Râkım Elkutlu is an important figure of the 20th century, who has brought nearly 600 religious and nonreligious works such as Mevlevî Âyîn-i Şerîfi, Tevşih, chant, composition, ağır semai, yürük semai, song, folk song, march to Turkish music. His value in Turkish music is not limited to the quantity of works he produces. He is also a valuable craftsman with a new tendency in terms of melodic style and composition character, producing works that differ in terms of mode, form and style. He successfully uses eight chant, four tevşîh, a Mevlevi Aîn-i Şerîfi and three different forms in the area of Religious Music.
The purpose of this study is to examine the tonal and technical understanding of Rast Tevşîh belonging to the craftsman by examining it in terms of tone and overage, and to show the basic qualities that make it a school for Turkish Music. This situation will contribute to the development of analytical researches and the development of artist candidates who are educated in Turkish Music Education institutions. In order to accomplish this aim, notes of different copies of Rast Tevşîh were transferred to the computer environment and the work was taken as a whole in the determination of mode and overage. As a result of the study, melodic movements, condiments and mode overages in Tevşîh were analyzed in 14 chapters by considering the basis of the screen, and the composer's overages compatible with Rast mode were found.