Abd al-Qadir Maraghi is known as the "third grand master" of the Turkish musical tradition. He ranks as third because he comes after al-Farabi and Ibn Sina, the two great philosophers who wrote significant pieces on music theory as well. However, if we were to choose one grand master for the Islamic music tradition, it would, without a doubt, be Maraghi.The storm blowing from MaraghaKnowledge about Maraghi's life is very limited. He was born in Maragha, a small town that is now within the borders of the South Azerbaijan region of Iran, in the second half of the 14th century. As for cultural geography, Maragha was then under the influence of Tabriz school of Islamic art. His was a significant town since it was the capital city of the Ilkhanate dynasty in the 13th century. The Jalayirid Khanate ruled the city during the first part of Maraghi's stormy life. After that, Tamerlane conquered Maragha together with the whole of Azerbaijan.Maraghi's first instructor was his father Ghiyasuddin Ghaybi, and on some occasions he is referred to as Ibn al-Ghaybi. His father led him to become a hafidh (one who has memorized the entire Quran) and a musician, which was normal since there was no religious and nonreligious disambiguation in the Islamic tradition of art. Our musicians have worked as hafidhs, qurras (Quran reciters) and muadhdhins (those who make the call to prayer) as well.Maraghi was accepted to the Jalayirid court in his youth as a courtier. Thanks to his talent, he was selected to the main band of musicians playing for the Khan. Unfortunately, the Jalairid Khanate was in anarchy and the shahzadehs were fighting each other for the throne. Tamerlane's conquest of Azerbaijan in 1386 would change the course of Maraghi's life, as well as that of the whole Jalayirid land. Since he was within the court of Ahmad Jalali, he accompanied him to Baghdad. However, Tamerlane conquered Baghdad, too, after which Ahmad Jalali took refuge in the Ottoman State while Maraghi was left to Tamerlane.Tamerlane's undying treasure: MaraghiIn classical times, scientists and artists were accepted as treasures of the rulers of the time, having the same status as material and physical treasures. When Tamerlane conquered the Islamic world, he took prominent scientists and artists to Samarkand in order to make his capital the center of the world. So, Maraghi had to move to Samarkand with a number of others.According to legend, Maraghi was captured in Baghdad and was to be hanged before Tamerlane. When the hangman put the rope around his neck, Maraghi began reciting the Holy Quran. His recital was so sad that even the cruel Tamerlane was touched with his voice and decided to pardon him. It is obvious that this legend is not true. However, it tells us the fame of Maraghi as a musician. It also tells us that the artists of the 14th century did not like Tamerlane much.We get the feeling that Maraghi was not very happy being at Tamerlane's court. He sent his son Abdulaziz to the court of the Ottoman sultan, Murad II, in order to make a connection with the Ottomans, then the rising star of the Islamic world. Abdulaziz was carrying a copy of Makasıdü'l-Elhan (The Missions of Music), the book depicting the musical theory of Abd al-Qadir Maraghi, in order to present it to Murad II, the Ottoman sultan.Some historians say that Maraghi himself visited Bursa, the Ottoman capital, too. Murad II was crowned in 1421 when Maraghi was in the service of Shahrukh, Tamerlane's son. Thus, Maraghi's so-called Bursa visit was not possible. Another historical fact, that Maraghi died in Herat in 1435, also rules out that possibility. If Maraghi visited Murad II in Bursa, he would have become his courtier and would never leave Bursa after that, as Murad II was a great supporter of artists and scientists, and he was a much-loved sultan compared to Tamerlane and Shahrukh. Maraghi's move, sending his son to Murad with his book, shows how the Ottoman sultan attracted good feelings.Ottoman music roots from Maraghi alsoMaraghi impacted the Ottoman court's music, not personally but through his son and grandson. Abd al-Qadir Maraghi was not only a music theorist like al-Farabi and Ibn Sina but he also composed songs, with or without lyrics, as well. His fame spread everywhere in the Islamic world, from Baghdad to Bursa, to Central Asia and Cairo. Classical music history mentions him as the star of music theory thanks to his works on the definition of music, the maqam (the system of melodic notes) and usul (style of playing music), and his songs have been famous too.Maraghi's compositions can be played today thanks to his own notes. "Amed nesim-i subh-u dem" is one of the most famous of his songs.Abd al-Qadir Maraghi was a complete musician, since he both made the theory of and also composed and played music. Many music theorists did not make compositions, and most singers and players wrote nothing on music. However, Maraghi surrounded every aspect of music whether theoretical or practical. Besides this, he was a painter and calligrapher. His complete artistry was a rare example.It's a matter of happiness for us that Maraghi's compositions can be played today thanks to his own notes. Many songs credited to al-Farabi do not belong to the great philosopher, so we know less about the Islamic music compositions of the 10th to 13th centuries. On the other hand, Maraghi's compositions belonging to the 14th century have survived. Thirty of these works have been preserved within the repertoire of TRT (Turkish Radio-Television).'Amed nesim-i subh-u de'What we have of the Maraghi compositions are songs with lyrics, mostly in Persian with some Turkish words in them. Unfortunately, we do not have his instrumental works, which he himself says were more important. Most famous of his songs are the "Amed nesim-i subh-u dem" (Blew the morning breeze) and the "Gül bi ruh-i yar" (Rose without the cheek of the beloved; a poem of Hafiz Shirazi), which are full of joy and excitement. Some of his songs are more royal pieces with a mature mood.Maraghi used all three great languages of the Islamic tradition, namely Arabic, Turkish and Persian, in his works. He represents the classic of classics in Islamic musical tradition.