Musical Analysis of 'Sarıkamış Lament' Performed with Dilsiz Çoban Kavalı (Sinan Çelik Performance Example)

Kemal Akdemir; Mutlu Demir Torun

Makale detayları

Musical Analysis of 'Sarıkamış Lament' Performed with Dilsiz Çoban Kavalı (Sinan Çelik Performance Example)

Yazarlar:

Kemal Akdemir | Mutlu Demir Torun

Yayıncı:

Sakarya University

Ana Başlıklar:

Müzik Performansı | Türk Halk Müziğinde Kompozisyon | Türk Halk Müziğinde Yorumculuk

Dergi:

Journal of Music and Folklore Studies Vol.2 Issue 1, pp.35-54

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001345334

pISSN:

3023-7769

Anahtar kelimeler:

Özet:

 One of the most important main topics of Turkish folk music is free rhythm melodies, also called uzun hava. Uzun hava is divided into types in itself. One of these genres is Ağıt lament as very widely used in colloquial speech. Both verbal and instrumental performance of uzun hava may require mastery in performing from different aspects compared to kırık hava. Uzun hava performances are performances that are vocalized verbally from time to time and sometimes improvised in accordance with the maqam and scale of the work. One of the evaluation criteria of the mastery of the instrument performers is taking the improvised performances into consideration. It is thought that the notation and analysis of uzun havas and works performed as improvisations are also very important for the improvement of instrument students because the master-apprentice relationship, listening to the performances of virtuoso performers and imitating their performances are seen as the most important ways of learning an instrument. In this respect, it is thought that a notated uzun hava and improvised performance will provide convenience in vocalization. In this article, the main theme of Sarıkamış Ağıtı from the album of Kaval virtuoso Sinan ÇELİK, titled Kaval Openings Improvisations Sinan ÇELİK Turkish Traditional Music Çelik, 2007, which is a performance that reflects the feeling of uzun hava, was notated. The work was first analyzed from a formal perspective as a general overview genre, form-structure, the use of similar cell in sentences. Then, it was examined in detail from the perspective of the two aspects of improvisation: the first aspect, composition structure-melody, the tonal structure of intervals, rhythm, and the second aspect, performance characteristics ornamental sounds, nuances, accent, acceleration-deceleration. It was concluded that the work consists of three sections, structured as AAB; that its pitch range extends to an eleventh with the inclusion of ornamental sounds; and that it demonstrates similarities to the scale of the Gerdaniye Makam, one of the makams in Turkish Classical Music.

 One of the most important main topics of Turkish folk music is free rhythm melodies, also called uzun hava. Uzun hava is divided into types in itself. One of these genres is Ağıt lament as very widely used in colloquial speech. Both verbal and instrumental performance of uzun hava may require mastery in performing from different aspects compared to kırık hava. Uzun hava performances are performances that are vocalized verbally from time to time and sometimes improvised in accordance with the maqam and scale of the work. One of the evaluation criteria of the mastery of the instrument performers is taking the improvised performances into consideration. It is thought that the notation and analysis of uzun havas and works performed as improvisations are also very important for the improvement of instrument students because the master-apprentice relationship, listening to the performances of virtuoso performers and imitating their performances are seen as the most important ways of learning an instrument. In this respect, it is thought that a notated uzun hava and improvised performance will provide convenience in vocalization. In this article, the main theme of Sarıkamış Ağıtı from the album of Kaval virtuoso Sinan ÇELİK, titled Kaval Openings Improvisations Sinan ÇELİK Turkish Traditional Music Çelik, 2007, which is a performance that reflects the feeling of uzun hava, was notated. The work was first analyzed from a formal perspective as a general overview genre, form-structure, the use of similar cell in sentences. Then, it was examined in detail from the perspective of the two aspects of improvisation: the first aspect, composition structure-melody, the tonal structure of intervals, rhythm, and the second aspect, performance characteristics ornamental sounds, nuances, accent, acceleration-deceleration. It was concluded that the work consists of three sections, structured as AAB; that its pitch range extends to an eleventh with the inclusion of ornamental sounds; and that it demonstrates similarities to the scale of the Gerdaniye Makam, one of the makams in Turkish Classical Music.

 One of the most important main topics of Turkish folk music is free rhythm melodies, also called uzun hava. Uzun hava is divided into types in itself. One of these genres is Ağıt lament as very widely used in colloquial speech. Both verbal and instrumental performance of uzun hava may require mastery in performing from different aspects compared to kırık hava. Uzun hava performances are performances that are vocalized verbally from time to time and sometimes improvised in accordance with the maqam and scale of the work. One of the evaluation criteria of the mastery of the instrument performers is taking the improvised performances into consideration. It is thought that the notation and analysis of uzun havas and works performed as improvisations are also very important for the improvement of instrument students because the master-apprentice relationship, listening to the performances of virtuoso performers and imitating their performances are seen as the most important ways of learning an instrument. In this respect, it is thought that a notated uzun hava and improvised performance will provide convenience in vocalization. In this article, the main theme of Sarıkamış Ağıtı from the album of Kaval virtuoso Sinan ÇELİK, titled Kaval Openings Improvisations Sinan ÇELİK Turkish Traditional Music Çelik, 2007, which is a performance that reflects the feeling of uzun hava, was notated. The work was first analyzed from a formal perspective as a general overview genre, form-structure, the use of similar cell in sentences. Then, it was examined in detail from the perspective of the two aspects of improvisation: the first aspect, composition structure-melody, the tonal structure of intervals, rhythm, and the second aspect, performance characteristics ornamental sounds, nuances, accent, acceleration-deceleration. It was concluded that the work consists of three sections, structured as AAB; that its pitch range extends to an eleventh with the inclusion of ornamental sounds; and that it demonstrates similarities to the scale of the Gerdaniye Makam, one of the makams in Turkish Classical Music.

 Türk halk müziğinin en önemli ana başlıklarından biri serbest ritimli ezgiler yani uzun havalardır. Uzun havalar kendi içinde türlere ayrılmaktadır. Bu türlerden biri halk ağzında çok yaygın olarak söylenen ağıttır. Uzun havaların gerek sözel gerekse çalgısal icrası, kırık havalara göre farklı açılardan icrada ustalık gerektirebilmektedir. Uzun hava icraları kimi zaman sözlü olarak seslendirilen, bazen de doğaçlama improvise olarak eserin makamına ve dizisine uygun şekilde yapılan icralardır. Çalgı icracılarının ustalığının değerlendirilmesinde ölçüt olarak, doğaçlama yapılan icralar da göz önünde bulundurulmaktadır. Uzun havalar ve doğaçlama olarak icra edilen eserlerin notaya alınmasının, analiz edilmesinin çalgı öğrencilerine de katkı sağlaması açısından oldukça önemli olduğu düşünülmektedir; çünkü çalgı öğrenmenin en önemli yöntemi, usta-çırak ilişkisi ve çalgısında virtüöz olan icracıların icralarının dinlenmesi ve icralarının taklidi olarak görülmektedir. Bu açıdan notaya alınmış bir uzun hava ve doğaçlamanın icrayı seslendirmede kolaylıklar sağlayacağı düşünülmektedir. Bu çalışmada uzun havanın duygusunu yansıtan bir icra olan Kaval AçışlarDoğaçlamalar Sinan ÇELİK Turkish Traditional Music Çelik, 2007 isimli kaval virtüözü Sinan ÇELİKin albümünden Sarıkamış Ağıtının ana teması araştırmacı tarafından notaya alınmıştır. Eser ilk önce form açısından, tür, biçim-yapı, cümlelerin benzer hücre kullanımı genele bakış olarak, improvise nin iki yönünden ilki olan kompozisyon açısından yapı-melodi, aralıkların ses yapısı, ritim, ikinci yönü olan icra özellikleri açısından da süsleme sesleri, nüans, vurgu, hızlanma-ağırlaşma yakından bakış olarak analiz edilmiştir ve Eserin AAB olmak üzere üç bölmeden oluştuğu, süsleme seslerinin kullanımıyla birlikte ses alanının on birli olduğu, Türk Müziği Makamlarından Gerdaniye Makamı dizisi ile benzerlik gösterdiği sonuçlarına ulaşılmıştır.

Makale detayları

Musical Analysis of 'Sarıkamış Lament' Performed with Dilsiz Çoban Kavalı (Sinan Çelik Performance Example)

Yazarlar:

Kemal Akdemir | Mutlu Demir Torun

Yayıncı:

Sakarya University

Ana Başlıklar:

Müzik Performansı | Türk Halk Müziğinde Kompozisyon | Türk Halk Müziğinde Yorumculuk

Dergi:

Journal of Music and Folklore Studies Vol.2 Issue 1, pp.35-54

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001345334

pISSN:

3023-7769

Turkish Folk Music

Uzun Hava

Lament

Dilsiz Kaval

Sinan ÇelikTürk Halk Müziği

Uzun Hava

Ağıt

Dilsiz Kaval

Sinan Çelik

Sayı

Makale detayları

Yazarlar: Kemal Akdemir | Mutlu Demir Torun

Yayıncı: Sakarya University

Ana Başlıklar: Müzik Performansı | Türk Halk Müziğinde Kompozisyon | Türk Halk Müziğinde Yorumculuk

Dergi: Journal of Music and Folklore Studies Vol.2 Issue 1, pp.35-54

Belge Tipi: Makale

Yayın Tarihi: 6/2025

Belge Dili: Türkçe

Document ID (Org No.): 2001345334

pISSN: 3023-7769

Sayı

Yazarlar:

Kemal Akdemir | Mutlu Demir Torun

Yayıncı:

Sakarya University

Ana Başlıklar:

Müzik Performansı | Türk Halk Müziğinde Kompozisyon | Türk Halk Müziğinde Yorumculuk

Dergi:

Journal of Music and Folklore Studies Vol.2 Issue 1, pp.35-54

Belge Tipi:

Makale

Yayın Tarihi:

6/2025

Belge Dili:

Türkçe

Document ID (Org No.):

2001345334

pISSN:

3023-7769