Hani Yayla

Hani Yaylam is an anonymous folk melody from the Erzurum region, part of the Turkish folk music repertoire. The piece poetically reflects the highland pastoral culture of Eastern Anatolia, its seasonal migration patterns, and the social memory shaped by this way of life. It is regarded as one of the most characteristic folk melodies identified with the region’s cultural identity ^【1】.

Historical Information and Collection Process

The melody was recorded during the Anatolian collection expeditions conducted by the Ankara State Conservatory in the 1940s. The piece was transcribed and added to Turkish folk music archives by Muzaffer Sarısözen and officially registered under repertoire number 364 by TRT Music Directorate Publications ^【2】. The official source for the recording is Faruk Kaleli, a prominent representative of the Erzurum folk music tradition ^【3】.

Technical and Musical Characteristics

Musically, Hani Yaylam belongs to the “kırık hava” (broken melody) category and follows a 4/4 time signature. Its modal structure exhibits characteristics of the “Hicaz” mode ^【4】. Although its melodic structure shares rhythmic similarities with Erzurum’s “bar” melodies, its performance style conveys a distinct melancholy and plaintive character typical of highland pastoral culture ^【5】.

Modern Performers and Contributions

Beyond its traditional form, the melody gained national popularity in the late 20th and early 21st centuries through reinterpretations by two prominent Erzurum-based artists:

Nurullah Akçayır’s Contribution

Artist Nurullah Akçayır reinterpreted the piece in the 1990s using modern instrumentation while preserving the traditional Erzurum vocal style and dialectal features. By maintaining the melody’s notation details and regional performance practices, Akçayır helped solidify its identity as an “Erzurum classic” in both academic and popular repertoires ^【6】.

İbrahim Erkal’s Contribution

İbrahim Erkal reworked the melody in 2000 for his album De Get Yalan Dünya, incorporating fantasy and popular music elements ^【7】. To reach broader audiences, Erkal employed Western instruments such as keyboards and string ensembles, while retaining the Erzurum regional vocal timbre and articulation, thereby endowing the melody with a modern, hybrid identity ^【8】.

Theme and Narrative Origin

The central theme of the melody is pastoral culture, the cycle of nature, and separation. The line “Hani yaylam hani senin çiçeğin” evokes longing for the empty alpine meadows after the seasonal departure and reflects human sorrow in the face of nature’s transience ^【9】. The folk narrative behind the piece represents the lament of communities returning to towns or villages at the end of the highland season, mourning the natural and emotional memories left behind—particularly a love or parting experienced on the yayla ^【10】.