Bünyesinde artmış (artık) ikili aralığı bulunan çeşnilerin geçkiye sağladığı kolaylıklar

Abstract

ÖZET Geçki, bir makamdan başka bir makama geçmektir. Geçki yapılırken makamları oluşturan çeşniler arasındaki ilişkilerden faydalanılır. Makamların durak, güçlü, tiz durak, tiz durağın üstündeki ve durağın altındaki genişleme bölgelerinde bulunan çeşniler arasında ilişki doğru kurulabildiğinde; eldeki makamdan gidilen makama ulaşmak kolay olur. Artık ikili aralığı, değişik genişliklerde olmak üzere 6 çeşnide kullanılmıştır. Hicaz ve Nikriz çeşnileri içinde 12,13 ve 14 koma şeklinde kullanılan artık ikili aralığı, Hüzzam ve Sabâ çeşnilerinde 1.0, 11 koma, Segah ve Müstear çeşnilerinde bir tanini'ye eşit bir şekilde 9 koma olarak kullanılmıştır. Ancak değişik kullanımdaki bu artık ikililer baskı yardımıyla çok kolay bir şekilde birbirlerine dönüşebilmekte ve geçki'ye büyük kolaylıklar sağlamaktadırlar. Bu sebeble her türlü artık ikili aralığına Hicaz denerek geçki, hicaz çeşnisini değişik perdelerde tekrarlamak suretiyle adeta makamları aşağı veya yukarı genişletmek şekline getirilmiştir. Artık ikili aralığının geçkiye sağladığı kolaylıkların incelendiği bu çalışmada; önce makamlar karar bölgesindeki çeşnilere göre toplandı, böylece tüm makamkar 14 başlık altına alındı. Sonra çeşniler arasında birbirleriyle yakın ilişki içinde olanlar bir araya getirilerek tüm makamlar 3 ana başlık altında toplandı. Rast, Hicaz ve Buselik grubu adlarıyla anılan bu gruplar arasındaki ilişkilerle tüm makamlar arasındaki ilişkiler sağlandı. Bu şekilde herhangi bir perdedeki herhangi bir makamdan, herhangi bir perdedeki herhangi bir makama geçki yapmak kolay bir hale getirildi. Artık ikili aralığının getirdiği kolaylıklarla bir makamdan diğer bir makama geçki, yumuşak bir şekilde, adeta geçki yokmuş gibi, kulaktaki izlenimi değiştirmeden yapılan bir geçkidir. VII

SUMMARY The term of transposition would mean various kinds of tunes. Initial tune pressed for a transposition should be named existing tune where the second is the aimed tune. The transposition may be more pleasing and satisfying if the uncompleted empty air between the existing and aimed tunes would bu filled with various elements. Universally, music has to be directed to the purpose of listening. Performing of a commonly pleasing and relaxing transposition will be undoubtedly succesfull. Especially correct performance of instrumentalists playing improvisations is directly proportional to their qualified musical ability, experience, rich repertoire and to their knowledge of connections on different tunes.. In Turkish music 600 different tunes have been arranged. However, the number of tunes to be found with at least one sample there of will not exceed the number of 256. All of these tunes are ordered in an interval with two octaves between Yegâh and Neva. If we would classify the tunes starting from Yegâh, pursuant to their end notes with various configurations öf 14 different mixtures. In order to comprehend the meaning of the tunes, it is firstly required to clarify the definition of mixtures. Mixture would mean taste or flavor. Notes of the value of three, quarter notes and quints accomplished by connection of intervals shall result in various flavors. We shall easily be able to distinguish and notice that they are played pursuant to Rast, Buselik, Hicaz, etc., tunes. The mixtures used in Turkish music are characterized under the names of Pençgah, Nişabur, Rast, Uşşak, Segah, Müstear, Hüzzam, Ferahnak, Nikriz, Hicaz, Saba, Buselik, VIHÇargâh and Kürdî. A classification of tunes pursuant to their end notes would also be necessary. It is possible to reach at another mixture through starting from any one of the various mixtures. In order to assure that, the relationships by and between the mixtures and their usage should be comprehended. Mixtures should also be classified as per their connections. All mixtures may be simply characterized under the names of the same. The mixture Hicaz, which may be an element of the above mentioned other two, should also be classified as a third group in the main mixtures. As noted clearly, in order to determine the relationships between the tunes, the number of them has been reduced to the number of mixtures and following the classification thereof, their number has been finally reduced to three. As a result of this, examining the tunes has been converted to an examination of the relationship between the said mixtures. Presuming that the mixture Hicaz is in the midpoint, which is placed between Rast and Buselik, all other mixtures shall be logically obtained pursuant to the rank and position of Hicaz. All mixtures in Rast are placed below Hicaz where all mixtures in Buselik are above of the same. Presuming that centered Hicaz at Dügâh, all mixtures in Buselik will be ordered above Neva. Transposition should be accomplished by modification of tones characters. Outlines based on the low and high positions of a tone shall be named as the character of a note. For instance, the tone H in Buselik (presuming at vi Dügâh) has a 9 koma distanca to Dügâh below and 4 koma distance to Çargâh above. By the way, please be advised that koma means one of nine equally divided parts between two consecutive whole tones. Should this tone used through changing the interval by pressing a lower or a higher tone, the character of the mixture will be destructed and the quality of sound will also be IXaffected. The result of an suddenly pressed low or high tone shall not be satisfying and obviously not respectable. The quality would be ebsured by changing the above mentioned intervals (A-H) and (H-C) and making the necessary arrangements thereof. Henceforth we will examine the halftone interval which enables easy transposition although it is modified but still bearing the same character. The halftone interval does not missound even it is extended or decreased. The halftone interval used no more excluding 14 koma in Turkish music, it should be retrieved in various tunes of Hicaz as 10, 11, 12, 13, 14 koma. 111.1 GEÇKİ (Passage) : Geçki is moving to one makam from another. In this case the first makam is called eldeki makam, while the second is called gidilen makam. Series of notes comprimize what is called a dizi; whereafter, combination of the latter and their durak bölgesi, güçlü bölgesi, tiz durak bölgesi and the lower and higher notes form the relations among the çeşni's. Actually, these çeşni's are nothing but widening of the series of notes. Makam's are regarded as wholes, all the movements are formations in these wholes. By playing with these formations, the music is finished according to the characteristics of the makam. Geçki (Passage) choices are on follows. 1- From Rast to Rast 2- From Rast to Hicaz 3- From Rast to Buselik 4- From Hicaz to Hicaz5- From Hicaz to Buselik 6- From Hicaz to Buselik 7- From Buselik to Buselik 8- From Buselik to Rast 9- From Buselik to Hicaz With the possibilities above, geçki is a one step procedure, because makam widens itself either on the upper or lower note. ARTIK İKİLİ: This is used with Hicaz /Nikriz/Sabâ, Hüzzam/Segâh, Müstear. Arel - Ezgi system accepts energy artık ikili as Hicaz. The fact that this has different names according to the old system may implify that regardingjhis artık ikili as Hicaz may be wrong. Howewer, because of its acceptance artık ikili will be regarded as Hicaz here after. Artık ikili is played between bemol 14 artık ikili in Turkish Music ; 1- In Hicaz, it is played as 12/13/14 comma, 2- In Hüzzam, it is played as 10-1 1 comma 3- In Sabâ it is played as 10-1 1 comma 4- In Segah it is played as 9 comma 5- In Dügâh it is played as 9 comma. XIUnder the light of the above, it should be noted that where there is a koma existing, there should be the mixture Hicaz. Please note that I hereby intended to draft an outline on transpositions by highlighting the musicial quality of the halftone interval used one after the other. As a result of the fluidity of mixture Hicaz, it may be distributed to different pitchs in between itself and with its connections to existing or aimed tunes it would enable us to listen to a very good sounding and highly qualified transposition. XII