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.
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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.
Hamâmîzâde Osman Bey was born in Üsküdar; he is also known as Hacı Osman Bey. He received the nickname Hamâmîzâde because he was one of the owners of the Ağa Bath in Üsküdar and ran it. He became a follower of the Kadiri sheikh Osman Şems Efendi and learned music from Hacı Fâik Bey; he is also known as a ney player. He composed many ilâhis as well as şarkıs in yegâh and nihâvend. Because of his closeness to the crown prince Mehmed Reşad he was exiled to Aleppo, where he died and was buried. One of his students was Yusuf Dağseven.
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.
In the score archive
Our score archive has no piece related to Hammami Üsküdarlı Osman Efendi yet. If you have a public-domain score, you can send it to us.
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
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