The Art of Melodic Extension Within and Beyond the Usul: Compositions in Usul Zencir 120/4, the longest Rhythmic Cycle of Ottoman Music.
At the beginning of the 18th century, the great Ottoman Moldavian theorist Prince Cantemir, wrote “……because they [the At the beginning of the 18th century, the great Ottoman Moldavian theorist Prince Cantemir, wrote “……because they [the usuls] are so intricate, those who do not know the meter cannot play the songs at all, even though they were to hear that song a thousand times.” After Cantemir’s death in 1723 the Ottoman usul system became considerably more intricate. The usul named “zencir” (“the chain”) is the longest rhythmic cycle in Ottoman music, consisting of a “chain” of five usuls: çifte düyek (16/4)+fahte (20/4)+çenber (24/4)+devri kebir (28/4)+berefşan (32/4), totaling 120/4. Far from being a rare rhythmic cycle, almost every concert suite (fasıl) in Ottoman music begins with a vocal composition (beste) in usul zencir, and it is used in the instrumental peşrev as well. By analyzing the relationship between rhythm and melody in two beste compositions of the mid and late 18th century we can better understand the creation of “enjambments” and lack of alignments between melody and usul pattern that were considered the height of art in this style. This repertoire offers much material to study expectation and memory in this entirely oral compositional art, which was only notated at the very end of the Ottoman era.