Duvaz which has been transformed generation to generation in oral tradition, has an important place in Alevi-Bektashi culture. Although the texts of "duvaz" have been studied, their musical notes have not been recorded and, their musical characteristics have not been studied in their performance context. After 1990s "duvaz" has gained place in private music sector and media on commercial purposes. In addition to this it is performed in both cem rituals which are in a process of change, and out of cem rituals, so the form is in danger of loosing its traditional qualities. At this point, the traditional forms as "duvaz" should be recorded with their written notes considering their performance context. The cultural anthropologists and ethnomusicologist of Europe and America have analyzed their folk songs according to their musical point in their own cultural context and they took attention to the musical characteristics of the folk songs. In this paper, the musical qualities of "duvaz" are presented through the fifteen samples of them studied in Urfa/Kisas, Gaziantep, Adiyaman, Kahramanmaras; Ordu/Gurgentepe Guvenc Abdal Ocagi; Ankara/Cubuk - Cankiri/Sabanozu; Bulgaristan / Razgrad/Kubrat villages. The "duvaz" form is also explained within their places in cem rituals.