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.
Born in 1779, he died in 1837 and was buried at Eyüp Sultan. He was a hânende and composer and served at the palace as chief muezzin and as a musâhib (companion to the sultan). He learned singing from Başçavuş Mustafa Efendi and composition from Dede Efendi; he also played the violin and the tanbur. His şarkıs and his Ferahnâk yürük semai have a place in the classical repertoire.[1, 2]
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.
Documented
A fasıl shared with Dede Efendi
In 1812 Şâkir Ağa put together a fasıl with Dede Efendi in makam ferahnâk, which he himself had arranged: the kâr, the first beste and the yürük semâî are by Şâkir Ağa, the second beste and the ağır semâî by Dede Efendi. The two composers were at times rivals. The yürük semâî “Bir dilbere dil düştü” in our archive may be the yürük semâî of that fasıl, but this is not certain.[3]
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.
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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.