Folklore:
The review addressed a scientific society branches receive.
There he begins with beauty English as a first time in 1846, William John Thomas by Folk = Folk - Lore = information with the formation this first, then depending conditions, knowledge of Scandinavian and Latin countries used by more scientific term for a Folklore It is known tab Folklore un national. Location: is owned by community rating. Research and related where strengthening of the society allows
Folk Dances:
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Small and big group of people in the international. Historical is the product of a start Export this sure in the small and big group people law process, today the first public dances. Life then as a part As their the natural need other communities to protect become aware that the "Community" and "Consciousness" as communities human nature, human relations people, beliefs and feelings short, with physical movement, music and rhythm is transmitted basic. This "dance" can be specified with the name of
Turkish Folk Dances:
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Our great leader Mustafa Kemal Ataturk has explained through one of his maxims that "The basic principle of the Republic of Turkey is culture".
We believe that folk culture is a cornerstone for our natural cohesion and unity. An overall development on various fields of economic and social life can only be achieve through education and culture. Cultural values that reflect our national pride and aesthetic values are very important. We can as a stable society find our spiritual, physical and aesthetic needs from the values of Turkish folk culture.
The unusual wealth and variety of Turkish folk music and dance attracts the attention of people from all over the world. Many of the
melodies and movements have very ancient origins stemming from the many different aspects of Turkish culture that form the background of modern Turkey.
Turkish Folk Dances determined seven regions
Every district has its own local tunes, songs and dances. There is some special song or dance for every event of rural life. A birth or a wedding, the death of a loved one, sowing the field and harvesting the crops or leading the flocks to water. Some of the songs and dances have to do with a particular craft or work, some have fertility or good luck as a theme, while others express the timeless feelings of a man, joy and sadness, the longing of an exile for his home and homeland, love and affection for the beloved.
The instruments played are still mainly traditional and again vary from region to region. They are made by local craftsmen of great skill from locally obtained materials. One of these the "saz" with its wide range, may be considered the earliest form of the Western lute.
Turkey has been the birthplace and bridge for many civilizations and has thus inherited a very rich tradition of folklore. Each region has its own dance and costumes. As in every branch of folklore, the mimic and motions in the dances portray the soul and character of the Turkish people. The feelings are reflected in their handcrafts, the beautiful head scarves, handbags, crochet work, hand woven carpets and kilims where each motif has a special meaning. One is left with an impression of harmony and fluency in the motion of the figures and the colorful flowing costumes.
Central Anatolia Region
Segmen:
Ankara region and the center of the republic in the traditions of the villagers before the game is done and I know that as Ankara türkü Zeybegi Seymen Zeybegi, Yagci oglu Zeybegi, Karasar zeybek tissues and is zeybek. Yandim sugar, purple sheep, gave names to games like Misket.
Northeastern Anatolia Region
Northeastern Anatolia Regions: (Erzurum, Kars, Agri, Gumushane, Bayburt)
Bar :
With their structure and formation, they are the dances performed by groups in the open. They are spread, in general, over the eastern part ofAnatolia (Erzurum Bayburt, Kars, Agri provinces). The characteristic of their formation is that they are performed side-by-side, hand, shoulder and arm-in-arm. Woman and man bars are different from one another. The principal instruments of our bar dances are davuland zurna (shrill pipe). Later, clarinet has been added to the woman bars. The dominant measures in bars are 5/8 and 9/8. Occasionally measures of 6/8 and 12/8 are used.Akszk 9/8 measures which are also the most characteristic measures, in particular, of the Turkish folk music are applied with extremely different and interesting structures in this dance.
Eastern and southeastern Region
Halay:
(Gazi Antep, Maras, Adiyaman, Urfa, Diyarbakir,Elazig, Malatya, Bingol, Sivas, Erzincan, Mus, Bitlis, Siit, Mardin, Hakkari,Van)
The word halay refers to getting together with people. Found in three different regions, the halay is frequently associated with two cities, Sivas and Corum, in Central Anatolia. It is performed by men and women alike, who stand closely linked in a line, circle or semicircle. Relying on a leader to announce the step changes, done by calls and/or waves of an accompanying handkerchief, the dancers begin slowly. Gradually over one, two or three sections, they increase their speed. Often, hand clasp are featured, which may be done by individuals or with opposing partners. When performed outdoors and also in the East, the powerful voices of the zurna and davul are generally preferred. Indoors, and elsewhere in Anatolia, the halay is accompanied by the gentler sounds of the wind instruments mey, kaval and more recently the clarinet as well as the stringed instrument, the baglama.
Adiyaman
In South Eastern Anatolia, the city was founded in 7th century. There are ruins of an Arab castle restored by Seljijuks; 14th century mosque, Ulu Cami And Bazaar are the main attractions. National Park on Mount Nemrut, Highest point of Northern Mesopotamia, is known for the gigantic stone status of God's with heads lying on the ground. 2000 years old history of Commegene civilization on display. The dance performed by a group of male and female dancers reflecting, daily life of the people in a colorful way. The Dance symbolizes, as one of the best examples, the solidarity between man and woman, Besides her housework, the woman also helps her husband.Accompanying instruments drum and zurna.
Elazig
is a city in central eastern Turkey. Its dances belong to the regional category of dance style called "Halay". A typical dance is "Cayda Cira" a favorite dance for Henna-Painting celebrations and weddings. It is danced in the dark with the dancers carrying candles on plates, representing the reflection of the candles in the water as the "Gelin Alayi"(the procession that makes the trip receive the bride from her father's home) moves along the stream. There are dances from Elazig that men and woman perform separately, but most are done by men and women together. The davul and the clarinet are the traditional instruments that accompany the dances of this region.
Artvin
At the Eastern tip of the Black Sea, Artvin is a natural beauty with pine forests and mineral springs. River Coruh brings life to the area, along with various sports. Dances reflect people's relation with the wild nature, very dynamic and smooth at times, accompanied by instruments as drums and accordions. Artvin is a typical Black Sea region dance, performed by men and women together or separately.
Trabzon
Trabzon
Northern Anatolia which lies along the Black Sea, is covered by dense pine forests and plantations of tea, tobacco and hazelnut. Fishing Villages and mountain hamlets preserve the homes of traditional wooden architectural style. The dance is played by men dressed in black, with silver trimmings and females with their colorful costumes, link arms and quiver to the vibrations of the "Kemence" (A kind of violin)
The music is vocal or instrumental and the movements of the dance resemble the quick flopping of the fish out of water. Accompanying instruments: Kemence, and double Zurna.
Turkish Dance
Northeastern Anatolia Region
Northeastern Anatolia Regions: (Erzurum, Kars, Agri, Gumushane, Bayburt)
Bar :
With their structure and formation, they are the dances performed by groups in the open. They are spread, in general, over the eastern part ofAnatolia (Erzurum Bayburt, Kars, Agri provinces). The characteristic of their formation is that they are performed side-by-side, hand, shoulder and arm-in-arm. Woman and man bars are different from one another. The principal instruments of our bar dances are davuland zurna (shrill pipe). Later, clarinet has been added to the woman bars. The dominant measures in bars are 5/8 and 9/8. Occasionally measures of 6/8 and 12/8 are used.Akszk 9/8 measures which are also the most characteristic measures, in particular, of the Turkish folk music are applied with extremely different and interesting structures in this dance.
Eastern and southeastern Region
Halay:
(Gazi Antep, Maras, Adiyaman, Urfa, Diyarbakir,Elazig, Malatya, Bingol, Sivas, Erzincan, Mus, Bitlis, Siit, Mardin, Hakkari,Van)
The word halay refers to getting together with people. Found in three different regions, the halay is frequently associated with two cities, Sivas and Corum, in Central Anatolia. It is performed by men and women alike, who stand closely linked in a line, circle or semicircle. Relying on a leader to announce the step changes, done by calls and/or waves of an accompanying handkerchief, the dancers begin slowly. Gradually over one, two or three sections, they increase their speed. Often, hand clasp are featured, which may be done by individuals or with opposing partners. When performed outdoors and also in the East, the powerful voices of the zurna and davul are generally preferred. Indoors, and elsewhere in Anatolia, the halay is accompanied by the gentler sounds of the wind instruments mey, kaval and more recently the clarinet as well as the stringed instrument, the baglama.
Adiyaman
In South Eastern Anatolia, the city was founded in 7th century. There are ruins of an Arab castle restored by Seljijuks; 14th century mosque, Ulu Cami And Bazaar are the main attractions. National Park on Mount Nemrut, Highest point of Northern Mesopotamia, is known for the gigantic stone status of God's with heads lying on the ground. 2000 years old history of Commegene civilization on display. The dance performed by a group of male and female dancers reflecting, daily life of the people in a colorful way. The Dance symbolizes, as one of the best examples, the solidarity between man and woman, Besides her housework, the woman also helps her husband.Accompanying instruments drum and zurna.
Elazig
is a city in central eastern Turkey. Its dances belong to the regional category of dance style called "Halay". A typical dance is "Cayda Cira" a favorite dance for Henna-Painting celebrations and weddings. It is danced in the dark with the dancers carrying candles on plates, representing the reflection of the candles in the water as the "Gelin Alayi"(the procession that makes the trip receive the bride from her father's home) moves along the stream. There are dances from Elazig that men and woman perform separately, but most are done by men and women together. The davul and the clarinet are the traditional instruments that accompany the dances of this region.
Black Sea Region
Horon:
(Trabzon,Ordu,Samsun,Giresun, Rize, Artvin)
In this region, corn and the sea play an important role in the local economy and social life. One of the types of fish that lives primarily in the Black Sea is the hamsi, a kind of anchovy. This small fish is caught in great numbers by the fishermen's nets. One of the most characteristic movements, in horon dances, is a fast shoulder shimmy and a trembling of the entire body, which imitates or suggests the movements of the hamsi as it swims in the sea or struggles in the nets for its life.
Horon dances include a number of other steps and movements, many of which are physically demanding, especially since they are often done in quick succession. Usually an ever increasing tempo is kept up by the kemenceci, or fiddler, who stomps the beat with his foot as he plays, or by the zurna and duval players working together. These movements include: kneeling, sudden squats, sharp turns left and right, stamps, kicks from the knee, high thrusts from the thigh, walking while squatting, hopping forward on the left leg while "pawing" on the right like a horse, sudden outward arm thrusts and others.
The dancers, who may be male or female, form a line with the leader in the center. It may be interesting to note that the women's horon dances are just as quick as the men's and involve many transitions between challenging movements, along with a virtually constant shoulder shimmy. When men and women perform together, the dance is often referred to as rahat, or comfortable horon. Usually the dancers clasp fingers and extend their arms just below or above shoulder height, standing comfortable apart from one another. At other times, their bodies are closer together, with arms at their sides or bent at the elbows.
Artvin
At the Eastern tip of the Black Sea, Artvin is a natural beauty with pine forests and mineral springs. River Coruh brings life to the area, along with various sports. Dances reflect people's relation with the wild nature, very dynamic and smooth at times, accompanied by instruments as drums and accordions. Artvin is a typical Black Sea region dance, performed by men and women together or separately.
Trabzon
Northern Anatolia which lies along the Black Sea, is covered by dense pine forests and plantations of tea, tobacco and hazelnut. Fishing Villages and mountain hamlets preserve the homes of traditional wooden architectural style. The dance is played by men dressed in black, with silver trimmings and females with their colorful costumes, link arms and quiver to the vibrations of the "Kemence" (A kind of violin)
The music is vocal or instrumental and the movements of the dance resemble the quick flopping of the fish out of water. Accompanying instruments: Kemence, and double Zurna.
Central Mediterranean Region
Spoon (Kasik) Dances:
In Central and Southern Anatolia, there are many dances which are performed with a pair of wooden spoons in each hand. A few centers of this type of dance are Dinar, Bolu, Konya and Silifke. Many of the spoon dances from Silifke, located along the Mediterranean coast, features spoons with which the dancers click out a lively rhythm while executing quick, agile movements with their feet and arms. Frequently, the songs tell of the migratory Turkmen people. The lyrics describe their nomadic journeys, or their daily routines when settled.
The formation of kasikli dances varies and is done in lines, circles or semi-circles. In many cases, the dancers are face to face as they dance apart, their hands clacking the backs of the bowls of the spoons together. Their arm movements are prominent, as is often the case in dances that incorporate accessories, such as handkerchiefs or tools.
Silifke
Moving along the eastern Mediterranean coast to Silifke, pine forests and orange groves descend to sandy beaches, which was a wedding present to Cleopatra. In the regional "Spoon Dance" performers are gaily dressed, male and female dancers clicking out the dance rhythm with a pair of wooden spoons in each hand.
Silifke
Moving along the eastern Mediterranean coast to Silifke, pine forests and orange groves descend to sandy beaches, which was a wedding present to Cleopatra. In the regional "Spoon Dance" performers are gaily dressed, male and female dancers clicking out the dance rhythm with a pair of wooden spoons in each hand.
Dinar
This dance is generally performed by young girls at entertainment festivities, engagement and wedding ceremonies, in addition to the colorful costumes, the dancers have pair of spoons in each hand. Accompanying instruments: Uc telli, Zurna and Baglama.
Aegean Region
Regions of Aegean:
(Izmir, Mugla, Denizli, Manisa, Aydin, Burdur,, Afyon, Balikesir, Isparta, Bursa ,Bilecik, Eskisehir)
Zeybek;
In contrast to the ferverish pitch common to karadeniz dances, the Zeybek dances of Western Anatolia, near the Aegean coast, are slow and graceful. While not done exclusively by men, they are commonly associated with them.
The work zeybek refers to a man, who is a brother, a friend, a protector of his people. In a sense he is akin to a samurai type of figure. Performed individually, in a circle or often as a solo, the zeybek dance usually begins with the man strutting boastfully to tight strains of music. The accompaniment may be a zurna and davul, or the melody may be played by a baglama, kaval, kabek kemece or clarinet, while a dumbek marks the rhythm. Individual dancers move proudly and strongly, their arms extended to their sides at shoulder height, their legs taking large steps, bending the knees occasionally and swinging the bent leg forward or behind the straight leg. With dignity and poise, the zeybek male kneels on one knee, gently touching it on the ground while twisting his body to one side.
Trakya Region
Regions of the Trakya, (Hora, Karsilama)
(Kirklareli, Edirne, Silivri, Corlu, Malkara, Kesan, Luleburgaz, Bandirma Canakkale, Istanbul)
Karsilamas
(Turkish : kar??lama) is a Grecoturk folk dance found in the region of Macedonia. Kar??lamas from Turkish Language, meaning "face-to-face greeting". Also meaning is welcome Karsilamas is a couple dance that is still danced in what was the former Byzantine and Ottoman empire, from Persia to Serbia, and in the Macedonia and Thrace regions of Northern Greece.
Today it is a raucous, bordering on the erotic, couple dance between men and women where the dancers face one another. Hands are held in the upright position about eye level, fingers snapped to the beat of the music, hips swaying. The meter is 9/8, and the Basic move is danced in four small steps with durations 2,2,2,3 respectively. The style and mood (bouncy, smooth, lively, etc.) vary depending on the region. Rumeli Kar??lamasi Trakya Kar??lamasi, Merzifon Kar??lamasi, Giresun Karsilamasi (Black see from Turkey) Edirne Kar??lamasi is also the title of a Kar??lama in Turkish Roma musicPopular in some Balkan regions.
Hora is a type of circle dance originating in the Balkans but now found in a number of countries, most of which use slightly different spellings.
The Greek is cognate with Bulgarian 'horo', Bosnian/Croatian/Serbian “Kolo” Macedonian 'oro', the Turkish form 'hora' and Romanian 'hor?'.
Sufi Alevi-i Bektasi-i Order
The Bektashi order was founded in the 13th Century by a “wandering dervish” Haji Bektash, According to hagiographic sources, the may have been a Turk from Khorassan.
Tradition has it that he left his country on the orders of his spiritual master and metamorphoses in to a dove to come back to Anatolia. It was believed that God crated Adam his own image and all his manifestation in this world are in the human form. During their ceremonies the Bektashi come together under the leadership of a “Dede”, or spiritual leader. They may be an “Ask”, one of the mystic musicians/poets who are the heirs of the ancient Khan-Ozan, priests and ministers who perpetuated the heroic and religious tradition.
Sunnis orthodox Muslims in contrast to the Bektashi, have always esteemed music and dancing to be means of spiritual elevation, They consider that music and dance provide man the possibility of creating favorable conditions in which he can recognize his identity with god, center of the human heard,. The music of the Bektashi always occurs in vocal from in personal stile of singing. An amalgam of strength and solemnity, eschewing and process, which might tent tend to give their singing a light or sophistical touch of grace notes. Vocal effects and complex rhythms are considered taboo. Melodies are always free whether they are measured or in the from of recitative. The solo instrument used to accompany the voice is the Baglama (Saz), a particularly elegant type of Lute with a pear shaped sound box and long slender neck.
Sufi Mevlevi-i Order
The Mevlevi mystical order, known in the West as the “Whirling Dervishes” was founded in the Konya in the 13th century by the poet and saint, Celaleddin Rumi Almost from its inception, the brotherhood used music as in integral part of its ritual Indeed Rumi’s soon Sultan Veled (1226 - 1312) is considered to be the firs known composer of Turkish music Instrumental pieces from the Mevlevi Ritual were incorporated into the repertory of secular musicians at the Ottoman Court.
Mevlevi dancing begins with dervishes making obeisance to their leader and receiving blessings from him. Their arms remain closed and pressed against their chest with their inclined hands grasping theirs shoulders. Their bare feet remain close together as they torn very slowly. The whirling it self symbolizes the celestial motions as the earth turn on its exist as it revolves around the sun The Dervishes therefore pivot on their feet as they revolve which is considered the hall of celestial sound. The training of the Mevlevi is very arduous and painstaking, often referred to as”1001 days of penitence”. The preparatory exercise for whirling
consists mainly of adjusting the opining of the two toes around a nail on the ground and spinning around this pivot. These Nails can still be seen in Konya
Turkish Gypsy Dance
Gypsy's came to Turkey from many different regions, Bulgaria, Greece & Romania, and for many different reasons, economic difficulties & war to name a few. For the most part they settled down in the western part of Turkey. Most of the Gypsy's that have settled in Turkey have learned to speak the Turkish language, while some have retained the language from the region in which they came. Although most gypsy's accept Muslim as their religion, some are Christian.
The gypsy's that came from Bulgaria are called Bulgarian Pomagi, the one's that came from Greece are called Greek Pomagi, while the one's that arrived from Romania are called Macir and sometimes Roman. Some of the most common jobs are circus, musicians, farm work and dance.
Gypsy's have their own music, dance, costumes and ceremonies. Some of the most common dances are romanian, mastika, bir sari yilan, tulum, sirto, kampana, karsilama, roman, sulukule, agir roman and kaba roman. The dances can be performed as a solo or in a group. The dances usually represent personal skills, daily life and love stories. Instruments that accompany the dances are most commonly the clarinet, davul, zurna, darbuka, keman, kanun and cumbus.
Turkish Music Instruments
Kasik (spoon) is a Turkish percussion instrument. The ones made from boxwood are particularly favoured. The handles are taken between the fingers and the oval parts are held towards the inside of the hand ina backto back position. There are also different holding style.
Tayyar Akdeniz is playing kasik (spoon) in concert in Mexico City
Zils (finger cymbals)
Zills commonly have a diameter of about 5 cm (2 in). Accomplished dancers will often have a second — slightly larger — set for use in noisy situations. A set of zills consists of four cymbals, two for each hand.
Makers of zills commonly use brass rather than the bronze used for larger cymbals, but they may also employ many other alloys. They may plate some zills in order to give a silvery colour or a brighter surface. Dancers speak of silver tone and gold tone, and may have several sets with different tones for different dances, or of different colours to match different costumes. Modern dancers use elastic to secure the zills, one to the thumb and one to the middle finger of each hand. A hole or two slots allow the threading of the elastic through the zill. Performers use a variety of ways to cause the zills to ring, resulting in a wide range of sounds that the instruments can produce.
Zills belong to the standard instruments used in Ottoman military bands and also occasionally appear as part of Western orchestral or other musical performances. In these cases musicians usually just call them finger cymbals and use them to obtain a ringing sound with "Middle Eastern" associations. Percussionists playing finger cymbals sometimes use a less complicated technique than the traditional one used by dancers. The musician holds one cymbal in each hand by gripping the strap between the thumb and the index finger, and plays them by striking the rims together. They use this technique for occasional flourishes in the music rather than for complex rhythms and sounds.
Daire/Bendir/Tef/zillidef (tambourine)
The Daire/Tef (tambourine) percussion instrument was used in various ways by the ancient civilisations in Anatolia, Mesopotamia and Egypts, and by those that followed, as well as by the Ottomans for both religious and secular purposes. It then moved on from those regions to Europe.
The daire is about 30-40 cm. in diameter, and is made by stretching animal skin over one side of a wooden rim, generally made of walnut. Bronze discs, generally in pairs, are attached to struts running through holes in the rim. When the skin is struck, these discs rattle, producing a more colourful sound. As well as discs, various chains and links have also been employed. The instrument can come in different sizes, and large ones were used by shamans in former time, giving rise to the name "shaman tambourine". Versions without bells are more generally used in a religious context, and are called "bendir", "bender" or "mazhar".
Smaller tambourines are known as "tef", and these normally have a diameter of 28-30 cm. These are known as "duf" in Persian and "defik" in Arabic, and it is from these that the Turkish name comes. The most popular skins are dog and calf, although the skins of other animals are also used. The rim of the tef is usually 4-6 cm. tall. The rim is frequently decorated with veneers of various woods or ivory, mother-of-pearl and tortoiseshell, making them more valuable.
Tayyar Akdeniz
The nagara (also called koltuk davulu)
is a Turkish folk drum or percussion instrument. It is placed under the arm and beaten with the hands. It is longer compared to the regular drums and its diameter is smaller. This is the same as the Azerbaijani naghara. There is a proverb in the Azerbaijani language that says "toy-dan-sora-naghara!" This literally means after the wedding ceremonies naghara! This instrument helped the doctors to deal with bad mood, melancholy, intellectualphysical exhaustion, as well as low blood pressure. It was considered that the Naghara could substitute for some medicinal plants and tones like spicy cloves. The rhythmic beating of the naghara is believed to lead to the strengthening of the heart. The naghara is described in the Early Middle Age Azerbaijani literary epic, "Kitabi Dada Gorgud" (Book of Dede Korkut) (The Book of my Grandfather). Instruments resembling the Naghara were also well known in ancient Egypt.
Thus, according to the rich scientific and musical heritage of our ancestors, it seems that not only did they listen to music for enjoyment and entertainment, but they perceived music a potent force in the prevention and treatment of various diseases. and
Doli: The doli is a widespread percussion instrument all over Georgia. It represents a small Doliwooden cylinder, both sides of which are covered with leather . The leather is tightly attached to the body and has iron rings , which are used for straining the leather on the surface. It is played by palms and fingers. When playing doli is held under the left arm or hung over the arm. Doli player plays the instrument in a sitting position or dances during performance. To get the effect of Forte it is played in the center. But to get Piano effect, at the edges of Doli. Doli’s body is made of wood; they give the form of cylinder to it and stretch the leather on it. The Doli’s height and diameter of sound producing surface are about 3 to 1. Men mostly play Doli. While dancing doli creates the rhythm of a dance. Doli is often combined with Chonguri, Chiboni, Salamuri, Buzika and Duduki.
Tayyar Akdeniz
Davul Davul (Hanging drum)
Turkish Davul Tayyar Akdeniz
The davul (or screw davul) is one of the very oldest instruments, having been used down the ages by the various civilisations of Anatolia, and later by communities in Central Asia. Despite some changes in form and construction technique, the percussion instrument that has come down to the present day ýs actually one of the least altered traditional Turkish musical instruments. It is one of the fundamental elements of traditional Turkish music, and has been used for a variety of purposes. These include communications by means of local or mehter music, making announcements and issuing warnings. The davul is traditionally associated together with the zurna, although in many places it has also been used on its own, not unlike the meydan sazý. The davul has gone by a number of names down the years, including; tug, tavul, kuvrug, tuvil and tabl. Davul players have been called "tablzen", "davulzen" and "davulcu". The davul was the principle instrument used by shamans, and was and still is used in Turkey at weddings, to wake people so they can eat something before fasting all day, traditional sports and games, horse racing, wrestling matches and festivals. It has also been used to spread tidings of good news, security matters, war and fire. In essence, davuls can be classed into three different sizes. These are the small (diameter approx. 60 cm.), medium (diameter 70 cm.) and large (80-90 cm.). The width of the rim changes considerably from region to region and depending on the player. It consists of two main parts, the skin of leather which has been passed over a stretching hoop, and the wooden section joined to it, known as the "kasnak" (rim). The two kins that have been stretched over the hoop can be tightened as wished to produce the desired tone by means of the attachments on the side. The frame may be made of walnut, lime or fir, although oak is probably the most popular of all. Over it is stretched calf, dog, sheep or goat skin, attached to the top and bottom of the frame. They are put on wet, and tied down at the top and bottom with zig-zag cords. The skin is kept fully stretched once it has dried out in order to maintain the desired pitch. It is also oiled with sesame or olive oil to prevent it cracking as it dries out.
After being hung round the neck by a stout cord, the davul is played by hitting it with a thick stick called the "tokmak" (or comak, meccik, metcik or comaka) held in the right hand, and a thinner one known as the "thin stick" or ‘cubuk (or cirpi or zipzibi) held in the left. The tokmak beats the main stresses of the rhythm, and the cubuk the lighter ones. The cubuk is usually about 40-50 cm. long, and the tokmak
Tayyar Akdeniz is teaching davul to Baran Efendioglu was 4 years old
Baglama
Tayyar Akdeniz
Baglama is the most commonly used string folk instrument in Turkey. It takes different names according to the regions and according to its size such as Ba?lama, Divan Saz?, Bozuk, Çögür, Kopuz Irizva, Cura, Tambura, etc.
Cura is the smallest member of the baglama family with the highest pitched sound. The member one size bigger than cura which gives a sound that is one octave lower than cura is the tambura. And the one with the deepest sound is the Divan saz? whose sound is one octave lower compared to tambura.
Baglama has three main parts called Tekne, Gögüs and Sap. Tekne part is generally made from mulberry trees as well as from woods of juniper, beech, spruce or walnut. The gögüs part is made from spruce and the sap section from beech or juniper.
There are pieces called burgu (screw) at the end of the sap which is opposite to tekne part to which the strings are tied. These screws are used for tuning. There are pitches on the sap tied fith fish line. Ba?lama is played with a Mizrap or Tezene made from cherry wood bark or plastic and fingers are used in some regions. The later technique is called selpe.
Thee three string groups on baglama in groups of two or three. These string groups can be tuned in a variety of ways. For example in the tuning style called baglama Düzeni, the strings in the lower group give "A" note, middle group strings "D" note and upper group strings give "E" notes. Besides this type of tuning there are Kara Düzen, Misket Düzeni Müstezat, Abdal Düzeni, Rast Düzeni etc. styles.
