Memories attributed to composers and the stories behind pieces, with their sources. Each story shows how reliable its source is; read each one on its own page and listen to the piece.
Sheet music archive
Classical Turkish music works in real staff notation with AEÜ accidentals. Read the score, hear it with kanun sound, adjust the tempo.
Century
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The archive only holds classical and sacred works whose composer and lyricist died more than 70 years ago; folk songs (türkü) and recent composers are not included for copyright reasons.
The level is estimated automatically from the score: range, notes per second, tempo, short and dotted values, the length and asymmetry (aksak) of the usul, the variety of perdes and the length of the piece are scored together. It is a guide, not a substitute for a teacher's judgement.
The archive only includes works by composers whose copyright has expired.
The level is estimated automatically from the score (range, speed, rhythm, usul, variety of perdes, length).
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About this workThe story of the piece
The story linked to this piece, as told in the sources. The reliability of the source is shown above it; the sources are listed at the end of the page.
Scores of works by Dellalzade İsmail Efendi (1797–1869): 19 pieces in real notation with AEÜ accidentals, playable with kanun sound, plus recordings.
MakamYegâh (4), Karcığar (3), Acemaşîrân (2), Mahur (2)FormŞarkı (11), Beste (3), Nakış (2), Ağır semai (2)UsulAksak (5), Zencir (3), Yürük semai (3), Aksak Semai (3)Works as lyricist
In brief
Life
Born in 1797 in Fatih, Istanbul, he died in 1869 in Nişantaşı. A hânende and composer, he was a student of Dede Efendi; he served as muezzin and chief muezzin at the palace and taught the hânendes of the Mızıka-yı Hümayun. Some of his works are known for their unusual makam modulations. Hacı Fâik Bey, Mahmud Celâleddin Paşa and Nikoğos Ağa were among his students.[1]
Contributions to music theory
Memories
Memories attributed to him and told in the sources. The reliability of the source is shown above each one; the sources are listed at the end of the page.
Tale
Yegâh has been sealed
It is told that when Zekâi Dede, who had no piece in makam yegâh, was asked why, he replied that with Dellâlzâde’s works in this makam there was nothing left to do; yegâh had been “sealed”. The same remark is also said to be Dede Efendi’s.[2]
The level is estimated automatically from the score: range, notes per second, tempo, short and dotted values, the length and asymmetry (aksak) of the usul, the variety of perdes and the length of the piece are scored together. It is a guide, not a substitute for a teacher's judgement.
Collections
Usuls without works in the archive
No works in these usuls are in the score archive yet; you can hear their düm-tek patterns in the usul metronome.