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.
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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.
Husayn Bayqarah was born in Herat; on both his mother's and father's side he descended from Timur. He ruled Herat and Khorasan for about thirty-seven years and died near Herat. He wrote poetry in Chagatai Turkish and Persian under the pen name Hüseynî. His court, with Ali-Shir Nava'i foremost, became a cultural centre where poets, calligraphers and musicians gathered; he patronized artists such as Hoca Abdullah Mervârid, Gulâm Şâdî and Şeyhî Nâyî. He himself was engaged in music; in his time a circle emerged that is referred to as the Herat school of music.[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.
In the score archive
Our score archive has no piece related to Husayn Bayqarah 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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