This section presents an analytical overview of the piece’s formal structure. The structure section aims to accurately represent the form of the piece as notated in the source. The formal structure of vocal pieces is represented in table form according to the following five categories: Section, Text, Rhyme, Melody, Cycles. 

• ‘Section’ labels vary according to genre, and are added by the editor if not given in the source. However, some common abbreviations are typically used. For instance, 'H' is used for hâne, such as H1 for the first hâne, H2 for the second, and so on. The Miyânhâne section is marked as (m), and in the Beste form, where Miyânhâne is usually H3, it's shown as H3 (m). In vocal pieces, subsections like terennüm or nakarat are denoted by 't' and 'n', respectively.

• The ‘Text’ column contains both verse and terennüm sections. Verses are made up of hemistichs, which the editor numbers. If a hemistich is musically divided into smaller segments (e.g., if only the first part of the hemistich is repeated), these segments can be separately identified with letters, such as 1a, 1b. 

• Terennüm sections, composed of nonsensical syllables or words, can also be divided into smaller parts, labeled as t1, t2, t3, etc. To distinguish them from the verse sections, terennüm sections are shaded grey. The labeling of terennüm parts refers only to the text and remains unchanged even if the same text is sung to a different melody. 

• The ‘Rhyme’ column indicates the rhyme [kâfîye] of each hemistich, represented by lower-case letters (e.g. a, a, b, a). If the verse uses a redîf (a word or phrase repeated at the end of every hemistich) this is ignored and the rhyme is taken from the preceding word. Although the terennüm may include internal rhymes or may repeat material from the verse sections, the rhyme is indicated only for hemistichs. 

  For example:

1. Sīnede bir laḥẓa ārām eyle gel cānım gibi

2. Geçme ey rūḥ-ı revān ʿömr-i şitābānım gibi

3. Cüst [ü] cū ėtdim yine cānā Nedīmā bendeñe

4. Bir efendi bulmadım devletli sulṭānım gibi

Since the first, second, and fourth hemistiches end with "gibi," and the third hemistich ends with "bendeñe," the rhyme is represented as a, a, b, a.

• The ‘Melody’ column indicates melodic phrases or units, represented by upper-case letters (A, B, C, etc.). This serves to identify new, similar or repeated melodic material in different sections of a vocal piece. Melodic units are determined entirely by the editor according to factors such as: full or partial resolution on a particular pitch, modulation, registral shifts, sequences, or coincidence with textual or rhythmic units. Minor variations of a melodic unit are indicated by the prime sign (ʹ), e.g. Aʹ. 

If we examine the example above: The first hem. starting with melody A continues with a different melody in the terennüm, hence represented by B. In Hâne 2, the second hem. has the same melodic features as in H1, so it is also represented as A and B in the terennüm. In the Miyânhâne, where a different melodic structure appears, this new melody is labeled as C.

• The ‘Cycles’ column shows the number of usûl cycles per section or subsection. Since musical and textual units do not necessarily begin at the first unit of the cycle, the information given in this column is intended as an approximate indication of rhythmic structure only, which may not correspond exactly with the melodic and textual units. Rhythmic modulations are indicated by an asterisk (*), or by additional asterisks if more than one usûl change occurs. The additional usûl(s) is (are) listed in a note below the structure table. 

Repeats are indicated by a combination of colon and vertical line, i.e. |: or :|. Repeat signs may be used in relation to Text, Melody, and/or Cycles. 

Steps:

Label Sections:

• Use common abbreviations for section labels. If not provided in the source, the editor should add them.

• Typical abbreviations include:

-'H' for hâne (e.g., H1 for the first hâne, H2 for the second, etc.).

-Miyânhâne is marked as (m), and in Beste form, it is usually H3, shown as H3 (m).

-Subsections like terennüm or nakarat are denoted by 't' and 'n', respectively.

Text:

• The ‘Text’ column should include both verse and terennüm sections.

• Number the hemistichs (lines) of verses. If divided into smaller segments, identify them with letters (e.g., 1a, 1b).

• Terennüm sections (nonsensical syllables or words) can also be divided into parts, labeled as t1, t2, t3, etc., and shaded grey to distinguish from verse sections.

• Labeling of terennüm parts refers only to the text and remains unchanged even if sung to a different melody.

Indicate Rhyme:

• The ‘Rhyme’ column shows the rhyme (kâfîye) of each hemistich, using lower-case letters (e.g., a, a, b, a).

Describe Melody:

• The ‘Melody’ column identifies melodic phrases or units, using upper-case letters (A, B, C, etc.).

• These units are determined by the editor based on factors like resolution on a pitch, modulation, registral shifts, sequences, or coincidence with textual/rhythmic units.

• Minor variations of a melodic unit are indicated by the prime sign (ʹ), e.g., Aʹ.

• Example: The first hemistich with melody A, followed by melody B in the terennüm, and the same pattern repeated in subsequent sections.

Show Cycles:

• The ‘Cycles’ column shows the number of usûl cycles per section or subsection.

• Note that musical and textual units do not always align with the usûl cycle. This column provides an approximate indication of rhythmic structure.

• Rhythmic modulations are marked with an asterisk (*) or additional asterisks if more than one change occurs. Additional usûl(s) are listed in a note below the structure table.

• Repeats are indicated by a combination of colon and vertical line (|: or :|) in relation to Text, Melody, and/or Cycles.