Pesrev
Encyclopedia
Peşrev Pişrev ([piʃˈɾev]), peshrev, or pishrev; called bashraf بشرف in Arabic
; is an instrumental form in Turkish classical music. It is the name of the first piece of music played during a group performance called a fasıl
(faˈsɯɫ). It also serves as the penultimate piece of the Mevlevi ayini, ritual music of the Mevlevi order
, under the name son peşrev (final peşrev), preceding son semai. It usually uses long rhythm cycles, stretching over many measures as opposed to the simpler usul the other major form of instrumental music uses, saz semai
.
Along with the saz semai
(called sama'i
in Arabic
), it was introduced into Arabic music in the 19th century, and became particularly popular in Egypt
.
, it was a Persian
loanword composed of the particles pīš, which means "before, ahead", and rev, "that which goes"; coming to mean "that which comes first". In Persian, the word pišdaramad is used instead to denote the first piece of a traditional music performance.
/tesˈliːm/ (lit. "handing in") mülazime /mylaːziˈme/ (lit. "that which is inseparable or constant"), i.e. the refrain. Peşrevs are named after the makam
used in the first hane and usually end with this makam
; in Turkish classical music theory, they are said to be "bound" to this makam
. There are always modulations to other makam
s in the hanes that follow the first hane, but with the refrain (teslim), the piece always regains the principal mode. At the end of each hane, a pause is made on the strong degree of its makam
, forming a semi-cadence. This is called a yarım karar or nim karar (lit. "semi-decision"). Peşrevs usually have 4 hanes, yet they occasionally have 2, 5 or 6.
In principle, they comport rather large usuls, yet peşrevs with shorter rhythmical patterns do exist. One rule that is never ever transgressed is that this usul may not be a compound meter of the family aksak. Some peşrevs, called batak or karabatak are so organized as to instigate a form of question and answer between instruments.
If the hanes are to be marked with [A, C, D, E] and the teslim with [B], the regular structure of a peşrev would be A+B/C+B/D+B/E+B, thus always ending with the teslim. For some, the teslim is also the first hane; therefore they have the structure: A/B+A/C+A/D+A.
was a prominent peşrev composer. Other composers include Tanburi Cemil Bey, Gazi Giray Han and Dilhayat Kalfa.
Arabic language
Arabic is a name applied to the descendants of the Classical Arabic language of the 6th century AD, used most prominently in the Quran, the Islamic Holy Book...
; is an instrumental form in Turkish classical music. It is the name of the first piece of music played during a group performance called a fasıl
Fasil
The fasıl is a suite in Ottoman classical music. It is similar to the Arabic nawba and waslah.A classical fasıl generally includes movements such as taksim, peşrev, kâr, beste, ağır semâ'î, yürük semâ'î, gazel, şarkı and saz semâ'î, played continuously without interludes and interconnected through...
(faˈsɯɫ). It also serves as the penultimate piece of the Mevlevi ayini, ritual music of the Mevlevi order
Mevlevi
The Mevlevi Order, or the Mevlevilik or Mevleviye are a Sufi order founded in Konya by the followers of Jalal ad-Din Muhammad Balkhi-Rumi, a 13th century Persian poet, Islamic jurist, and theologian. They are also known as the Whirling Dervishes due to their famous practice of whirling as a form...
, under the name son peşrev (final peşrev), preceding son semai. It usually uses long rhythm cycles, stretching over many measures as opposed to the simpler usul the other major form of instrumental music uses, saz semai
Saz semai
The saz semai is also spelled saz sema'i, saz sema-i, saz sema i, saz semaī, saz semâ'î, sazsemai, saz semaisi, or sazsemaisi. In the Arab world, it is called Samâi. It is an instrumental form in Ottoman classical music. It was typically the closing movement of a fasıl...
.
Along with the saz semai
Saz semai
The saz semai is also spelled saz sema'i, saz sema-i, saz sema i, saz semaī, saz semâ'î, sazsemai, saz semaisi, or sazsemaisi. In the Arab world, it is called Samâi. It is an instrumental form in Ottoman classical music. It was typically the closing movement of a fasıl...
(called sama'i
Sama'i
A vocal piece of Ottoman Turkish music composed in 6/8 meter, or usul semai, or yürük semai. This form and meter is often confused with the completely different Saz Semaisi, an instrumental form consisting of three to four sections, in 10/8 meter, or usul aksak semai...
in Arabic
Arabic language
Arabic is a name applied to the descendants of the Classical Arabic language of the 6th century AD, used most prominently in the Quran, the Islamic Holy Book...
), it was introduced into Arabic music in the 19th century, and became particularly popular in Egypt
Egypt
Egypt , officially the Arab Republic of Egypt, Arabic: , is a country mainly in North Africa, with the Sinai Peninsula forming a land bridge in Southwest Asia. Egypt is thus a transcontinental country, and a major power in Africa, the Mediterranean Basin, the Middle East and the Muslim world...
.
Etymology
In Ottoman TurkishOttoman Turkish language
The Ottoman Turkish language or Ottoman language is the variety of the Turkish language that was used for administrative and literary purposes in the Ottoman Empire. It borrows extensively from Arabic and Persian, and was written in a variant of the Perso-Arabic script...
, it was a Persian
Persian language
Persian is an Iranian language within the Indo-Iranian branch of the Indo-European languages. It is primarily spoken in Iran, Afghanistan, Tajikistan and countries which historically came under Persian influence...
loanword composed of the particles pīš, which means "before, ahead", and rev, "that which goes"; coming to mean "that which comes first". In Persian, the word pišdaramad is used instead to denote the first piece of a traditional music performance.
Structure
Peşrevs are composed of movements called hane /haːˈne/ (lit. "house"), at the end of which there is always an unchanging particle introducing the teslimTeslim
A teslīm is a refrain in classical Arabic music and Ottoman classical music. It returns several times in the genres of sama'i, peşrev, and saz semaisi. This term is the equivalent to the Ottoman term mülâzeme.-External links:*...
/tesˈliːm/ (lit. "handing in") mülazime /mylaːziˈme/ (lit. "that which is inseparable or constant"), i.e. the refrain. Peşrevs are named after the makam
Makam
Makam In Turkish classical music, a system of melody types called makam provides a complex set of rules for composing and performance...
used in the first hane and usually end with this makam
Makam
Makam In Turkish classical music, a system of melody types called makam provides a complex set of rules for composing and performance...
; in Turkish classical music theory, they are said to be "bound" to this makam
Makam
Makam In Turkish classical music, a system of melody types called makam provides a complex set of rules for composing and performance...
. There are always modulations to other makam
Makam
Makam In Turkish classical music, a system of melody types called makam provides a complex set of rules for composing and performance...
s in the hanes that follow the first hane, but with the refrain (teslim), the piece always regains the principal mode. At the end of each hane, a pause is made on the strong degree of its makam
Makam
Makam In Turkish classical music, a system of melody types called makam provides a complex set of rules for composing and performance...
, forming a semi-cadence. This is called a yarım karar or nim karar (lit. "semi-decision"). Peşrevs usually have 4 hanes, yet they occasionally have 2, 5 or 6.
In principle, they comport rather large usuls, yet peşrevs with shorter rhythmical patterns do exist. One rule that is never ever transgressed is that this usul may not be a compound meter of the family aksak. Some peşrevs, called batak or karabatak are so organized as to instigate a form of question and answer between instruments.
If the hanes are to be marked with [A, C, D, E] and the teslim with [B], the regular structure of a peşrev would be A+B/C+B/D+B/E+B, thus always ending with the teslim. For some, the teslim is also the first hane; therefore they have the structure: A/B+A/C+A/D+A.
Peşrev composers in Turkish classical music
Tanburi Büyük Osman BeyTanburi Büyük Osman Bey
Tanburi Büyük Osman Bey was an Ottoman composer and tanbur player. He is considered one of the most outstanding peşrev compositors in Ottoman classical music.-Life:...
was a prominent peşrev composer. Other composers include Tanburi Cemil Bey, Gazi Giray Han and Dilhayat Kalfa.