1. TURKISH FOLK MUSİC

2. What is the Turkish Folk Music?  Turkish folk music, in various regions of Turkey, local ethnic Turkish music, all sung in different dialects and forms. Structured as a part of Folklore.  Turkish folk music (TAC for short), verbal and nonverbal folk music, folk music is divided into two. Oral folk folk music in general is called. Wordless melodies of folk music from the regular local instrument.

3.  Taken into consideration for the works of Turkish folk music, classical and modern are divided into:  Classic Turkish Folk Music, compiled many of the various regions of the anonymous folk songs and folk music consists of non-verbal. Anonymous works is not known who owns the lyrics and compositions, and has cost the region.  In modern Turkish folk music since the 1970s, created on the model of the next period, the old patterns of local music, lyrics and the compositions of some of folk music.

5.  The first examples of such instruments in Anatolia can be observed in early Hittite time, at about XVII.Century B.C. Since then, nearly all the civilizations that has been placed in Anatolia, had used these kind of instruments very functionally in areas like accompaniment to voice, melody production, rhythmical accompaniment, homophonic constructions and theoretical guidance by means of fret distribution

6.  Ba ğ lama can be both played by hand and by plucks, which is presenting very extraordinary right-hand techniques on which the performer can develop very efficient rhythmic patterns. Also ba ğ lama, using three groups of strings allows the performer to use different tuning systems that will support the efficiency of melodic production and performance. In ba ğ lama performance, each of the hands possesses one or more specific functions. As an addition to the rhythmical function of the right-hand, the left-hand is dedicated to melody production in coordination with the right-hand. Apart from the rhythmic and melodic functions, ba ğ lama also serves as a very critical source for homophonic or sometimes polyphonic accompaniment to voice or other types of instrument with the coordinated virtue of the both hands

7. Ba ğ lama Family  Baglama  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 Baglama, Divan Sazi, 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 sazi whose sound is one octave lower compared to tambura.

8. Instrument Construction  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 homespun or juniper.

9.  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 with fish line. Baglama 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.

10. There are 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 'la', middle group strings and upper group strings give 'mi' notes. Besides this type of tuning there are Kara Düzen, Misket Düzeni Müstezat, Abdal Düzeni, Rast Düzeni etc. styles. The Bağlama and Octave

11. ŞELPE TECHNIQUE  Different shapes and a variety of features are avaible in ’’ŞELPE’’ technique. These are; the hand is that the wires from the top down and bottom- up strokes. From of stroke,shows a variety of features such as expression and tone. The two kinds of strokes from top to bottom. One of them: the other four fingers except the thumb are shooting the wires.

12.  The other is the little finger except the thumb, ring finger, middle finger and index finger, respectively, consists of the shooting quickly as all the wires pass. Şelpe technique is applied in two ways. They are : wire-pulling technique, and is divided into finger-tapping technique. The basic technique of Bağlama is wire pulling technique.

13.  Wire pulling means making sounds by pulling the wires with finger. The finger tapping technique, open-wire touch it in her voice full five-volume subtraction technique applied to the index finger or middle finger.

14. Peoole’s poet Aşık Veysel

15. Muammer Sun Educator of music and Composer of Turkey Muammer Sun was born in 1932 in Ankara. He started to his music education in 1947 at Military Music School. He was accepted to Ankara Public Conservatory in 1953 and became a composition student and he graduated from with a high degree.

16. He was a teacher at Public Conservatories in Ankara, İzmir, İstanbul and the department of music of Gazi Education Institute. His book called as ‘Turkey’s Problems of Culture, Music and Theatre’ was published in 1969 and became so famous because it offers radical solutions. He got the degree of ‘Public Performer’ which is given from Ministry of Culture in 1988. He established ‘Sun Publishing Firm’ in 2004. He still continues to his works.

17. Ali Ekber Çiçek  Ali Ekber Çiçek was in the TRT Ankara Radio in 1954. During this time he vocalized about four-hundred folk songs and impressed so many musicians. In 2003, a documentary was prepared about him by TRT Documentary Program Headship.

18. Erdal Tuğcular  Biography (1961 - ) He graduated from Ankara, Gazi University Education Faculty Department of Music Education in 1983. He started to work as Bağlama (traditional Turkish folk instrument) and Traditional Turkish Folk Music research assistant in the same school in 1986.

19. Erdal Tuğcular  Erdal tuğcular worked on songs’ vocalizing which were played by Turk Public Music’s enstruments. He adopted unknown Turk Public Music’s songs to quartet, chamber music and orchestras with many variations. .Still he is working in Ankara, Gazi University, Department of Music Education.

20. Haydar Haydar

21.  He(Ali Ekber Çiçek) told the story of composition of “Haydar Haydar” with this statement: “I make a studio in my house. After my work in radio, I go to my home and I work for four hours comprehensively. I work on it as cooking a meal during three years”. Many musicians around the world came to our country to listen and examine this composition which has a gorgeous harmony.

22. Gafil Gezme Şaşkın  The folksong called as “Gafil Gezme Şaşkın” is a well Gaziantep song which has nice words and music. It was added to TRT Turk Public Music repertoire by arranging by Yavuz Top; however the date of arrangement was not clear.

23.  The song’s second statements were changed as “Leyli Leyli” instead of “Ya alim ya alim”. This folksong tells that death cannot be delayed neither with money nor properties.

24. Zeybek of Kerimoğlu

25. Zeybek of Kerimoğlu is a well-known folk song in the city of Pisi throughout Turkey.  Zeybek of Kerimoğlu was living in a small house with his mother and two sons.  Once upon a time, he went a wedding and he started to dance Zeybek with his friends. At this time, headman of Pisi, who is called İzzet, got mad because he thought that they must not dance in front of people who are elder than them, because this attitude was considered as an insult. After that, İzzet and Kerimoğlu begun to argue and Kerimoğlu shot to kill him but İzzet got injured and Kerimoğlu could escape.  Nobody could find Kerimoğlu and someone informed İsmail who was known as his fame of catching smugglers to find as soon as possible.  One day, Kerimoğlu fall a deep sleep in his cottage and İsmail killed him by going into the open window. 

26. Osmanım  Once upon a time in Anatolia, military purchase begun and there was a guy called Osman who is very naïve and wanted to get into the army somuch, however people should hold a comb on their mustache to be accepted in an army.  The officer said him that ‘You are too young to be a soldier’ then Osman got his comb and thrust it to his lip and he added that ‘Does it look like as if I am holding it on my mustache?’. The officer was convinced to accept him to army because he believed his courage. Therefore, he could be a member of army and he became a hero but unfortunately he died during the war. The public of Anatolia sorrowed much and many folksongs and poems were written among poets about this incident.

27. Ağıt(Mourning)  Beginning from the history,people try tell about their thoughts about death by poems.Poems which are the said behind dead people call as a “mourning”.  Mourning has an important place in Turkish literature and also takes place an important role in diffirent cultures.people who say mourning called as “mourner”.