BAKİ KEMANCI YORUMUYLA TÜRK MÜZİĞİ KEMAN İCRASINDA DUATE
DUATE IN TURKISH MUSIC VIOLIN PERFORMANCE WITH THE COMMENT OF BAKİ VIOLINCI

Summary/Abstract: Research on the violin was made for the first time in the 16th century. It is mentioned that the violin was used by İbrahim Pasha, the vizier of Suleiman the Magnificent, at the beginning of the century. The violin Rebab, which was used in Western music and was later included in our music, was used instead of Kemençe and Sinekema. As understood from the audio sources available to us and the information given by violin players, it is known that the violin was first used with the Sol Re La Re tuning in Turkish music. There are many different opinions about the use of this tuning. The most important of these are the comfortable performance of microtonal sounds and the similarity in tuning with other string instruments used in Turkish music, such as rebab and Istanbul kemenche. Duate, also called fingering, is the name given to the preference of using fingers during instrument performance. In Turkish music violin performance, in addition to some fingering preferences due to positions and microtonal sounds, many duet differences emerge due to tuning differences. In the "Sol Re La Re" tuning used in Turkish music violin performance, sometimes the re sound on the number 2 la string is performed with the number 3 finger, and sometimes the same re sound is performed with the empty string. In this study, Baki Kemancı's interpretation of Göksel Baktagir's Hijaz saz semai, one of the last representatives of the Sol Re La Re tuning, will be examined through the tuning he used. Microtonal sounds, ornaments, position preferences and the duates used to obtain quality sound will be determined on the work.

• Details
• Contents