Katip Çelebi (1609-1657) was a famous scientist who lived in the seventeenth century. It is often suggested that the twenty-seven works credited to him may actually belong to a more modern composer based on the fact that his opus seems ahead of the period in which he lived.
The peşrev genre uses long rhythmic patterns, namely big usu ls and for that reason has a bold character. Here two big usuls, the devr-i kebir and and the berefşan have been combined, alternating with each other. Such combined usuls are called darbeyn. Preceding other works in the same makam, the peşrev has the purpose of readying the performer and the listener. This piece has an ABCBDBEB shape and features the expected four parts, each concluding with the teslim. It is interesting that throughout the piece, with the exception of the final part, hicaz flavours can be found on the dominant degree of the nihavend makam, which is the A in this case. This emphasis on the hicaz flavours are avoided in the last part, focusing rather on the tonic and continuing with the teslim. The piece features melodies associated with the lyrical aspects of the nihavend makam and a frequent use of the intervals of second, creating boldness.
The peşrev genre uses long rhythmic patterns, namely big usu ls and for that reason has a bold character. Here two big usuls, the devr-i kebir and and the berefşan have been combined, alternating with each other. Such combined usuls are called darbeyn. Preceding other works in the same makam, the peşrev has the purpose of readying the performer and the listener. This piece has an ABCBDBEB shape and features the expected four parts, each concluding with the teslim. It is interesting that throughout the piece, with the exception of the final part, hicaz flavours can be found on the dominant degree of the nihavend makam, which is the A in this case. This emphasis on the hicaz flavours are avoided in the last part, focusing rather on the tonic and continuing with the teslim. The piece features melodies associated with the lyrical aspects of the nihavend makam and a frequent use of the intervals of second, creating boldness.