Rhythm in Turkish music
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In
Usul patterns have standard pronounceable vocables built from combinations of the syllables düm, dü-üm, tek, tekkyaa, teke, te-ek, where düm, dü-üm indicate a strong low beat of single or double duration, and tek, tekkya, teke, te-ek indicate various combinations of light beats of half, single or double duration. Long usuls (e.g., 28/4, 32/4, 120/4) are compound metric structures that underlie longer sections of entire compositions.
In Ottoman times, the usul was realized by drummers. Drums are generally omitted in modern performances except for Mevlevi. When performing music for the Mevlevi ceremony, drummers traditionally play embellished (velveleli) versions of the usuls.
Instrumental improvisations (taksim) and vocal improvisations (gazel, mersiye, etc.) are generally performed in "free" rhythm, with no usul.
The melodic counterpart to usul rhythmic mode is makam melodic mode. The parallel system to usul in Indian music is tala.
Usul
Usuls based on number of beats per bar
- 2-) Nimsofyan
- 3-) Semâî
- 4-) Sofyan
- 5-) Zafer, Türk Aksağı (Süreyya)
- 6-) Yürüksemâî, Sengin Semaî , Ağır Semai
- 7-) Devr-i Hindî, Devr-i Turan (Mandra), Devr-i Aryân
- 8-) Düyek, Ağırdüyek, Katakofti (Müsemmen)
- 9-) Aksak, Ağır Aksak, Oynak, Evfer, Ağır Evfer, Bulgar Darbı (Darbıbulgar), Çiftesofyan (Raksaksağı)
- 10-) Aksaksemaî, Ağır Aksaksemaî
- 12-) Frenkçin
- 13-) Nimevsat
- 14-) Devrirevan
- 16-) Nimhafîf
- 32-) Hafîf, Muhammes
- 88-) Darbıfetih
See also
External links
- [1] Rhythmic layers in Turkish art music