Throughout history, poetry and music have continued their adventures by feeding each other. Turkish music has also shown a parallel development process with poetry. Poetry has almost become an element that determines the identity of Turkish music. So much so that the term "Verbal Music" was used for Turkish music. Especially with the introduction of arûz into Turkish poetry, the unity of poetry and music in Turkish music gained a different shape and meaning. From the mathematical correlation between the natural harmony n arûz and the Usûl of composition, a set of rules called “the Arûz-Usûl Relationship” was formed. When the classical works are analyzed, it is understood that important composers of Turkish music composed their works in the light of these principles. Analyzing the arûz-usûl relationship of classical works contributes to the development of composition and a better understanding of the works. In this study, 14 songs of Hacı Ârif Bey, the most important composer of the song form, whose lyrics are composed of the arûz meter “Mef'ûlü/Mefâ'îlü/Mefâ'îlü/ Mefâ'îlü/Fe'ûlün” in the aksak usûl are analyzed in terms of the arûz-usûl relationship. In this study it was determined that the arûz meter in these songs was placed in 4, 5, 6, 7, 8 and 11 measures. It was observed that the most placement was realized in 7 measures with 5 songs. This was followed by 3 songs in 4 measures. Two songs had 11, 2 songs had 5, 1 song had 6 and 1 song had 8 measures. For the development of composition and to analyze the works much better, there is the need more research examining the relationship between arûz and usûl.
Keywords: Hacı Ârif Bey, song, aksak usûl, arûz-usûl relationship