I noticed the note tik hisar (eb + 1 comma), (ab in Arabic tuning).
This would have been played as hisar (eb) not tik hisar (eb + 1 comma) in the period that Reftar was composing in (17th - 18th century).
The note saba was played as db (gb Arabic tuning), and kurdi (Bb, Eb Arabic, rather than the + 1 comma note), at this period.
Also the piece concludes in maqam Kurdi, like Turkish Saba Zamazama.
The note segah (Bd, A. Ed) is not notated in the score.
In this kind of notation, the note buselik (B, Ar. E) was written with an accidental (sharp) rather than segah.
I am keen to learn about more Ottoman female composers with surviving notation from history too.
Thanks for pointing this out.Lysander - 11-25-2013 at 06:45 AM
Bumping this since I was scrolling through some topics.
I wrote an article on Dilhayat Kalfa a few weeks back. Some of it addresses life in general in the Imperial Harem [since there are many people reading
it who would be totally unfamiliar with Ottoman culture], but there are lots of facts about her too which I had to gather form various Turkish sources
and have translated. The most interesting source was a document regarding her possessions and her estate which was very revealing. I had this
translated from Turkish too.
I also though that Evcara was invented by her, but was not certain.
adamgood - 11-25-2013 at 07:07 AM
Lysander, I'd love to read your article on Dilhayat Kalfa, any chance you could post or email?
It's also my understanding that she invented Evcara. Her Saz Semaisi is drop dead gorgeous.
