This music by anonymous composers has come down from generation to generation ,in folk songs and dances. Turkish folk songs are lyrical and depict feelings and events in life including love, happiness, sorrow and sadness. Variations on any one tune can be found.
Are tunes composed of rhythmic and measured melodies.
(Refer
to Note 5) generally known as "Turkuler", and dassed according to the
words such as "Kosma", "Varsagi", "Mani", "Destan", "Karsilama","Semai","Divan"
kalenderi".
These give the impression of improvised tunes with
a series of high to low notes and have no rhythm or measure.
(Refer
to Note 6)Tunes in the Uzun Havalar group often change their names
according to region. Types include Maya, Bozlak Uzunhava, Agit,Hoyrat.
Kesik (Kesuk) ,Yanik.
Turkish folk songs have an average range of one-and-a-half octaves.Arrangements differ in every region. The modal structure has six outstandingmodes called" ayak". These are "Kerem","Garip", "Bozlak", "Derbeder", "Mustezat' and "Misket' (refer to examples 7, 8, 9 and 10) which vary depending on the region.
Rhythms in Turkish folk songs are not given special names as in Turkish Art Music which are two stage, seven stage, nine stage rhythms etc. Terms for Turkish folk music change with the region.
Divan Sazi, Meydan Sazi, Baglama,Tambura ,Cura etc. Baglama type instruments have three strings which are tuned to la-re-sol ("Bozuk duzen" or order), la-re-mi ("Baglama duzeni" or order), la-re-fa diyez ("Misket duzeni" or order ) and la- re- fa ("Mustezat duzeni" or order).
b) Tar stringed instruments. (plucked, with a leather top)
These collections can be gathered under three headings.
In the first trip undertaken at the end of July 1928
to Adana,Gaziantep,Urfa, Nigde, Kayseri and Sivas by Yusuf Ziya Demircioglu,
Rauf Yekta. Durri Turan and Ekrem Besimdag, 250 folk melodies were collected.
The second trip undertaken in July 1927 to Konya, Eregli, Karaman, Alasehir, Odemis and Manisa by Yusuf Ziya. Ekrem Besimdag, Muhittin Sadak and Ferruh Arsunar resulted in a collection of close to 250 melodies.
The third trip was made in 1928 to Inebolu,Kastamonu, Cankiri,Ankara, Eskisehir, Kutahya and Bursa by Yusuf Ziya Demircioglu, Ekrem Besim, Muhittin Sadak and Ferruh Arsunar during which more melodies were collected.
A fourth trip was made in August 1929 to Trabzon, Rize,Gumushane,
Bayburt, Erzincan, Erzurum, Giresun and Sinop for further collections by
Yusuf Ziya Demircioglu. Mahmut Ragip Gazimihal, Remzi and Ferruh Arsunar.
From 1937 to 1957, a trip was undertaken every year
to collect melodies. Ferit Alnar, Necil Kazim Akses, Ulvi Cemal Erkin,Halil
Bedii Yonetken and Muzaffer Sarisozen took part in five of the trip,Halil
Bedii Yonetken and Riza Yetisen carried on the work alone and some 10,000
melodies were collected, and many were recorded on wax records. These are
still preserved in the archives of the Ankara State Conservatory at Hacettepe
University.
The TRT undertook trips to Kars, Erzurum, Van, Hakkari,
Erzincan, Diyarbakir,Elazig, Urfa, Adana, Bitlis, Mus, Bingol and Siirt
during 1961 and recorded melodies for their archives. During 1967-8 teams
made recordings in Gaziantep, Burdur, Van,Erzurum, Izmir, Trabzon and Balikesir
which are still used in their broadcasts. A one-month trip was also made
to Erzurum and Kars, during which special attention was devoted to melodies
in the asiklama, atislama and davul zurna class, and examples were recorded.
The trip was undertaken by Nida Tufekci, Zihni Dercin and Muzaffer Yonden.
Another organization that has contributed to the research and collection of Turkish folk songs is tha Halkevleri (People's Centres) and their activities are worthy of interest.
Work started by Muzaffer Sarisozen at the Turkish Radio on collection, musical notation and broadcasts of Turkish folk music is still continuing. Today the TRT has a collection in excess of 3000 works.