Production of works within the branches of art is an important issue in terms of transferring and developing art. One of the important sources from which oral works in classical Turkish music are nourished is classical Turkish literature. Poetry in classical Turkish literature, especially in divan literature, was measured with aruz, and aruz meters served as a guide for composers in creating their compositions. The internal rhythm of the lyrics written in Aruz meter and the hidden melodic structure of the poem naturally influenced the composition. In this context, composers who mastered the aruz meter preferred to compose aruz poems and produced products. Aruz, which entered our literature and culture as an Arabic metric, has been influential in the design of Turkish music, especially the major rhythms. In a spoken lyric, the rhythm distribution and the arrangement of the darps are primarily shaped according to the length and shortness of the syllables (closed-opened). The harmony between usul and aruz saves the meaning from facing the danger of division. In this paper, the 32-time rhythms in our music will be discussed in the context of their process of laying on the lyrics in harmony with the aruz patterns and their relations with meaning, and will be examined through the 'composition' form, one of the major forms. In our paper, 32 time sample works were selected to be examined.