Vertical Dimension of the Chromatic Dorian Mode Scale in Saygun’s Music: A Scrutiny Regarding the Origin of the [3, 5, 3] Chord

Orhan Veli Özbayrak

Makale detayları

Vertical Dimension of the Chromatic Dorian Mode Scale in Saygun’s Music: A Scrutiny Regarding the Origin of the [3, 5, 3] Chord

Yazarlar:

Orhan Veli Özbayrak

Yayıncı:

Istanbul University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Konservatoryum Vol.11 Issue 1, pp.105-120

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322517

pISSN:

2618-5695

Anahtar kelimeler:

Özet:

 The contents of Sayguns various publications, in which he provides theoretical information on the modal structure of Turkish folk music, and the solmization book titled Töresel Musıki Modal Music, which should be considered in the context of these publications, show that he has modally associated Turkish folk music with the ancient Greek musical system. The mode scales töres included in these publications also form the basis of the composers works from a modal point of view. One scale that Saygun included in only one of these publications, Alaca Dor Terkibi Dorian scale in the chromatic genus, also possesses unique compositional sound material, for it is used frequently by the composer throughout his numerous works. This begs the question of whether the composer might have also used this scale as harmonic material. Karadeniz and Berki determined that the chord structure they formulated as 3,5,3 and its derivatives are frequently found in Sayguns works and stated that, in light of an anecdote they quoted, the source for this is the Bestenigâr scale. However, this chord and its derivatives can also be obtained from some other scales the composer also uses, including the chromatic Dorian mode, and this study asserts that the 3,5,3 chord, a signature of Saygun according to Karadeniz and Berki, may have emerged from another scale, which essentially seems the genuine underlying signature.

 The contents of Sayguns various publications, in which he provides theoretical information on the modal structure of Turkish folk music, and the solmization book titled Töresel Musıki Modal Music, which should be considered in the context of these publications, show that he has modally associated Turkish folk music with the ancient Greek musical system. The mode scales töres included in these publications also form the basis of the composers works from a modal point of view. One scale that Saygun included in only one of these publications, Alaca Dor Terkibi Dorian scale in the chromatic genus, also possesses unique compositional sound material, for it is used frequently by the composer throughout his numerous works. This begs the question of whether the composer might have also used this scale as harmonic material. Karadeniz and Berki determined that the chord structure they formulated as 3,5,3 and its derivatives are frequently found in Sayguns works and stated that, in light of an anecdote they quoted, the source for this is the Bestenigâr scale. However, this chord and its derivatives can also be obtained from some other scales the composer also uses, including the chromatic Dorian mode, and this study asserts that the 3,5,3 chord, a signature of Saygun according to Karadeniz and Berki, may have emerged from another scale, which essentially seems the genuine underlying signature.

 The contents of Sayguns various publications, in which he provides theoretical information on the modal structure of Turkish folk music, and the solmization book titled Töresel Musıki Modal Music, which should be considered in the context of these publications, show that he has modally associated Turkish folk music with the ancient Greek musical system. The mode scales töres included in these publications also form the basis of the composers works from a modal point of view. One scale that Saygun included in only one of these publications, Alaca Dor Terkibi Dorian scale in the chromatic genus, also possesses unique compositional sound material, for it is used frequently by the composer throughout his numerous works. This begs the question of whether the composer might have also used this scale as harmonic material. Karadeniz and Berki determined that the chord structure they formulated as 3,5,3 and its derivatives are frequently found in Sayguns works and stated that, in light of an anecdote they quoted, the source for this is the Bestenigâr scale. However, this chord and its derivatives can also be obtained from some other scales the composer also uses, including the chromatic Dorian mode, and this study asserts that the 3,5,3 chord, a signature of Saygun according to Karadeniz and Berki, may have emerged from another scale, which essentially seems the genuine underlying signature.

 Saygunun Türk halk müziğinin modal yapısı üzerine kuramsal bilgiler verdiği çeşitli yayınlarının ve bu yayınları bağlamında düşünülmesi gereken Töresel Musıki başlıklı okuma kitabının içerikleri, bir budun müzikbilimci olarak kendisinin Türk halk müziğini ve bu müzik geleneğini içine yerleştirdiği Akdeniz havzası müziklerini modal bakımdan antik Yunan mod kuramıyla ilişkilendirdiğini göstermektedir. Bu yayınlarda yer verdiği töre dizileri aynı zamanda modal açıdan bestecinin yapıtlarının da temelini oluşturur. Saygunun bu yayınların sadece birinde yer verdiği Alaca Dor Terkibi, yapıtlarının yatay boyutunun vazgeçilmez ve uzun erimli ses malzemelerinden biri, belki de en dikkat çekenidir. Bestecinin bu diziyi kullanma gerekçesinin salt bir müziksel tercihe veya beğeniye dayanmadığı, bazı budun müzikbilimsel ve kültürel olgulardan kaynaklandığı düşünülmektedir. Bu durum, bestecinin anılan diziyi bir armonik malzeme olarak da kullanmış olup olmadığı sorusunu akla getirir. Karadeniz ve Berki, 3,5,3 şeklinde formülleştirdikleri akor yapısının ve türevlerinin, Saygunun yapıtlarında sıklıkla bulunduğu saptamasını yaparken bir anekdota dayanarak bunun kaynağının Bestenigâr dizisi olduğunu belirtmiştir. Ancak bu akor ve türevleri, Saygunun kullandığı ve yapısında eksilmiş sekizli veya büyük yedili bulunan başka dizilerden de elde edilebilmektedir. Bununla birlikte, eksilmiş sekizlinin artmış birlinin çevrimi olması, söz konusu akor yapılarının, alaca Dor töre dizisinden de elde edilmiş olabileceği olasılığını akla getirmekte ve bu çalışma Saygunun bir imzası olarak nitelendirilen 3,5,3ün altında bir başka imzanın bulunduğunu savlamaktadır.

Makale detayları

Vertical Dimension of the Chromatic Dorian Mode Scale in Saygun’s Music: A Scrutiny Regarding the Origin of the [3, 5, 3] Chord

Yazarlar:

Orhan Veli Özbayrak

Yayıncı:

Istanbul University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Konservatoryum Vol.11 Issue 1, pp.105-120

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322517

pISSN:

2618-5695

Ahmed Adnan Saygun

[3 5 3]

chromatic Dorian modeAhmed Adnan Saygun

[3 5 3]

Alaca Dor Töresi

Sayı

Makale detayları

Vertical Dimension of the Chromatic Dorian Mode Scale in Saygun’s Music: A Scrutiny Regarding the Origin of the [3, 5, 3] Chord

Yazarlar: Orhan Veli Özbayrak

Yayıncı: Istanbul University

Ana Başlıklar: Müzik (Diğer)

Dergi: Konservatoryum Vol.11 Issue 1, pp.105-120

Belge Tipi: Makale

Yayın Tarihi: 6/2024

Belge Dili: Türkçe

Document ID (Org No.): 2001322517

pISSN: 2618-5695

Ahmed Adnan Saygun

[3 5 3]

chromatic Dorian modeAhmed Adnan Saygun

[3 5 3]

Alaca Dor Töresi

Sayı

Yazarlar:

Orhan Veli Özbayrak

Yayıncı:

Istanbul University

Ana Başlıklar:

Müzik (Diğer)

Dergi:

Konservatoryum Vol.11 Issue 1, pp.105-120

Belge Tipi:

Makale

Yayın Tarihi:

6/2024

Belge Dili:

Türkçe

Document ID (Org No.):

2001322517

pISSN:

2618-5695