The concepts of Turkish music and polyphony have been associated with each other for nearly 200 years. In addition to the modernization movements in the Ottoman Empire, polyphonic Turkish music gained momentum in the Republican period with composers studying in foreign countries, and became a national issue with the intellectual contribution of thinkers of the period such as Ziya Gökalp and Mustafa Kemal's efforts, will and desire to carry Turkish music to universal dimensions. This new genre, known as "polyphonic Turkish music", was initially created by singing Turkish folk songs in a timed system and using western music harmony. Composers in this genre usually took folk music motifs in their entirety and sometimes composed new music from these motifs. In both formation processes, the composers of the period composed their music within the framework of the compositional understanding of the schools where they received their education. In addition to this progress in the civilian wing, the military wing, which felt and carried the Ottoman heritage more, included very few works. During this vicious circle of progress, the name Halid Recep Arman came to the forefront and provided unforgettable services to the military music repertoire up to the present day. In his works and arrangements, Arman utilized the makam and usul features of Turkish music as well as modern harmony and orchestration techniques, and the contrapuntal weave and chromaticism elements used in polyphony can be considered as the most important features of his compositional style. In this study, Halid Recep Arman's compositional approach and accordingly his polyphonicizations of Turkish music were analyzed musically in terms of various variables. The analysis aims to better understand Arman's approach to the polyphony of Turkish music under the headings of makam, melody, harmony, polyphony and orchestration/instrumentation.