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.
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Classical Turkish music works in real staff notation with AEÜ accidentals. Read the score, hear it with kanun sound, adjust the tempo.
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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.
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Mehmed Esad Efendi
Died: 1753 Hijri calendar: ? – 1166/67
Scores of works by Mehmed Esad Efendi (?–1753): 1 pieces in real notation with AEÜ accidentals, playable with kanun sound, plus recordings.
Ebûishakzâde Mehmed Esad Efendi was born in 1685 in Istanbul, the son of Şeyhülislam Ebû İshak İsmâil Efendi. After serving as madrasa teacher, judge and kazasker (chief judge), he became şeyhülislam in 1748–1749. He wrote poetry in Turkish, Arabic and Persian; his dictionary Lehcetü'l-lugāt and his biographical dictionary of musicians, the Atrabü'l-âsâr, are important. He composed works in the ilahi, beste, semai and şarkı forms; he died in 1753.[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.
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.