Saz Semaileri (Ottoman Music)

  1. Hüsnü Şenlendirici - Muhayyer Kürdi Saz Semaisi
  2. Nursal Ünsal Birtek - Muhayyer Kürdi Saz Semaisi
  3. Muhayyer Kürdi Saz Semai
  4. Tanburi Cemil Bey - Muhayyer Saz Semaisi
  5. Kürdili Hicazkar Saz Semai - Reşat Aysu
  6. Göksel Baktagir - Kürdilihicazkar Saz Semaisi
  7. Baki Kemancı - Garip Hicaz Saz Semaisi
  8. Hicaz Saz Semaisi - Refik Talat Alpman
  9. Göksel Baktagir - Muhayyerkürdi Saz Semaisi
  10. Refik Fersan Hicaz Peşrev - Göksel Baktagir
  11. Arap Saz Semaisi
  12. Music of Empire Ottoman - Hicaz Saz Semai
  13. Özer Özel - Derya Türkân - Tanburî Cemil Bey Ferahfeza Saz Semaisi
  14. Ferahfeza Saz Semaisi - Tanburi Cemil Bey
  15. Hicazkar Saz Semai - Tanburi Cemil Bey
  16. Neva Saz Semaisi - Ziya Paşa
  17. Nihavend Saz Semaisi - Erzurumlu Hasip Dede
  18. Necdet Yaşar - Suzidil Saz Semaisi
  19. Hüseyni Saz Semai
  20. Reşat Aysu Buselik Saz Semai
  21. Yansımalar - Mahur Saz Semai
  22. Arap Saz Semaisi-Bayati makamı
  23. Music of Empire Ottoman - Hüzzam Saz Semai
  24. Suzidil Saz Semai
  25. Şevkefza Saz Semai - Said Dede
  26. Kürdilihicazkâr Saz Semaisi - Reşat Aysu
  27. Göksel Baktagir - Hicaz Saz Semaisi
  28. İsfahan Saz Semaisi - Tanburi Cemil Bey
  29. Music of Empire Ottoman - Acemasiran Saz Semai
  30. Niyazi Sayın - Pesendide Saz Semaisi
  31. Tanburi Cemil Bey'dan Şedaraban Saz Semaisi
  32. TRT- Tanburi Cemil Bey'in Şedaraban Saz Semaisi
  33. Hüsnü Şenlendirici - Hicaz Saz Semaisi
  34. Muhayyerkürdi Saz Semai - Nihavent Taksim
  35. Music of Empire Ottoman - Acemkurdi Saz Semai
  36. Murat Salim Tokaç - Bayati Saz Semaisi Kanuni Ömer Efendi
  37. Refik Fersan - Nikriz Saz Semaisi
  38. Hicâzkâr Saz Semai -Tanburi Cemil Bey/Murat Aydemir
  39. Hicaz saz semaisi; garip- Göksel baktagir feat Hüsnü Şenlendirici
  40. Rast saz semai Tatyos Efendi Hagopoian
  41. Kürdilihicazkar Saz Semaisi - Hayal Gibi Ezgiler
  42. Birol Yayla - Şenol Filiz - Muhayyer Saz Semaisi
  43. Arap Saz Semaisi
  44. Nevâ Saz Semaisi - Sabah Şarkısı
  45. Neveser Saz Semaisi - Neyzen Yusuf Paşa
  46. Hicaz Saz Semaisi - Refik Talat Alpman
  47. Hüzzam Saz Semaisi - Udi Nevres Bey
  48. Kürdi Saz Semaisi - Masum Aşk
  49. Süleyman Yardım - Hüseyni Saz Semaisi
  50. Taskim Trio - Muhayyer Kürdi Saz Semaisi
  51. Sinan Erdemsel - Uşşak Saz Semai
  52. Reşat Aysu - Kürdilihicazkar Saz Semaisi
  53. Göksel Baktagir - Kürdilihicazkar Saz Semaisi
  54. Buselik Saz Semaisi - Mutlu Torun
  55. Derya Türkan ve Özer Özel - Pesendide Saz Semaisi
  56. Nevasaz - Nikriz Saz Semaisi
  57. Rast Saz Semaisi - Benli Hasan Ağa
  58. İsmail Hakkı Bey - Acemkürdi Saz Semaisi
  59. Sultani Yegah Saz Semai - Nedim Ağa
  60. Kürdilihicazkar Saz Semaisi - Tatyos Efendi
  61. Ersin Ersavas - Nihavend Saz Semai
  62. Reşat Aysu - Muhayyerkürdi Saz Semaisi
  63. Kemal Niyâzi Seyhun'un Hicazkar Saz Semaisi
  64. Tatyos Efendi - Kürdili Hicazkar Saz Semaisi
  65. Mahur Saz Semai - Kemenceci Nikolaki
  66. Şehnaz Saz Semaisi - Kemençeci Nikolaki
  67. Sultaniyegah Saz Semaisi Nedim Ağa - Necdet Yaşar & Niyazi Sayın
  68. Muhayyer Saz Semaisi - Tanburi Cemil Bey
  69. Özer Özel & Derya Türkan - Nihavend Saz Semaisi
  70. Taksim Trio - Mahur Saz Semaisi
  71. Göksel Baktagir - Hüzzam Saz Semaisi
  72. Hüzzam Saz Semaisi - Udi Nevres Bey
  73. Nedim Nalbantoğlu - Kürdili Hicazkar Saz Semai
  74. Göksel Baktagir - Hicaz Saz Semaisi
  75. Mesut Cemil Beyin Saz Semaisi - Nihavend Müşterek Taksim
  76. Sultâniyegâh Saz Semaisi - Bestekarı: Kanunî Hacı Arif Bey
  77. Ercan Irmak - İlyas Mirzayev - Muhayyer Kürdî Saz Semaisi
  78. Nihavend Saz Semaisi - Mesut Cemil
  79. Hicazkâr Saz Semaisi - Kemal Niyazi Seyhun
  80. Tanburi Cemil Bey - Şedaraban Saz Semaisi
  81. Ferahnak Saz Semaisi - Çinuçen Tanrıkorur
  82. Uşşak Saz Semaisi - Neyzen Salih Dede
  83. Mesut Cemil Bey - Isfahan Peşrevi ve Saz Semaisi
  84. Ankara Radyosu Saz Sanatçıları - Muhayyer Kürdi Saz Semaisi
  85. Ersin Ersavas - Muhayyer Saz Semai
  86. Enstrümantal - Neva Saz Semaisi
  87. Hüzzam saz Semaisi - Niyazi Sayın - Necdet Yaşar
  88. Nihavent Saz Semai - Sokratis Sinopoulos
  89. Music of Empire Ottoman - Kurdilihicazkar Saz Semai
  90. Tanini Trio 'dan Reşat Aysu'nun Kürdilihicazkar
  91. Hüzzam Saz Semaisi - Refik Fersan
  92. Neva Kâr - Buhurîzade Mustafa Efendi
  93. Göksel Baktagir - Muhayyerkürdi Saz Semaisi
  94. Reşat Aysu - Hicaz Saz Semaisi
  95. Music of Empire Ottoman - Nihavent Saz Semai
  96. Trt Müzik Ezgileri Yurdumun - Kürdilihicazkâr Saz Semaisi
  97. Suzidil Saz Semaisi - Fahri Kopuz & Sedad Öztoprak
  98. Music of Empire Ottoman - Sultan-i Yegah Saz Semai
  99. Hüseyni Saz Semai - Lavtaci Andon - Vosporos
  100. Rast Saz Semaisi - Benli Hasan Ağa
  101. Hisarbuselik Saz Semaisi Ferit Sidal
  102. Neveser Saz Semaisi - Yusuf Paşa
  103. Tatyos Efendinin Hüseyni Saz Semaisi
  104. Classical Turkish Music - Arazbar Buselik Saz Semai
  105. Goksel Baktagir - Hüzzam Saz Semaisi
  106. Göksel Baktagir - Sultanıyegah Saz Semai
  107. Karcıgar Saz Semaisi - Tatyos Efendi
  108. Ercan Irmak - İlyas Mirzayev - Muhayyer Kürdî Saz Semaisi
  109. Şehnaz Saz Semai - Nikolakis
  110. Ercan Irmak - Muhayyer Kürdi Saz Semaisi
  111. Classical Turkish Music - Nikriz Saz Semai, Refik Fersan
  112. Kemani Tatyos - Hüseyni Saz Semai
  113. Nihavend Saz Semaisi - A. Şenol Filiz - Birol Yayla
  114. Tanini Trio - Kürdilihicazkar Saz Semaisi
  115. Göksel Baktagir - Kürdi Saz Semaisi
  116. Nihavend Saz Semaisi - Jeszensky
  117. Enstrümantal - Hisar Buselik Saz Semaisi
  118. Mahur Saz Semai - Kemenceci Nikolaki
  119. Yegah Saz Semaisi - Aziz Dede
  120. Cinuçen Tanrıkorur - Hüseyni Saz Semaisi
  121. Tatyos Efendi Kürdilihicazkar Saz Semaisi
  122. Hasip Dede - Nihavend Saz Semaisi
  123. Cumhurbaşkanlığı Klasik Türk Müziği Sanatçıları - Saz semaisi - Benli Hasan Ağa
  124. Nikriz Saz Semai - Yorgo Bacanos
  125. Evç Saz Semaisi - Muaillim İsmail Hakkı Bey

About Ottoman Music

The form of music today generally known as Türk Sanat Müziği, or Ottoman Classical Music, matured, developed in form and aesthetics and came to assume the identity of a form of classical music in parallel to the establishment, growth and increasing strength of the Ottoman state itself. This variety of music furnished products dealing with many subjects, such as religion, love and war. Each of these then came to develop its own varieties, styles and communities. Ottoman music was influenced by other musical cultures as new nations became absorbed into the empire, giving and receiving various elements. From the beginning of the 19th century, however, as the empire began to recede and collapse, increasing shallowness and laxness can be seen in Ottoman music. While rich modes and styles had been employed in the past, this concept gradually faded and turned into metropolitan entertainment music. That process has continued to the present day, and the ‘popular song’ has become increasingly popular and popularised, effectively taking the place of the other forms.

A great number of works were actually forgotten and disappeared as less importance was attached to notation in the middle of the 19th century. The number of works that were written down and have survived down to the present day is some 3,000 for works composed between the 15th century and the end of the 18th. The number produced during the 19th century is around 5,000, giving a total of 8,000. A number of works from the first quarter of the 20th century can also be added to those works, which from the point of view of mode, style, means and methods of vocalisation go back to the very earliest times within a framework of their own distinct rules. Ever since then, the music that has continued to be produced under the name of ‘Turkish Classical Music,’ and which has grown ever more popular, can be seen as an extension of Ottoman music adapted to present-day norms.

Ottoman music is a synthesis, carrying within it a great many historical riches. It emerged as the result of a sharing process between the Turks and the minorities living alongside them, the Byzantines, Greeks, Persians, Arabs, Jews, Armenians etc. It reached its golden age in the private school in the Ottoman palace. No country that employed that system was able to reach the level of artistry attained by the Ottomans.

Ottoman music was formed and given voice in the ‘Fasıl,’ itself based on unity of mode.

Fasıl; Works composed within the same melodic structure (makam) , or mode, set out and played in a particular order. In a genuine fasıl, there will be works for voice and for saz. The basis of the fasıl is that the works should have the same melodic structure, and they are then ordered according to shape or form. There must generally be two ‘Beste’ (poetic forms) and five ‘Semai’ composed to count as a complete fasıl. These are accompanied by lyrics. The compositions are in the form of ‘Murabba’ (a poem composed of quatrains) or ‘Nakış’ (a form of song). Murabbas are composed for two rhyming couplets of a ‘Gazel,’ and may be with or without ‘Terennüm,’ which are words that complement the verses that make up the formal lyric of the song, and may either have a meaning or else be just a string of syllables, for example ‘ten, tenen, tenenen, ten nen ni.’ Lines 1, 2 and 4 of the poem are tied to the same melody, with line 3 having a different melody. This latter section is known as ‘Miyan Hane,’ wherein the makam is either widened or changed. Murabbas with terennüm repeat it at the end of each line. The terennüm of the miyan hane may be different, however. In the nakış, on the other hand, two verses are read together, followed by a lengthy terennüm.

Semai with lyrics and the same structure as the murabba or nakış (but composed in the semai style) are known as ‘Ağır’ and ‘Yürük’ Semai respectively. In the fasıl, lyrical works such as the ‘Kar’ or ‘Şarkı’ and instrumental pieces such as ‘Taksim,’ ‘Peşrev,’ ‘Saz Semaisi’ and ‘Oyun Havası’ may be added. In this way, the structure of a complete fasıl is as follows;

a) Any introductory Taksim with saz.
b) Peşrev
c) The first beste or kar.
d) Second beste.
e) Ağır semai
f) Şarkıs (in order from major rhythmic pattern and slow character, to minor and fast)
g) Yürük Semai
h) Saz Semai

The ‘Kar’ gives considerable space to the terennüm component, and is a work with lyrics requiring considerable expertise. It is one of the most developed forms. The ‘Şarkı’ in Turkish literature is a form that emerged under the influence of the folk song. The şarkı consists of lines of verse, its name depending on the number of verses involved. It is composed with a minor rhythmic pattern (usul) and take can take various forms. It was particularly popular after the 19th century, and left the other forms which included lyrics in the shade. It went from strength to strength in the 20th century, going beyond the previously established frontiers and eventually turning into the ‘Fantezi’ form as it grew more and more popular. Apart from a few outstanding examples, it played a major role in restricting the sphere of traditional classical music.

The following are the form of instrumental pieces employed in Ottoman music;

Peşrev: Generally composed in major rhythmic patterns, such as ‘Darb-ı Fetih,’ ‘Sakil,’ ‘Muhammes’ and ‘Devr-i Kebir,’ or sometimes in minor ones, such as ‘Düyek.’ It is a saz work that emerged from the sections called ‘Hane’ and the ‘Mulazime’ section that comes between and is repeated with little change.

Saz Semaisi: Although they have the same structure as the peşrev, the saz compositions falling in the semai (six-time), ‘aksak semai’ (10-time) and yürük semai (six-time) categories are known as ‘Saz Semaisi.’ These come at the end of the fasıl, following the yürük semai.

Taksim: Intended to introduce, prepare the way or warm up for the makam, these are played with a single instrument, within the makam, yet not linked to any rhythmic pattern, and are either free-form or improvised.

Oyun Havası: Instrumental pieces composed for dancing.

Usul: Up to 15-time these are known as ‘Küçük Usul’ (minor pattern), and after 15-time as ‘Büyük Usul’ (major pattern). When the two are employed together, this is known as ‘Darbeyn.’ There are also strings that use one usul after another. One of these consists of five usul, either 60 or 120-time, depending on which view one adopts, and this is known as ‘Zencir.’ Kücük usul in 5, 7, 9-time etc. or 10-time works such as the aksak semai, are known as ‘Aksak Usul.’ The true times that bear the name ‘aksak’ are usul in 2+2+2+3 form.


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