The purpose of this study is to develop methods of performing melodic patterns in saz performance, using the parmak vurma (two hand tapping) technique. To this purpose, the historical and present status and technical features of the...
moreThe purpose of this study is to develop methods of performing melodic patterns in saz performance, using the parmak vurma (two hand tapping) technique. To this purpose, the historical and present status and technical features of the parmak vurma technique were examined in detail. Additionally, a large literature review concerning the saz was conducted, the history of saz playing, the evolution of saz morphology, tuning systems and fretting systems were examined, and a saz model for which all the technical features are defined was established for this study. Parmak vurma technique consists of the fingers of both hands hammering and pulling the frets on the neck to produce sounds. Traditionally, parmak vurma technique was frequently used by Teke region's Yörük-Türkmen communities to play their boğaz havası pieces on the üçtelli ("three-stringed"), a small saz. Over time, the technique gained recognition as local artists migrated to cities. Especially bağlama masters who have wider audiences outside the region got interested in this technique and transferred the parmak vurma technique to large sazs. The performance level of the technique became very advanced through academic and musical studies, and its recognition reached national, even international levels. During the study, we found that the terminology that is necessary to perform analyses on saz performance is inadequate and/or deficient. Thus, many terminological suggestions were made in the study. First among these suggestions is a representation system called "Position & Fingering Symbolization System" based on the movements of the hand and fingers, and that precisely identifies the position of fingers on the saz. Symbols in this system allow precisely identifying the positions of the right and left hands on the fretboard. Each posture of pair of two hands on the fretboard offer a "sound palette" to the performer in terms of melodic possibilities. Additionally, the melodic structures that emerge when the hands move in the same direction by maintaining the position difference between the two can be played in different tones. Based on this idea, a "position difference class" symbolization system that identifies the position differences and the placements of fingers was developed. The performance of melodic patterns through the parmak vurma technique is positionally represented using position difference class symbols. Their temporal representation requires the definition of two different patterns. One of these are patterns that the ordering of the pitch generation techniques (pitch generation technique order pattern), and the other is the patterns created by the strings that generate the sounds (string order pattern). "Position difference class" and these two patterns is used to express melodic patterns. The study examines how heptatonic, hexatonic, octatonic, chromatic scales and "fret tuning systems" for makams can be played using these structures and recommends some playing structures for them. Examinations of heptatonic scales led to the identification of two playing methods (called "α" and "β") that are suitable for performance. Particularly, we found that all heptatonic scales and "fret tuning systems" for makams can be played using the "α" playing method. All modal expansions of scales were examined, and intermodal relations were evaluated in terms of performance. Additionally, the study investigates the natural limitations of the technique, and seeks answers to the questions "how can melodic patterns that have degree relationships between pitches be played on every tone and every scale," and "can a single method for each tone and each scale be developed for a specific melodic pattern?" The interval relations between scales reveal a specific interval type. Thus, maximum and minimum intervals that may arise in each degree step/skip/leap for a certain number of scales were identified, and these intervals were compared with the maximum ascending and maximum descending intervals that can be played by a hand in different "string order patterns". Consequently, the melody creation capabilities and the existing possibilities that hands that don't change position have on the saz model with specific physical characteristics, using the parmak vurma technique. These possibilities were ordered according to complexity factor criteria that are created in this study, and the performance methods provided at the end of the study were created based on these criteria. The methods based on the study in the appendices are an important reference for performers involved with the parmak vurma technique because they can be applied to each tone of heptatonic scales and "fret tuning systems".