makam used in the Erzurum, Kars and Elaz regions. Generally appearing in variants of Hzzm and Segh, this melody is used in a variety of uzun havas, trks and ilhs.
Tavr

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 az (See Az) used for singing styles
Tavan (=Tavuan)

"Rabbit," the name for a person who dances the Tavanca.

Tavanca

Lit. "Like a rabbit." A Turkish dance style, performed by expert troupes wearing special costumes.
Tavan Takm

A group of Tavanca dancers.

Tavanca Takm

A suit of various pieces one after another to which the Tavanca dance is performed.

Tziyne

A plectrum. See Tezene.

Tebrz

A compound makam used in Turkish Classical Music, formed by adding a portion of the Acem-Arn scale to the makam Uk. Its tonic is rst (Sol/G), and its dominants are nev (Re/D) and dgh (La/A).
Tebrz-Hvern

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

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.
Tegann

Derived from the Arabic word "gn," meaning to make music, to sing.
Te'hr: Tebrz-Hvern

A variant of the makam Tebrz once used in Turkish Classical Music. No examples have survived to the present.
Tehll

A prayer containing the phrase "L lhe ll'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.
Tekbr

A genre of Mosque music, containing the phrase "Allhu Ekber." The Tekbr composed by Itr in the makam Segh is sung together on many occasions, including feast sermons and the making of a sacrifice.
Te ke (=Te K)

The method of reciting the beats of the usls of Turkish Classical Music aloud.
Teke Havas

The general name for songs and melodies reflecting the musical characteristics of the Teke region.

Teke Zortlatmas

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.
Tekellm

Verbal/musical sparring between ks. Also Atma.

Tekke Mzii

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 Mzii.
Tek Vuru

An 11-beat minor usl used in Turkish Classical Music. It is composed of one measure of Trk Aksa and one of Yrk Sem in sequence.
Tel

A string of a stringed instrument.

Telbiye

The repetition, during the pilgrimage to Mecca (Hac - Hajj) of the phrase lebbeyk Allahmme lebbeyk to a melody.
Telhn

To recite to a melody; in a makam.

Tel Tanbura

A three-stringed type of tanbura once used in Turkish music.

Temcd

A form of religious music.

Tenzile

A type of ilh of the Iraqi Turkmen.

Terne

1. The first section of a group of four melodies in Turkish Classical Music. 2. The old name for a quatrain.
Terb

See Murabb.
Terennm

1. To sing. 2. The term for the mlzime and nakarat in the high forms of Turkish music.

Terennm-i kaa'

1. The old name for the terenm. 2. In Turkish Classical Music, the name for a type of terennm section in some pieces composed of meaningless syllables such as "Tenneneni, detderedil, tenn dirn, etc.
Terenty

An old musical instrument once used in Turkish music.

Tered

A compound makam of Turkish Classical Music.

Terkb

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.
Terkb-i ntikal

In Turkish Classical Music, a repeating instrumental section that ties together the hnes or mlzimes of perevs or saz semsis.
Terkb-i Sab

A compound makam of Turkish Classical Music.

Tertl

The term for free-meter vocal works in old Arab music.

Tervh

A type of instrument no longer used today, invented by Abdlkdir Mergi's son Abdlazz.
Tesvt

Harmony, accord
Tesbb

The section that preceeds the girizgh in a Kasde (See Kasde).

Tesbh

1. A way of reciting the phrase Sbhn Allah (Glorious is God) musically 2. A religious form of Turkish Classical Music.
Teslm

In Turkish Classical Music, the melodies that tie the true hne and mlzime of instrumental pieces.
Tetrachord (Drtlk)

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 rgh, Bselik, Krd, Rast, Uk and Hicz; the Sab, Mstesr and Nibur tetrachords fall into a separate category in terms of their intrvalic relations, and occur in the formation of compound makams.

Tevhd

A form of Turkish Classical Music and poetry, containing a section with the phrase la ilhe ill' Allah. It is used in mosques and lodges.
Tevh

A religious form of Turkish Classical Music, which is recited between the Mevld and Mirciyye.
Tezene

A plectrum used to play instruments in the formerlay made of cherry bark, it is now manufactured out of plastic.
Trnak Kemane

A type of fiddle, played in the Kastamonu region to the north, the el and Antalya region to the sourth, and in Istanbul, where it is known as the Klsik Kemene. 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
Trtllama

A type of ornament, a mordant, executed by playing the note above or below the main note and returning to it.
Tilvet

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.
Tz Acem

In Turkish Classical Music, the note Fa/F in its highest register.

Tz Bayt

In Turkish Classical Music, the note tz nm hisr in some old sources.

Tz Bselik

In Turkish Classical Music, the note Si/B in its highest register.

Tz argh

In Turkish Classical Music, the note Do/C in its highest register.

Tz Evc

In Turkish Classical Music, the note Fa/F four komas flat in its highest register.
Tz Gerdniye

In Turkish Classical Music, the note G/Sol in its highest register.

Tz Hicz

In Turkish Classical Music, the note Do/C five komas sharp or Re/D four komas flat in its highest register.
Tz Hisr

In Turkish Classical Music, the note Re/D five komas sharp or Mi/D four komas flat in its highest register.
Tz Hseyn

In Turkish Classical Music, the note Mi/E in its highest register.

Tz Mhr

In Turkish Classical Music, the note Fa/F five komas sharp or Sol/G four komas flat in its highest register.
Tz Muhayyer

In Turkish Classical Music, the note La/A in its highest register.

Tz Nev

In Turkish Classical Music, the note Re/D in its highest register.

Tz Sab

Turkish Classical Music, the name given for the note tz nm hicz in some old sources.
Tz Segh

In Turkish Classical Music, the note La/A eight komas sharp or Si/B one koma flat in its highest register.
Tz Sekizli

The name for the third of the four octaves used in Turkish Classical Music.
Tz Snble

In Turkish Classical Music, the note La/A four komas sharp or Si/B five komas flat in its highest register.
Tz ehnz

In Turkish Classical Music, the note Sol/G five komas sharp or La/A four komas flat in its highest register.
Tz r

In Turkish Classical Music, the name given for the note tz nm hisr in some old sources.
Tz Tz

In Turkish Classical Music, the word Tz is used to differentiate a note in the higher register from its counterpart in a lower register. The term Tz Tz is used to signify an even higher octave.
Tz Uzzl

In Turkish Classical Music, the name given for the note tz nm hisr in some old sources.

Tz Yegh

The name given in some Arab sources for the note gerdniye.
Tokmak

A heavy carved drumstick used to play percussion instruments such as the davul or nakkare.
Topluluk

A musical ensemble.
Tuhfet'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 Havas

A special music played to excite the players of a folk game called Tura.
Turkish Classical Music (Klsik Trk Mzii)

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 Mzii" ("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 Trk Mzii)

The period of Turkish Classical Music which began with Hac rif Bey and the musical school of this period. The principal feature of this school was that the great classical form was replaced by the ark form. This trend spread quickly and came to dominate Turkish music. The last representatives of the romantic school of Turkish music were Lem'i Atl, Rahmi Bey and Suphi Ziy zbekkan.

Turquerie

The Turkish fashion in art, Alla Turca.

Trk Aksa

A five-beat minor usl of Turkish Classical Music. It is composed of a measure each of Nm Sofyn and Sem.
Trk Aksa-Yrk Sem

See Tek Vuru.

Trk-Asl (Sagyr)

A major usl once used in Turkish Classical Music

Trk-Asl- Kadm

A major usl once used in Turkish Classical Music

Trk-Hicz

Another name for the usl Hicz-I Trk.

Trk-i Haff

A minor usl once used in Turkish Classical Music. No examples have survived to the present.
Trk-i Ser

A minor usl once used in Turkish Classical Music. No examples have survived to the present.
Trkmn

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.
Trkmen

A type of uzun hava sung by Turkmen tribes.

Trk Mzii Nazariyat

See Turkish Music Theory.

Trk

The term for all types of sung folk melodies. The literary and musical structures of trk are extremely varied. Although in the terminology of Turkish folk literature, trks 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.
Trk Atmak

Lit. "To throw trk." To sing trk antiphonally, to improvise trk. Also Trk rmak, Trk Komak.

Trkc

A singer/player of trk.
Trk 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 yakm or yakm yakmak.
Tvnger

A compound makam once used in Turkish Classical Music.

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 Farab.
d-i Kadm

Lit. "Old d." A type of d once used in Turkish Classical Music.

d-i Kmil

Lit. "Perfect d." A type of d once used in Turkish Classical Music.

d

A player of the d.

U
Usl

In Turkish Classical Music, the name for the sum of rhythmic patterns in various arrangements.
Urfa Az

The musical style of singing uzun havas and rhythmic pieces common in the anlurfa region.
Urum Bozla

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.
Uk

A simple makam used in Turkish Classical Music, formed by adding a Bselik pentachord to the Uk tetrachord. It is ascending in characters. Its tonic is dgh (La/A), its dominant is nev (Re/D) and its subtonic is rst (Sol/G). Its suspended cadences are the flavors Segh and Ferahnk on segh (Si/B one koma flat), and Rst on rst (Sol/G).
Uk-Arn

In a variant of the makam Uk used in Turkish Classical Music, formed by adding an Uk tetrachord on arn (Mi/E) to the scale of the makam Uk.
Uk Tetrachord (Uk Drtls)

In Turkish Classical Music, a four-note scale pattern based on dgh (La/A - in its place) so as to form a perfect fourth.
Uk-Gerdniye

A variant of the makam Uk used in Turkish Classical Music. No examples have survived to the present.
Uk-Gevet

A variant of the makam Uk used in Turkish Classical Music. No examples have survived to the present.
Uk-Mye

A variant of the makam Uk used in Turkish Classical Music. No examples have survived to the present.

Uk-Nevrz

A variant of the makam Uk used in Turkish Classical Music. No examples have survived to the present.
Uk-Ry-I Nikrz

A variant of the makam Uk used in Turkish Classical Music. No examples have survived to the present.
Uk-Selmek

A variant of the makam Uk used in. No examples have survived to the present.
Uk-ehnz

A variant of the makam Uk used in Turkish Classical Music. No examples have survived to the present.
Uyak

Rhyme, derived from the verb uymak, to agree, to jibe.

Uzak Geki

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 Havas, Bozlak, Barak Havas, Elezber, Hoyrat, etc.
Uzzl

1. The name given in some old sources for the note dik hisr. 2. A simple makam used in Turkish Classical Music, formed by adding an Uk tetrachord to a Hicz pentachord. It is ascending in character. Its tonic is dgh (La/A), and its dominant is hseyn (Mi/E). Its suspended cadences are the flavors Nikrz on rst (G/Sol), the notes dik krd (Si/B four komas flat) and nm hicz (Do/C four komas sharp) with no flavor, Bselik and Rst on nev (Re/D) and Hicz on hseyn (Mi/E).
Uzzl-Acem

A variant of the makam Uzzl used in Turkish Classical Music. No examples have survived to the present.
Uk-Hseyn

A variant of the makam Uzzl used in Turkish Classical Music. No examples have survived to the present.
Uk-ehnz

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


Ayak

A subcategory of the Halay and Bar group of folk dances.

l

Thirds. In Turkish Classical Music, there are five types of thirds, covering 18, 17, 14, 13 and 10 komas.
Telli

Lit. "With three strings." A cura-sized member of the balama family played by Turkmen-Yrk peoples in the areas of Burdur, Denizli, Mula and Fethiye.
flemeli alglar

Wind instruments.
mm Dzeni

A tuning used on instruments of the balama family, mostly in and around Ktahya. The lowest string is La/A, the middle string is La/A and the upper string is Re/D.
slp

Style.
st Eik

The nut of a stringed instrument.

st Mzrap

An upstroke with a plectrum.

Vahde

The name of the usl Sofyn in Arabic. Although it was used by old performers, it has been forgotten today.
Vmk

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

A type of uzun hava common among the Southern Turkmen written in an 8-syllable meter of folk poetry. See Farsak.
Varsak Hoyrat

A type of hoyrat sung in the Elaz region.

Vazfe

The function of each tone comprising a makam.

Vecd-i Dil

A makam once used in Turkish Classical Music.

Vech-i Arazbr

A compound makam once used in Turkish Classical Music, formed by adding a Segh tetrachord to the Bayt scale on yegh (Re/D) and the Rst pentachord on argh. It is descending in character. Its tonic is segh (Si/B one koma flat), and its dominants are gerdniye (Sol/G) and nev (Re/D). Its suspended cadences are the flavors Eksik Segh, the Ferahnk pentachord and the Segh trichord on dik hisr (Mi/E one koma flat), Uk on nev (Re/D), Rst on argh (Do/C) and Uk on dgh.
Vech-i Bselik

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

Vech-i Hseyn

The name for the makam Hseyn-Arn given in some sources.

Vech-i ehnz

A compound makam used in Turkish Classical Music.

Velvele

Beating the usls of Turkish Classical Music, dividing them by section.

Vezin

1. A part of the metric pattern of a piece. Also Tartm, Dzm. 2. Prosody

Visl

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

Stress, emphasis.
Vurmal alglar

Percussion Instruments. Also Vurma Sazlar.

Vuru

In Turkish Classical Music, the division of an usl according to its structures. See Darb.

Y
Yabanci Ses

In Turkish Classical Music, a note foreign to the scale of a makam.

Yahyal Kerem

A type of Kerem Havas (See Kerem Havas).

Yakm

A folk poem or mani sung to a melody.

Yakn Geki

A modulation from one makam to another makam with a similar scale.

Yakn 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.

Yall

A halay-type dance performed in Northern Anatolia and Azerbaijan, and the music that accompanies this dance.
Yaman Trk

A makam created by Dutch musicologist Woulter Swets.

Yank

Plaintive, intense. A musical performance of such quality.

Yank Kerem

A form of Kerem Havas (See Kerem Havas) with a melodic patern that resembles the makam Nikrz, and uzun havas sung with this melody.
Yr

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

Yarm Durgu

See Durgu.
Yataan

A string instrument once used in Turkish Classical Music that resembled a santr.
Yayl alglar

Bowed instruments, a term coined by scholars but unknown colloquially, for all the instruments played by a bow. Kemene, Kabak Kemane, Trnak Kemane, Nahora, Kemana etc.
Yayl Tanbr

A tanbr 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 Koma

A type of koma 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.
Yegh

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 Rst scale transposed to nev (Re/D) to the scale of the makam Nev. It is descending in character. Its tonic is nev (Re/D) and its dominant is dgh (La/A). Its suspended cadences are the flavors Segh or Ferahnk on segh (Si/B one koma flat) or the Segh trichord, the Uk, Rst and Bselik tetrachord on dgh, the Ferahnk pentachord and the Segh trichord on rk (Fa/F four komas sharp), as well as the Rast flavor on rst (Sol/g) and Uk on hseyn arn (Mi/E).
Yeldirme

The fast portion of Halays, Bars and Semhs. Also Yelleme

Yelli Ddk

1. Another name for the folk flute known as the ifte. 2. The old name for the reed pipe.
Yelteme (=Yaltama)

A string instrument once used in Turkish music. It is mentioned in Evliya elebi's travelogue, but aside from its name, we have no information about it.
Yemen Dmbelei

A type of dmbelek used in Turkish music.

Yerli

Local; a term often used in describing musical features unique to a particular area. Yerli Az, Yerli Bar, Yerli Divanisi etc.
Yr

A word for song, trk, melody among the Central Asian Turkic peoples. Also Ir.
Yol Havas

Lit. "Road/Journey Air," the term for a song telling of a journey.

Yksek

High in register.
Yksek Hava

A folk song sung in a high register.

Yngl

A term indicating that a song or piece should be played quickly.

Yrk

In Turkish Classical Music, a term meaning that the usl is to be played quickly.
Yrk Aksak

The name for the fast verstion of the usl Aksak, written as 9/8 or 9/16. See Aksak.
Yrk Sem

1. A minor usl of Turkish Classical Music, formed by playing two measures of Sem consecutively. It is generally written in 6/8. The 6/4 form is called Sengn Sem, and the 6/2 form, Ar Sem. 2. High form in Turkish Classical Music; the fastest of the high vocal forms.
Yrk Yrk Sem

The fastest of the 6/8 form of Yrk Sem.

Z
Zd-i Dil

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

A minor usl of Turkish Classical Music.

Zhir

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 Kudm stick.

Zkir

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.

Zvil

A compound makam used in Turkish Classical Music, formed by adding a Nikrz pentachord to the makam Mhr. Descending in character, its tonic is rst (Sol/G) and its dominant is nev (Re/D). Also called Zavil.

Zvil

The old name for the makam zvil. See Zvil.

Zvil-Isfahn

A variant of the makam Zvil once used in Turkish Classical Music. No examples have survived to the present.
Zvil-Segh

A variant of the makam Zvil once used in Turkish Classical Music. Its tonic is dgh (La/A).
Zemn

The name of the first hne 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-Krd

A variant of the makam Zemzem once used in Turkish Classical Music. No examples have survived to the present.
Zencr

A 120-beat major usl of Turkish Classical Music. It is formed of the usls ifte Dyek, Fhte, enber, Devr-i Kebr and Berefn in that order.
Zende-Rd

A compound makam once used in Turkish Classical Music. No examples have survived to the present.
Zengle (=Zirgle)

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 zengle, and in the high octave, ehnz. 2. A simple makam used in Turkish Classical Music. Its alternative name is Zengleli Hicz. It is formed by adding a Hicz tetrachord to a Hicz pentachord. Ascending in character, its tonic is dgh (La/A), and its dominant is hseyn (Mi/E). Its suspended cadences are the flavors Nikrz on rst (Sol/G) and nev (Re/D), the notes nm hicz (Do/C four komas sharp) and dik krd (Si/B four komas flat) with no flavor, Bselik and Rst on nev (Re/D), and Uk on hseyn (Mi/E). 3. The Persian word for a rattle or small cymbal.
Zengle-Bselik

A variant of the makam Zengle used in Turkish Classical Music, formed by adding the scale of the makam Bseik to the scale of the makam Zengle on dgh (La/A - in its place). Its tonic is dgh (La/A).

Zengle-Gerdniye

A variant of the makam Zengle once used in Turkish Classical Music. No examples have survived to the present.
Zengle-Gevet

A variant of the makam Zengle used in Turkish Classical Music, formed by adding the scale of the makam Gevet to that of the makam Zengle on segh (Si/B one koma flat). Its tonic is segh (Si/B one koma flat). No example have survived to the present.

Zengle'li Krd

A compound makam of Turkish Classical Music, formed by adding a Hicz tetrachord to the makam Krd. Its tonic is Zengle (Sol/G four komas sharp).
Zengle'li Sznk

A transposed makam used in Turkish Classical Music. It is the makam Zengle transposed to rst. Descending-ascending in character, its tonic is rst (Sol/G), and its dominant is nev (Re/D). Its suspended cadences are the flavor Nikrz on argh (Do/C), the notes evi (Fa/F four komas sharp) and hisar (Mi/E four komas flat) with no flavor, and the flavor Hzzm on segh (Si/B one koma flat).
Zengle-Mye

A variant of the makam Zengle once used in Turkish Classical Music. No examples have survived to the present.
Zengle-Nevrz

A variant of the makam Zengle once used in Turkish Classical Music. No examples have survived to the present.
Zengle-Selmek

A variant of the makam Zengle once used in Turkish Classical Music formed by adding the scale of the makam Selmek to a Zengle scale transposed to rst. Its tonic is rst. No examples have survived to the present.
Zengle-ehnz

A variant of the makam Zengle once used in Turkish Classical Music, formed by adding the scale of the makam ehnz to a Zengle scale on dgh (La/A - in its place). Its tonc s dgh (La/A). No examples have survived to the present.
Zevk-Bah

A variant of the makam Zengle once used in Turkish Classical Music. No examples have survived to the present.
Zevk- 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 evk-i Cedd and Arabn Krd. 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 zkan calls these kinds of zeybeks "Zeybekimsi" (Zeybek-ish)
Zeyl-Hne

The name for the last hne of perevs and saz semsis having more than four hnes.
Zlgt

Ululation, a sound consisting of li li li li or l l l l, 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 adr

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 Maa

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 alpara.
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.

Zrefkend (=Zrefken)

A compound makam used in, formed by adding the scale of the makam Sab transposed to arn to the scales of the makams Mahr, Rhnevz and argh. It is descending in character. Its tonic is arn (Mi/E), and its dominants are rst (Sol/G), argh (Do/C), nev (Re/d) and bselik (Si/B. Its suspended cadences are the flavors Nikrz on rst (Sol/G) the notes nm hicz (Do/C four komas sharp) and dik krd (Si/B four komas flat) with no flavor, the Ferahnk tetrachord or the Ferahnk flavor on rk (Fa four komas sharp) and Rst on yegh (Re/D).

Zrefkend-i Bzrg

A variant of the makam Zrefkend once used in Turkish Classical Music. No examples have survived to the present.
Zrefkend-i Kek

A variant of the makam Zrefkend used in Turkish Classical Music later known simply as Zrefkend.
Zrefkend-i Rm

A variant of the makam Zrefkend once used in Turkish Classical Music; the form taken by the makam Zrefkend in Anatolia.
Zrgle

The alternative name for the makam Zengle.

Zrke-Hvern

A compound makam used in. The old name for the makam Dilke-Hvern.
Zrke-Hseyn

A compound makam used in Turkish Classical Music. A variant of the makam DilkeHvern.
Zrkede

A compound makam used in Turkish Classical Music.

Ziyde

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.
Zlf-i Nigr

A compound makam used in Turkish Classical Music.