Author(s): Gökhan YALÃIN
Edvar books which are the most valuable written sources of Turkish music. They are the only inheritors that bear the knowledge of the musical theory of the period that was written to the coming centuries. In some edvar books that consist much knowledge about Turkish music, besides certain instrumental pieces have been recorded by using ebced or letter music notation. Kantemiro?lu Edvar?, Nayi Osman Dede'nin Defteri, Kevserî Mecmuas? are some of these works. Hundreds of instrumental pieces have been recorded in these written sources. As is known these about five hundred instrumental works which are recorded in Kantemiro?lu Edvar? and Kevserî Mecmuas? by using letter music notation have a very important place in terms of practical and theoretical. The most notable of these works are the works named "Hüseyni Külli Külliyat-? Makamat". Because these works are written in pe?rev form are the only examples which are accepted as a kind of competence indicator and consist dozens of maqams. In Kantemiro?lu Edvar and Kevserî Mecmua, there are four works called Külli Külliyat-? Makamat which are recorded in pe?rev form and one work as improvisation (taksim). These works are named “Der Makâm-? Hüseynî Külliyât-? Küllî Külliyât ve Külliyât-? Makâmât/Usûl-i Fâhte”, "Hüseyni Külli Külliyat Usule? Fahte Harun Yahudi", "Hüseyni Külliyat Fahte Kutb-i Nayi", "Hüseyni Nazire-i Külli Külliyat Fahte Muzaffer" and "Hüseyni Taksim-i Külli külliyat". All of these works have been translated into Western notation in a few work. These works represents the maqam samples of the eighteenth century. It is thougt that by analyzing the progress features of these works will contribute to a better understanding for the eighteenth century music theory, on the other hand by attracting the attention of educators and performers to these works to gain them to Turkish music education and repertoire is important. In this study, it is aimed to examine the work in Kantemiro?lu Edvar? (v. 13-14) and Kevserî Mecmua (v. 88b) named "Hüseyni Külli Külliyat Usule? Fahte/Harun Yahudi" which belongs to Harun Yahudi. In this study, the maqams stated on the work were examined in terms of tonic, scale and hanging tonic pitches (tastes), and the progress samples were compared with the relevant maqams and definitions in Kantemiro?lu Edvar?, as well as with other works containing "Külli Külliyat-? Makamat". In conclusion of the study, it is determined that there are important maqams or compounds in the sample of this külli külliyat-? makamat belongs to Harun Yahudi that virtually we can not reach any information about him. It is seen that among these maqams almost the first and only progress samples of safâyan, hüseynibuselik, acembuselik, ?iraz maqams are exist in these work.
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