a)Turkish Music as of Early Ages

The first documents of Turkish military music are available in the ancient Turkish inscriptions. In the Orhun inscriptions, written in the VII th century, and in the SINE-USU inscription, Köbrüge and UG (a kind of drum) have been mentioned. In the SINE-USU inscription, reference has been made to: "UC TUGLIG TURK BUDUNIG" (Turkish nation with three TUGs) and "TUG TASIKIR YELME ERI" (an outpost guard carrying TUG). The word TUG includes meanings such as: KOS (a big drum) and DAVUL (a drum), NEVBET DAVULU (a drum beaten for those of the turn of duty in the military etc.), MEHTERHANE (military band in a suite of a vizier or prince) and SANCAK (a flag).

The line of: "TUGUM TIKIP URULDI" (TUG has been beated) reflects the meaning of TUG for SANCAK-DAVUL (flag-drum).

In the book of DIVANU LUGAT-IT TURK, older Turkish traditions have been preserved with great care and were told when the right moment came: during the time when Alexander the Great inclined towards the Turks country, the young Turkish khan SU was having 360 NEVBET drums beated in front of his palace in BALASAGUN EVERYDAY for his chieftains.

The passages of "HAN TUG URDI" and "TUG URULDI" (The Khan had drums beaten) (Drums were beaten) mean the performance of MEHTERHANE (The building of the imperial military band)

In the XI th century, KÜVRÜG (the big drum), TUG BORGUY (trumpet), ÇENG (cymbal) instruments were known. The Turkish BORU was famous in the name of "NAY-I TÜRKI:" and was played during the wars. We also come across to it in the poetry of NIZAMETTIN from GENCE town. MAHMUT from KASGAR writes that drums and trumpets were played in the battle between BÜKE BUDRAÇ and ARSLAN TEKIN GAZI. The trace of Turkish TUG before the Moslem was discovered by HOCA ABDÜLKADIR-I MERAGI in the early XV th century. Although military music was existed in that period, MERAGI's findings remind us those of 400 years ago.

Number of TUGs could not be more than 9. This tradition of 9 drums were even preserved in the Ottoman's time, the MEHTERHANE of the commander-in-chief was in 9 FOLDS in battles. The Sultan's MEHTERHANE was widened to 12 folds in the XVIII th century and an arrangement was made to widen it in such a way that can be regarded 16 folds in the XVIII th century.

Using drums and flags by Turkish Sultans as a sign of sovereignty has spread and been adopted in the Moslem world through Turks. Turks have maintained this old tradition in the Moslem states they had established. The word TUG has taken the form of "TABIL HANE" (military band) and NEVBET and MEHTERHANE in OTTOMANS, but the original tradition remained unchanged.

Whenever Sultans have wished to confer someone a chieftainship or a principality, they did not neglect to give a flag and a drum together with the other equipment. When they have got the post back from the same person, they received back the flag and the drum they had given because these signs were state property and unless conferred by Sultans they could not be used.

We see military bands in Abbasids, Harzemshahs, the Great Seljuk Empire and Anatolian Seljuks, Ilkhanids, Mamelukes and Anatolian Principalities. To show the relation of MEHTERHANE in the Ottomans, the successor of the Anatolian Seljuks with the XI th century military music, it is appropriate to mentions a few records about the bands in the Anatolian Principalities.

The music, conducted by TABILHANE in the times of the Great Seljuks and the Anatolian Seljuks used to be called NEVBET. At each NAMAZ (Prayer) time, totally five times a day, the Seljuks had five nevbets played. This custom is seen beginning from the ruler MELIKSAH's time up to the decline of the Anatolian Seljuks.

In a few passages of the book of MÜSAMERET ÜL-AHBAR by Aksarayli KERIMUDDIN MAHMUD, it has been confirmed that the same tradition used to be practiced. Emphasis has been also placed on the organisation of the military music bands in the Anatolian Principalities. The author H.ADNAN ERZI gives information to us from the book: DÜSTURNAME-I ENVERI (Enveri Code) and other sources about the music conducted in AYDINOGULLARI, KARAMANOGULLARI, GERMIYANOGULLARI and KADI BURHANEDDIN's army. The Anatolian Principalities have copied the Seljuks on organisation and ceremonies, naturally to a small extent.

In the bands the following instruments were available: TABIL (drum), NAKKAARE (a small kettledrum), NELIR, BORI or BORU (trumpet), SURNAY, ZENC and KÜS (a big drum). All of these instruments used to be played in battles.

The Ottoman Principality, one of the Anatolian Principalities established last, received TABIL and flag from the Seljuk Sultan and had his drums-and-zurna played in the battles after a period of time. The Ottomans not only has maintained the MEHTERAN tradition but also improved its organisation, orderliness and quality of music.

b)The Ottoman Mehter Music

aa)I.Period (from its foundation to 1826)

TERMINOLOGY: The post of MEHTER is rooted from MIHTER after some sound changes in our language, we understand that it is originally a Persian word. MIH (great) and TER compose the word: "MIHTER", meaning; great, the biggest, very large. It has been used in the forms of MIHTER or MIHTAR in some Moslem states, in MAMELUKES and in the place organisation of TURKISTAN to mean; an officer or vizier.

It is unknown when the MEHTER term which meant a top official, has been accepted in the Ottomans; the term MEHTER covered three kinds of posts in the XVII the century:

1.MEHTERAN-I ALEM or MEHTERAN-I TABL-Ü ALEM meaning, performer mehters and standard-bearers.

2.MEHTERAN-I HAYME meaning tent MEHTERS

3.INTERIOR MEHTERS meaning; those doing general services in the government houses and palaces.

Since the term MEHTERAN-I HAYME was met in a document dated 1478, it is estimated that the two terms; MEHTERAN-I ALEM or MEHTERAN-I TABL-U ALEM in the same period to replace it. On the other hand, we come across to the term MEHTER (plural MEHTERAN) meaning a member of the military band in the XVI th century. In the XVII th century, three types of mehters were described with different terms as indicated above. In order to differentiate these three types of mehters in that period, it is necessary that the terminology had to be written in their full form. Otherwise, even in the texts of that century, confusion does happen.

Those MEHTER musicians included in the Sultan's band had been recorded as: "MEHTERAN-I TABL-Ü ALEM-I HASSA".

All the musician MEHTERs working under the supervision of EMIR-I ALEM (pasha of the lowest grade) had been together with the standard-bearers in the so called MEHTERAN-I ALEM or MEHTERAN-I TABL-Ü ALEM communities. In the organisation of TABL-Ü ALEM mehters, the tradesman MEHTERS who have different employment features and the official performer-mehters, the main personnel group of this organisation produces the overall musical composition of this community.

The following difference was mentioned in several passages of the book: "SEYAHATNAME (The Travels) by EVLIYA ÇELEBI, between the official MEHTERHANE and the tradesman MEHTERHANE under it; in this book, the official MEHTERHANE was indicated in such terms as: TABL-Ü ALEM MEHTERHANESI, AL-I OSMAN MEHTERHANESI or TABLI OSMANI, while for the others only the term MEHTERHANE was used.

If we summarise these terms, in the Ottoman period, they were used to correspond the following performers:

MEHTER= A musician employed in the military band

MEHTERAN= plural of the term MEHTER

MEHTERHANE= has the meanings of; military music institute and military band

MEHTERBASI= the head of the organisation or the chief of the mehter bands, below the EMIR-I ALEM in rank.

MEHTERAN-I ALEM= It is the term for the organisation and it also covers the standard-bearers together with the musicians

MEHTERAN-I TABL-Ü ALEM= a substitute term used for this organisation and community. Its dictionary meaning is; drum and flag mehters.

MEHTERAN-I TABL-Ü ALEM-I HASSA= Sultan's mehters who compose the flag carriers group and the band.

BAS-MEHTER AGA= It is the title of the SER-TABL (head of the band) of Sultan's MEHTERHANE in the first quarter of XIX th century. (This should not be confused with the MEHTER-BASI).

Terms rooted from the word; mehter are those of the Ottoman period. They cannot be linked with the Seljuks period or the previous periods of the Interior Asian Turks. However, in the Ottoman period, again the term TABILHANE was not used as widespread as its equivalent MEHTERHANE. The term; TABILHANE had the meaning of the institute of military music, in the Seljuks period as well. When we go back to the earlier periods from the Seljuks; in those periods the term of TUG had been known. It is helpful to mention the identity here to specify the tradition which had been practiced for 9 centuries in the minimum the term TUG had the meaning both for the drum and the flag in old Turks while the same meaning was expressed with the term: TABL-Ü ALEM in Ottomans.

The Organisation

The Beginning and the Development

The MEHTERHANE organisation in Ottomans starts with the TABIL and ALEM sent to Osman Bey by the Seljuk Sultan as a sign of sovereignty. Here, we should indicate some of the international rules or laws:

If a state or ruler at a high level of sovereignty does not send a TABIL and an ALEM to his subject rulers, none of them can use such signs or instruments. The sender of the TABL-Ü ALEM used to tell the receiver rulers on the number of NEVBET performances they could fulfill. Since having a MEHTERHANE exercise a musical performance and using a flag were a sign of sovereignty in the Turkish-Ottoman world, they had to be carried out in accordance with these rules. (NEVBET= Military music performed at certain hours of a day).

After the Seljuks had learned about the victories of OSMAN GAZI, they turned over the possession of SÖGÜT and its surroundings to him in 1284 and instruments representing sovereignty were sent as well. Among these instruments were TUG, ALEM, TABIL and NAKKAARE. When these signs of sovereignty arrived, it was afternoon. OSMAN GAZI held his council and had, for the first time, NEVBET played. Thus, in the state of Ottoman, performing military music has officially started. OSMAN BEY and his attendants listened to the NEVBET, standing. Ottoman rulers from the first performance of NEVBET to the sultanate, whenever they had NEVBET played, when they went to war or during a war, they listened to it, standing. But Fatih Sultan Mehmet (Mehmet II, the Congueror) abolished this tradition since he had deemed it unnecessary.

The first, establishment years of MEHTERHANE organisation are vague. In the period of Mehmet II, the Conqueror and later, for instance, in the period of Kanuni Sultan Süleyman (Suleiman the Magnificent) we come across to some indications that the MEHTER organisation has been improved and reorganised and emphasis placed on it.

II.Sultan Selim-ruled from 1789 to 1807-has made some changes, for instance; he had KÖS included in the MEHTERHANEs for the music training of all the mehters and for the harmony of the HASSA (imperial) military band during their performance.

Zurnazenbasi (The head of the players of Zurna)

ZURNAZENBASI was the third in rank after the EMIR-I ALEM and the head mehter in the TABL-Ü ALEM mehters community. Superiority of him, in comparison with BÖLÜKBASI's (captain) who played the other instruments was on account of his instrument. Because, ZURNA (a primitive double-reed instrument played with a drum) is an instrument which has the power to reflect the melody fully in mehter music in unique for centuries. Since with the other instrument of the military band (MEHTERHANE) BORU (trumpet), it was not possible to play PESREV, it could not compete with ZURNA. In the XVIII th century, in the imperial band, 16 ZURNAs used to be played simultaneously; harmony in the performance of all the ZURNAs was dependent upon the ability and skill of the ZURNAZENBASI.

Detachments of TABL-Ü ALEM MEHTERS

In the period of Sultan Bayezid-I Veli (II. Beyazit) the following detachments of tabl-ü alem mehters were on duty at the headquarters (in the capital Istanbul):

1.NAKKAREZENAN detachment

2.SURNAZENAN detachment (zurna players)

3.RABBALIN (player of a zurna) detachment

4.ALEMDARAN (standart-bearers) detachment

5.ZENÇÇIYAN detachment

6.NEFIRIYAN detachment

7.SAKIRDAN detachment

If noticed, KÖS and ÇEVGAN (the hook drum stick) detachments are not included in this list. Because, previously, those who use ÇEVGAN were not from the organisation and they had participated in the MEHTERHANEs. KÖSes had been kept in a separate building; namely KÖSHANE.

If we think about all of the TABL-Ü ALEM mehters, the following mehter detachments were existed at the Ottoman capital under the supervision of the head mehter.

Instrument Detachments:

1.Detachment of ZURNA players: an agha is responsible for the supervision of this detachment whose title is either ZURNAZENBASI or SER-ZURNA, meaning; head of the ZURNA players.

2.Detachment of the trumpet players: an agha is responsible for the supervision of this detachment. He is called either BORUZEN-BASI or SER-BORU.

Mehter Tradesmen:

A portion of TABL-Ü ALEM Mehters were composed of the MEHTER TRADESMEN. Such mehter musicians used to make their living, playing mehter instruments at entertainment clubs. On the other hand, they had official duties at the peace time. At some NEVBET PLACES, they also conducted NEVBET music. In addition, they joined the official MEHTERHANE in the time of war. Thus, number of individuals of MEHTERHANE in the time of war increased by twofold of the number at the peace time.

Mehterhane Locations:

At some castles, cities and NEVBETHANEs, MEHTERHANES used to exercises their music on the 'Nevbet' hills and mehterhane towers. Such mehterhanes were obliged to perform their usual NEVBETs in both peace and war times at stationary establishments. For instance, there were two NEVBETHANEs at DEMIRKAPI and GALATA towers in the province of Istanbul.

Mehterhane Owners

The right to have a MEHTERHANE was limited on the basis of the number of instruments which composed the MEHTER bands. Since having a MEHTERHANE exercise music was regarded as signs of sovereignty and independence for the rulers, the most crowded MEHTERHANEs belonged to Sultans. MEHTERHANEs of Ottoman Sultans have widened by 12 folds from 9 (XVII th century) and later by 16 folds (XVIII the century). Number of the members of the imperial MEHTERHANE could go up to 237 including the standard-bearers, in the time of war.

Mehter Music

Sound System:

The sound system of MEHTER music is the same as Turkish music we know of. At the "YÇERÜ", the imperial higher school, not only MEHTER music but also high class artistic music and music for minstrels in a limited degree used to be instructed in the same music system and on the basis of the same training rules.

Mehter Music Tunes:

The tunes of MEHTER music, in general, are the same exercised in other branches of Turkish music. But they have been used with a style and understanding, expressing the MEHTER MUSIC, in mehter pieces. At the present time, since military marches are composed in major and minor tones in our music world, we have not had any concrete idea that military music pieces could have been composed with the Turkish music tunes. Because, after the year 1826, all of the MEHTERHANE repertory have lost. However, after the old MEHTER melodies have been searched and found, we came to the conclusion that the tunes had taken a role in the old army music.

On the basis of note texts available and some other records, we can list the tunes practices in MEHTER music as follows:

1.ACEM 2.BEYATY 3.ÇARGAH 4.EVYÇ 5.GÜLYZAR 6.HÜSEYNY 7.IRAK 8.KÜRDY 9.MAHUR 10.MUHAYYER 11.NEVA 12.NYKRYZ 13.PENÇGAH 14.PUSELYK 15.RAST 16.RAHATÜ L-ERVAH 17.REHAVY 18.SABA 19.SEGAH 20.SÜNBÜLE 21.TAHYR 22.U??AAK 23.UZZAL

Due to the fact that in the formation MEHTER bands, of the majority of the instruments such as KÖS -davul-nakkare and zil are the kinds of the instruments beaten. It is beyond doubt that the MEHTERHANE patterns have been used with great care in this institute.

We have a pattern list, a quite long one, which contains a lot of rhythmic patterns. We meet some of them in the classic music, the following patterns are taken from MEHTER music with some explanations:

1.AHLATY-It is a pattern belongs to the Ahlat city.

2.HALF AHLATY

3.Beref?an-Beref?an is a pattern of 16 beats

4.CENG-Y HARBY-It is both a pattern and a military music form. In the CENG-Y HARBY form, many melodies have been composed using various patterns. These have been studied, but still, this pattern cannot be analysed and explained clearly and exactly. We can only obtain the following results:

a)NEVA CENG-Y HARBY (with notes, XVII the century) It has been analysed and we come to the conclusion that a kind of CENG-Y HARBY has had 4,8 or 16 beats.

b)Pieces called SEMAY-Y HARBY, one of the forms of MEHTER music, have been exercised in the battles of Turkish Army and in time, people started to call it CENG-Y HARBY and the SEMAY-Y HARBY pattern has spread over the Ottoman Empire communities with the term of CENG-Y HARBY. It has 12 beats.

c)A CENG-Y HARBY with 10 beats has been presented by HÜSEYYN SADETTYN AREL and DR.SUPHY EZGY:

This pattern is accepted as CENG-Y HARBY. But we have not sufficient proof that it has been used by Ottomans. On the other hand, based on this pattern, which was presented in the XX th century, some pieces have been composed and with this practice, this pattern was included among the Turkish music patterns.

5.CENBER

6.DEF Pattern (Def= tambourine with cymbals)

7.DEGYSME (Change)

It is a group of five patterns, namely: DÜYEK, ÇENBER, FAHTE, BEREF?AN and SEMAY-Y HARBY. However, turn of conduct of these patterns in music work is different from the pattern groups such as ZINCIR and others.

8.DEVR-I HINDI

9.DEVR-I KEBIR: It includes DEVR-I KEBIR patterns of 14 or 28 beats.

10.DUYEK: with this pattern, HARBI PE?REVs have, in general, been composed and measured. The DÜYEK pattern type which has been practiced in HARBI PE?REVs, was later called PE?REV. Although we know of the form of the DÜYEK pattern we exercise in classic music, we do not know the pattern of HARBI PE?REVs played in MEHTERHANE precisely. After analysing this matter, the following arrangement has been obtained:

or

11.FAHTE: A FAHTE pattern of 10 beats.

12.FAHTE: A FAHTE pattern of 20 beats.

13.FER (Fer'i Muhammes)

14.HAFIF: A HAFIF pattern of 16 beats.

15.HAFIF: A HAFIF pattern of 32 beats.

16.NIM DEVIR

17.PE?REV: This pattern is estimated to be another term used for HARBI DÜYEK pattern.

18.REVANI: It is a pattern meaning: REVAN's or related to march. It is possible to link it with the patterns: DEVR-I REVAN or ?ARKI DEVR-I REVANI.

19.SAF: It is related to SAF which was one of the ways in forming a line of battle fulfilled in Ottoman period. (Saf= getting prepared for a battle and fighting, by forming a line of battle). This pattern used to be exercised with the instruments of beating and then, the soldiers used to form the lines. But we do not know the number of beats, its words and its rhythmic patterns either.

20.SAKIL: It is a pattern of 48 beats.

21.NIM SAKIL: It is a pattern of 24 beats.

22.SEMAI: It is a pattern of 6 beats. Today, we call it YÜRÜK SEMAI, but this is wrong. We call the pattern of 3 beats SEMAI, again, this is against the historical facts.

23.SEMAI HARBI: It is the pattern for SEMAIs played in the time of war. It is of 12 beats. It has been practiced a lot in battles and hence, replaced CENG-I HARBIs and even for a certain period of time was called CENG-I HARBI. (See CENG-I HARBI). I determined the beats of this pattern after the researches I had made on both many works of music and music folklore and in accordance with some other data, as follows:

But, this pattern, as many similar MEHTERHANE patterns, is of instrumental in kind, while the pattern is being beaten during the solfeggio, the above form (bölünme) can also be exercised as follows:

In time, other variations of SEMAY HARBY have been produced as well:

a)2 1 2 1 1 1 1 1 1 1

b)2 1 1 2 1 1 1 1 1 1

24.SOFYAN: This pattern has been recognised as a pattern of 4 beats for a long time.

25.ZARBEYN: It is a group of patterns produced through, in general, the combination of 2 big patterns.

26.ZARB-I FETYH: It is a pattern of 88 beats.

Above, was have almost presented all of the patterns known as MEHTERHANE patterns and exercised in the past by MEHTERs. Among them are; patterns for military music, those exercised in our classical music in combination and those belong to the MEHTERHANE exclusively. Although there are some other MEHTER patterns not listed here, a clear explanation or solution does not seem possible yet. Let's mention some of these outstanding patterns: 1.HALYLEVY 2.KALENDERY 3.TÜRKÜ 4.NAKI? 5.MURABBA 6.EZGY etc.

Mehter Instruments

Instruments played in MEHTERHANEs, have been resolved definitely after a long period of exercise. In the mean time, there have been other instruments used temporarily in MEHTERHANE other than those played constantly. Throughout history -by the year 1826- if we take into account all of the instruments whether used in MEHTERHANEs or at other units of the army together, we can categorise the MEHTER instruments as follows:

I.WIND INSTRUMENTS: Zurnas: KABA ZURNA, CURA ZURNA, BORU, KURRENAY, MEHTER DÜDÜ?Ü.

II.BEATING INSTRUMENTS: KÖS, DAVUL, NAKKAARE, TABILBAZ and DEF.

III.CYMBALS and ÇINGIRAKs (small bell): Cymbal and ÇEVGAN.

KURRENAY, one of the MEHTER instruments is, in fact, not an instrument of OTTOMAN MEHTERHANE. It belongs to the Mehterhane in Persians -Iranian Turks. During a battle, this instrument has been seized with its players and they then were employed in some of the Rumalia castles.

MEHTER DÜDÜGÜ was an instrument for the beginner players. It was not used in MEHTERHANE.

TABILBAZ is a striking or beating instrument used in the Ottoman army by regiment sergeants. A couple of it (each of them quite a big NAKKAARE) tied onto the saddle of the horses. It was not used in MEHTERHANEs either.

I.ZURNAs-KABA ZURNA-CURA ZURNA

KABA ZURNA is the fundamental instrument of MEHTERHANE while, CURA ZURNA, on the other hand, is an instrument of music which has entered in MEHTERHANE in exceptional occasions. It has been observed in a miniature as an instrument of the head MEHTER on a hours.

Today, at the Military Museum Mehterhane KABA ZURNA, made of wood, is played. Its length is nearly 55 cm. A spout is attached to the body in the mouth section, made of brass sheet or another metal. And at the end of it there is a reed. 7 pitch holes are essential on its body from which pitches from (FA) to (MI) notes are obtained. The other small holes -usually 8 holes- are located at the big, round end of ZURNA. These small holes allow this instrument for the adjustment of height-lowness. KABA ZURNA is usually made of plum or apricot trees.

BORU (Trumpet): Looking at BORUS without pitches, we can reach the conclusion that the old MEHTERHANE trumpets give out sounds in the form of broken accords: DO-SOL, DO-MI, SOL or SOL-RE, SOL-SI-RE etc. In other words, BORU was an accompanying instrument in MEHTERHANE, it gave out long bass sounds and could make rhythmic patterns of accompanies.

II.KÖS (See the Classical Turkish Music Section)

DAVUL (drum) (See C.T.M. instruments Section): a wooden frame in the shape of a cylinder and at both sides of the frame, stretched skins and stretching ties on the frame, cord for hanging the drum, stick; the beating device (it is beaten with the right hand) and the thin stick (is it beaten with the left hand) are the components of the drum. The drum is the instrument with which the pattern can be fulfilled best. Ability of producing vibrations in both sides enables its sound to be heard from very long distances.

NAKKARE (See the Classical Turkish Music Instruments Section)

III.CYMBAL (See the Classical Turkish Music Instruments Section)

Çevgan

ÇEVGANs used to be played by the vizier pages -sergeant in rank- ÇEVGAN was a device-rather than a musical instrument-used for administrative assignments and ceremonies as well. For instance, whenever the ÇEVGAN is hung on the curtain of the door of the vizier's room, it used to mean that confidential talks were going on inside and as long as it was hung there, nobody could go in that room. ÇEVGANs were seen together with the other mehter instruments only in COUNCILs (Divans). The vizier page sergeants used to participate in the MEHTERHANE concerts (FASILs) and when the concert ended they cried "ALA HEY" by rattling their ÇEVGANs. But in the present MEHTERHANE, it is regarded as one of the essential instruments. Those who use ÇEVGAN exercise the pattern with their ÇEVGANs during the instrumental performance and take part the melody with their voice as singers during oral performance. Those who hold ÇEVGAN are called ÇEVGANY.

Mehter Band Folds

In the work of ARYFY PASHA, MECMUA-Y TESAVYR-Y ISMANYYE published in XIX th century, a picture of a MEHTERHANE of 9 folds is seen. This picture gives us some ideas in connection with the sound combination of the vizier MEHTERHANEs.

We can see that 9 ZURNAs, 9 trumpets (BORU), 9 drums 9 Nakara's, 9 cymbals and 9 çevgans in the MEHTER band and that the head MEHTER conducts the MEHTERHANE with a KABA ZURNA with his hand and that in a supervisory position, the vizier page master sergeant is standing in front of the ÇEVGANYs with a ÇEVGAN in his hand. Thus, the number of the vizier MEHTERHANE of 9 folds add up to 56 individuals. Since KÖS es are instruments of Sultan and in each band appropriate number of KÖS participates under the command of SER-ASKER (military leader) who has the battle mission, is not included in the above number of individuals mentioned for MEHTERNAME.

For those who have been authorised to have MEHTER band perform music in how many folds, were determined by laws and regulations. Sultans could use the most crowded MEHTERHANE. A Sultan was having a 9 fold MEHTERHANE, but, in the XVII th century this went up to 12 folds and on the other hand, it was observed that the number of ZURNAs was increased in the XVIII th century neglecting the calculation of the fold.

The Grand Vizier used to have a 9 fold MEHTERHANE played in the XVII the century. Folds of various authorities who played it, have been fixed in different numbers from 9 downward: 9 fold MEHTERHANE, 8 fold MEHTERHANE, 7 fold MEHTERHANE, 6 fold MEHTERHANE, 5 fold MEHTERHANE.

Mehter Music Repertoire

MEHTER music has played a great role in the military successes of the Ottoman armies as far as the military music is concerned. Vigorous and dynamic MEHTER melodies were producing perfect effects on the morale of the soldiers. The regiment PE?REVs which have been excellent march music, BENEF?E-ZAR, ?ÜKUFE-ZAR like military compositions and CENG-Y HARBY style attack melodies were not existed in Europe then. MEHTERHANE repertoires, on the other hand, if all the times considered, were not military tunes alone. It is possible to analyze this issue in 8 categories:

1.Marches

2.Nevbet melodies

3.Cavalry music

4.Other military music

5.Ceremonial music

6.Characteristic music of Mehterhane

7.Highly artistic music works

8.Works of minstrels music

Forms of Mehter Music

In general, we know the forms of MEHTER music in the SAZ (instrument) works. In the SAZ works with two notes, SERHANE, MÜLAZYME, SERBENT, SERHANE, MULAZYMANE arrangement is seen; example to this is CENG-Y HARBY. In the SAZ works with three notes, the first type is: SER-HANE, II HANE (section) and III HANE and afterwards turn to MÜLAZYME at the end of each tour and at the last performance of MÜLAZYME, the final. In the second type of the SAZ works with three notes, ZEYYL section is added between the III.HANE in the first type and MÜLAZYME. In the third type of the SAZ works with three notes, this time, to the arrangement of the first type SER-BEND and SER-HANE are added between II. HANE and MÜLAZYME.

In the SAZ works with four notes, the first type, is produced: SER-HANE and I, II, III HANEs and the MÜLAZYME is conducted and the work reaches the final, but of these DE?Y?MELY (Changing) PE?REV type, each HANE is in different pattern and MÜLAZYME is in ÇENBER pattern. This first type has another from where HANEs are connected with MÜLAZYME directly. The second type is produced with the entering of ZEYYL section between the III.HANE of the first type and MÜLAZYME; and the third type is produced with the entering SERHANE between SER-BEND which replaces the IV.HANE of the first type and MÜLAZYME.

In the KARABATAK PE?REV (SEGAH), the first type with four HANEs, although HANEs are connected with MÜLAZYME directly, SER-HANE and HANE sections BATAK and CUMHUR by turns and the MÜLAZYME section have been produced in the form of CUMHUR.

In the KARABATAK PE?REV with Five HANEs, with ZURNA, SER-HANE and II to V HANEs, four different BATAK (solo) produces, in MÜLAZYME section, the CUMHUR SAZ form.

In summary, the Forms of MEHTER music can be analysed as follows:

1.Military Musical Forms: PE?REV-Y HARBY, SEMAY-Y HARBY, CENG-Y HARBY, Musical Military Signs. All of these musical forms are instrumental.

2.Other Musical Forms: PE?REVs, NAKI?s, MURABBAs, SEMAYs, ?ARKIs, TÜRKÜs, KALENDERYs, EZGYs, MANYs. Of these musical forms, PE?REVs are from SAZ music and the others from oral (SÖZ) music. YÜRÜK SEMAYs and HARBY SEMAYs are included in the SEMAYs.

Transfer of Mehter Music by Europe and its Worldwide Effects

From XIV th to XX century, Turkey was an inseperable part of the three continents (Asia, Europe and Africa). In Europe, the German frontier governors (markgrafs) had been trying to establish music units similar to the ones in Ottoman Turks which exercised military music since the XVI century. Such efforts spread to a number of European countries in the XVIII century as well. In this century, Prussian King Friedrich II, Saxony Ruler and Polish King Augustus II, daughter of Russian Czar Great Pedro, Elizabeth have taken great pains to establish a band suited for the Turkish example; the MEHTERHANE system. And sometimes Hungarian bands have been followed which had been set up on the Turkish practice.

As of the age of Crusaders, the transfer of the musical instruments from the Middle East and Anatolia towards Europe has increased in this century and transfer of a number of MEHTER musical instruments by Europe was completed. For instance, the following instruments have been transferred:

ZURNA: Hautbois (from KABA ZURNA), cor des Tures, Cornet des Tures, Török sip (in Hungary)

DAVUL: Turkish Tremmel, Tambour des Tures, Grosse caisse (from the word: Kös)

NAKKARE-TABILBAZ-KÖS: Timbal (from the word Dümbelek), Turkish Trumlein (a synonym for NAKKARE)

ZYL: Cymbals Turques

ÇEVGAN: Janitscharpspil (A Janissary instrument), Turkish Klookspel, Ksiezyc Turecki, Turkish Crescent, Crescent, Halbmond, Schellenbaum, Ganxmond, Halve Maan, Buncuk (In Russia)

In parallel to the inclusion of the Turkish musical instruments in the Western bands, in bands which we can call European MEHTERHANE to each of them, Turkish works of music were being performed or efforts were being made to compose HARBY PE?REV-like melodies and harmonised.

The Western classic composers and also those who have chosen romanticism after classism have started to compose by copying the Turkish MEHTERHANE or compose pieces by being inspired with it and produce works of music large in scope. For instance, some of the works attained fame as Turkish March since that time. To the start of such works at times, the term "ALLA TURCA" (Turkish style) was being put. When Bethooven planned to compose the 9^th Symphony, he wrote down a note: "The symphony will include Turkish music and a chorus at the final." And Mozart, in a letter he has written to one of his friends, mentioned that he would use Turkish music in his Opera (Die Entführun Aus dem Serail).

In order to provide documentation for the continuation of this trend, we should remember that Timur and Beyazit Ballet (Tamerlane et Bajazet) which was produced by Rossini based on Bishop's music and put on the stage in London in 1806 and that it was in heroism type and that one of the battle scenes was represented by two different pieces with the headline of "Marche a la Turque". It is possible to present a list of famous European composers who have produced works of music with the influence of MEHTER music:

Mozart (175691), Haydn (1732-1809), Beethoven (1770-1827), Rossini (1792-1868), Bizet (1838-75), Mahler (1865-1911). We can make this list longer. In the exchange of this culture, the dynamism of Turkish military music has led the creation of eternal works with a very new emotion instilling the Western Music like 'water of life' and caused this music live by our age. If we look at our situation: at a time when the memories and effects of MEHTERHANE are very fresh and continuous, in the year of 1826, MEHTERHANE was abolished by II. Sultan Mahmut.

It is appropriate here to indicate shortly about the Turkish embassy delegations who have travelled to Middle Europe with MEHTERHANE units on horse that played important roles in the influence of Turkish music on Europe through MEHTERHANE. In the XVI th and XVII the centuries, a Turkish ambassador with MEHTER bands composed of some 60 mehters visited Vienna. One of these visits was realised by the Turkish ambassador KARA MEHMET PASHA who was sent to German Emperor I. Leopold, in 1665-66. KARA MEHMET PASHA had been granted with the rank of Rumelia Governor-General. The delegation of embassy arrived at the fronts of Vienna in the mids of June.

But the King (Casar) did not give permission to the ambassador to enter into the capital having his MEHTERHANE played and the flags opened. After the negotiations on this matter which have lasted many weeks, KARA MEHMET PASHA was able to convince them and thus entered into the castle as he had wished. This Turkish ambassador has gone anywhere in Vienna he wished, having his MEHTERHANE played for 9 months, everyday he hold his council and had NEVBET played and made the Viennese listen to this interesting music. Before he entered into the castle, the Pasha had taken notes himself about the previous situation; these notes have composed the so called Vienna Report.

In this Report, he wrote; their interpreter came: "He brought the massage when we approached by the castle, that TABILs and NAKAREs should stop their performance, ALEMs, SANCAKs and flags should be rolled up before entering the castle. And I said: "Our Sultan, our majestic and grand master, the refuge of all the people in our country has granted these TABL-Ü ALEM and SANCAKs to us the servants and they have been sent, trusting their friends. If we cannot enter in Ottoman fashion, how is it known that we have come here as friends?

Surely if you agree that we can enter in our own ceremony and basic principles that shall be very well, but in no other way is it possible for me to enter". That was may answer:

This subject was dealt with by EVLYYA ÇELEBY, one of the member of the delegation through different point of views in his book SEYAHATNAME (The Travels).

The Turkish music concerts that KARA MEHMET PASHA and other Turkish ambassadors made them listen in riding regiments and NEVBETs that they had organised to be beaten in Vienna everyday have not been as a memory alone. Vienna has come to be the center of reflecting this music to Europe and to the world. MEHTERHANEs of Turkish ambassadors visiting Vienna in XVII th and XVIII th centuries, have come to be great music events supporting this one after the other.

Georg Schreiber who has made studies on Southerneast European culture and history, wrote the following about the influence of MEHTERHANE on Europe:

"….. Janissaries have affected European military music as well, to a great extent. Their MEHTERHANE, not only accompanied the soldiers in the attack of battles but also visited Vienna, Paris, Krakov with embassy delegations, and at every place they arrived, produced strong effects.

It was Jan Sobyeski who as a model has first taken Turks MEHTER band and practiced it in his army. In 1741, Trenek (Franz Trenek 1711-49) made the pandour unit march with the tempo of Turkish music… Of course, the other Austrian regiments did not wish to stay behind him. Prussians and Russians followed these, and at the end, all of Europe has adopted this practice. If, still, military bands give concerts in squares, they do it because of they took this music as an example from the pandours and Janissaries although forgotten in our time.

bb)II.Period (From the year 1911 to 1935)
Attempt To Set Up New MEHTERHANEs

Setting up new MEHTERHANEs has been realised by the state support again, after nearly one century. The first cultural movement was started by Celal Esat Bey (Arseven) (1911) and a MEHTER band was formed at the Military Museum by the name of MEHTERHANE-Y NAKAANY by the Director of the Military Museum in 1914.

A new MEHTERHANE repertory has been produced to replace the old, original but completely forgotten MEHTER pieces. It is significant to note that all the MEHTERHANE works of music developed in this period are of oral type and the 'march' headline is attached to them. But as far as the MAKAMs (tunes) are concerned, in this activity the tunes of Turkish music have been used. In the year 1917 (Rumi 1333) the Vice-Commander-in-chief and Minister of War, Enver Pasha was arranging the organisation of MEHTER bands in ORDU-YY HÜMAYUN (the imperial army) with the Instructions he had issued. The prerequisites of this organisation and extension have been drawn up. Unfortunately, results of the 1^st World War against Turkey have prevented the activities of implementation.

Today's MEHTERHANE

Upon a request originated from the Turkish Armed Forces in 1952, the Military Museum Mehterhane has been reorganised. Now, this MEHTERHANE is carrying out its activities in the name of MEHTERAN Company under the supervision of a band officer and the conducting of a head MEHTER, within the system of the Commander of Military Museum and Cultural Site at the Military Museum in Istanbul.

Although this MEHTERHANE has produced new accomplishments in the Republic era, it can be regarded as the continuation of MEHTERHANE-Y HAKAANY set up after the II nd Constitutional Period (MESRUTYYET). Therefore, those Turkish musicians who have been assigned to realise the formation of this new MEHTERHANE behaved to fulfill the same target. Among these were: MUALLYM ISMAYL HAKKI BEY, HOCA KAZIM BEY (UZ), EYYUBY ALY RIZA BEY (SENGEL), ?EYH RIZA EFENDY and other musicians that we cannot remember, have both contributed to the activities of MEHTERHANE and played significant roles in the establishment of a new repertory. In addition to the new MEHTER marches, some frontier pieces of music have been included in the repertory which was the thing done just right. The following head MEHTERs undertook efficient work in the setting up and activities of the MEHTERHANE in the MEHTERAN Company re-established in 1952: HASAN TAHSYN PARSADAN, CEMAL CÜMBÜ?, AHMET ?EN. Within the last 10 years, CAHYT ATASOY who has composed a number of Turkish MEHTER marches is producing outstanding works. The instrument cadre for the MEHTERHANE has been planned to be 6 fold. Since one of the fundamental instruments of the classic MEHTERHANE, the BORU has completely disappeared, the trumpet replaced it. There are KABA ZURNA (six of each), trumpet (six of each), DAVUL (six of each), NAKKARE and ZYL (six of each). One KÖS and nine or more CEVGANYs should be added into this cadre. CEVGANYs act as signers in the oral pieces.

The Military Museum MEHTERHANE exercises two NEVBETs 5 days a week and participates in ceremonies in the official holidays. The Military Museum MEHTERAN Company with its rooted and valuable traditions is a community which has both a national and an international fame. For this reason, it is invited to the Military Music Festivities and national days of the friend states or cultural activities. In a period which has just exceeded a quarter century, such 28 visits have been made to England, Holland, Belgium, Denmark, Morocco, Tunisia, Libya, Italy, Algeria, France, Spain, Japan, Austria, Cyprus and Pakistan, where it has undertaken musical programmes.

(NOTA: 26) "Alay" Düzen ve "?üküfe-zar Naziresi" Pe?revleri (Ali Ufki Notasy)

(NOTA: 27) Zurnazenba?y Ybrahim A?a'nyn 1 Numaraly Irak Semai-I Harbi'si (Kantemiro?lu Notasy)

(NOTA: 28) Pe?rev-I Hünkar (Ali Ufki notasy) Emir-I Hac Hünkar Pe?revi

(NOTA: 29) Mir-I Hac (Kantemiro?lu notasy)

(NOTA:30) Cengi Harbi (Ali Ufki notasy)

(NOTA: 31) Menev?e-zar Pe?revi (Ali Ufki notasy)

(NOTA: 32) Zurnazenba?y Ybrahim A?a'nyn Rehavi Semai (Kantemiro?lu Notasy)

(NOTA: 33) Hyzyr A?a'nyn Karabatak Pesrevi

(NOTA: 34) Menekse-zar (Hamparsum notasy)

(NOTA: 35) Ismail Hakki Bey'in Mehterhane-i Hakaani Harbi Marsi