Halk çalgılarımızdan kaba zurna ve metodu üzerine ön çalışmalar

Abstract

ÖZET ` Halk Çalgılarımızdan Kaba zurna ve metodu üzerine ön çalışmalar ` konulu bu tezde, kaba zurnanın tarihsel gelişimi hakkında ulaşılabilen kaynaklar doğrultusunda bilgiler verilmiş. Kullanım alanları anlatılmış, ses sahası ve karar perdeleri tanıtılmıştır. Kaba zurnanın yapımı hakkında geniş açıklamalar yapılarak, bakımının nasıl yapılacağı konusunda bilgiler verilmiştir. Kaba zurnada yeni sesler elde edilmesi çalışmalarına geniş yer verilmiş ve bu seslerin tanıtımı yapılmıştır. Kaba zurna metoduna temel teşkil edebilecek metod deneme çalışmaları bu tezde yer almıştır. Genel olarak bu çalışma, kaba zurnayı her yönüyle tanıtabilme amacı ile hazırlanmıştır.

SUMMARY The `Kaba Zurna` (Common Shrillpipe) that is the largest in dimension among the shrill pipe family that constitutes a part of our wind instruments that have survived through centuries and lived up to the present day, is an instrument made of wood. It has come from the days of the ancient Sumerians until this day and was named Zurr by the Kalmuk's. Later on the Azeri named it `Soma (soma)`. In reality its name comes from the Pharisi word `Sernay`. Although it has been found out that the Common Shrillpipe has been used in various fields, it is known that it was the dominant and fundamental instrument of the band. One can play the whole of the music with this instrument. Its sound is colorful, lively, pastoral, imposing, sentimental, mobile. The common shrillpipe's tone is the tone that is most suitable to play the highest octaves in turkish music. It is a folk music listening to in the royal band and in the music recitals given by the musicians of the royal palace. The common shrillpipe is an ideal instrument to be played in open air. Nowadays the use of the common shrillpipe is by far more restricted as compared with the days of the past, but still it is a musical instrument that attracts an impressive number of listeners whenever it is played. Outside of official Authorities (the ministry of Culture, the Grand National Assembly Band Section) the utilization of the common shrillpipe is reserved to folk dancing recitals and competitions. In the Aegean `Zeybek` and the `Karsilama-Welcoming` from Thrace the common shrillpipe is used and was taught by master to apprentice and so was able to survive until today. The players of the common shrillpipe were really excellent players, but did not do much to develop their instrument from the technical angle. Since there is no standardized manufacturing system, each common shrillpipe is formed by its maker. When these common shrillpipes manufactured in a haphazard way are brought together difficulties arise in reaching a smooth intonation. There are differences in the measurements of two common shrill pipes manufactured by the same craftsman, since the reed widens (as it gets wet) as the shrillpipe is played, it gets better as it gets older, its sound mellows as it is oiled, but the sharp and flat notes are not heared clearly and distinctly. This is VIdue to the technical deficiencies in the manufacture of the common shrillpipe. A number of difficulties are encountered when performing on the common shrillpipe that result because of the technical shortcomings in its manufacture. The fact that each shrillpipe is different in its dimensions gives rise to differences in its tonality. An error made in the sizing of the main holes makes the pitch drift making the shrillpipe unusable. What is more there is no certain size for the reed and the pipe of the shrillpipe, therefore those parts must be made by the player of the shrillpipe difficult. In short the person who plays the common shrillpipe must have some knowledge as regards the sizes and manner of manufacture of this instrument. That is why the common shrllpipe has reached our days in the form and character known by our forefathers and fathers, without any technical development of note taking place in its manufacture and the way in which it is played. Due to the fact that no standards have been brought either to its manner of manufacture or to its style of performing difficulties are being encountered in its being taught as a musical instrument in our conservatories and cannot reach the level desired. The Common Shrillpipe that occupies an important place among turkish folk music instruments, but still we lack a detailed study about it. We cannot deny that a wide scoped research about the Common Shrillpipe is needed. We can summarize the preliminary studies in connection with the Common Shrillpipe that were taken up in a thesis as follows: The first part of the Thesis is dedicated to its `Introduction`. In the second part the Common Shrillpipe was studied from its historical aspect. The fact that the problems we took up previously still constitutes an unstudied part of the issue. In the third part the utilization grounds of the Common Shrillpipe were looked into. These are mainly the royal band, the traditional Turkish shadow-play `Karagöz` and the Turkish parlour theatre named `Orta Oyunu`, palace music, folk music and as accompaniment to folk dances, the scripts were accompanied by photographs. VIIAfter a description of the Common Shrillpipes structure the fourth part also contained explanation about the Common Shrillpipe's parts. The main part, the holes lined up on the main part, the devil's holes that are on the nose tip part of the main part, the tongue part that is one of the most important sections and play a major part in the instrument's being played, the pipe part that provides for the resonance of the instrument and the reed part that is responsible for the original tone, all these sections are described in detail. The fifth part shows the voice field of the common Shrillpipe and its sound pitches. The sound volume attained with the Common Shrillpipe has been shown on the stave and six types of sound pitches have been introduced. The sound pitches have not only been described in writing but have also been illustrated with photographs. Information regarding the manufacture and maintenance of the Common Shrillpipe has been given in part six. Wide explanations have been added on the forming and attachment of the reef section which plays an important part in the creation of the sound of the Common Shrillpipe. The forming of the main part the standard form of the shrillpipe as well as the guiding measures to reach this goal have been taken up. The dimensions of the tongue section are pre-set and this part is made to order. Its structure by the Shrillpipe player in line with the measures given has been told at length. As the last addition too this part the maintenance of the Common Shrillpipe has been explained. In the seventh part some steps taken to lend sounds as yet unheard in the Common Shrillpipe have been explained. The fourfinger `La` pause position when played on the Common Shrillpipe hinders the note `Re` to be played, this too has been explained in its mainlines. The subject of experiments was introduced and supported by photographs. Another note which is difficult to play by some one who plays in the `La` pause position is `do`. Experiments were made on the Common Shrillpipe to find an easier way to achieve this sound. In the eights section views on working on methods is being taken up. The fact that there is no study supported on any systematic method in learning to play the Common Shrillpipe; has led us to seek a system in order to shed light on an unknown subject in the hope of illuminating it at least to some extent. The general lines of the system applied by us in the search of methodical studies are given below: VIIIWhen preparing this study we carried out examinations on various wind instrument (flute, reed oboe) methods and searched into the systems used when teaching students how to play hem. As a result of this study we found points that were useful in the teaching technique of the Common Shrillpipe. Additionally our experience in this field and the numerous experiments we made were also effective in the study we presented. At the beginning of methodic study comes the knowledge the child must have at the beginning of its studies made with the aim of how to play the shrillpipe, as well as a knowledge in general of music. Later the child should learn the position in which to hold the common shrillpipe. This position is also shown with the help of photographs, the manner in which the fingers are held to close as needed the main holes is also shown in graphics. After information regarding the gripping of the common shrillpipe the position of the need end in the mouth of the player is illustrated and explained, examples are given to show the art of blowing. To the student who has learned the art to hold in the right position, to blow and to play the shrillpipe a mastery that is exclusive to the shrillpipe, namely the technique of turning one's breath is taught. In addition to which other techniques of playing the common shrillpipe are studied. After all these studies, a table is drawn on which the note scale and the points on it on which the tones that are to be played on the shrillpipe are shown. The manner in which these tones are achieved is explained in detail; and supported by photographs to assure that it is really understood. At the end of the study with methods, exercises are given with notes in different values. Later on diatonic exercises in connection with periodic studies are taken up. Following all the studies described and by taking into consideration the field of application of the Common Shrillpipe, melodies of folkmusic and band music are chosen and used as pieces of exercise. Information is given on how the chosen melodies are to be performed. At the end a repertory part was prepared to ensure that the student has a repertory of sufficient richness.Another important issue that has to be taken up promptly is the fact that the knowledge presented up to here is only the foundation of learning to play the shrillpipe. If we take into consideration that it takes much effort and study to learn the shrillpipe well we will understand that this study is not the end but only the beginning. Higher degree of study to be prepared in the light of the data contained in this study will provide to have us place on a more compact base the technique of teaching the shrillpipe.