THE STRINGS SEPARATION TECHNIQUE IN BAGLAMA

Abstract

In this study, firstly, the journey of kopuz, which is accepted as the ancestor of the baglama family towards today's geography is mentioned. In addition to the change experienced by the kopuz, which has emerged in a rich range as baglama family in Anatolia, innovative initiatives applied in the baglama family are also included. Thus, we have tried to underline which baglama we should talk about. Then, the written methods on baglama and instruments with 6 and 7 strings, which are now described as "baglama" (short and long necked) and played in baglama and disordered tuning, were examined. The baglama, which was accepted to be played by hand (tapping or playing without a plectrum), began to be played with a plectrum over time, far ahead of its performance with tapping. The baglama performances with tapping, which were recalled after 1980s, have become much more developed and widespread today. The string separation technique, which has been taken into consideration since 2003, actually brought together the traditional performance form of tapping and plectrum technique. Erkan Çanakçı tried to find an answer to the need for harmony in folk music with traditional playing methods by blending these two techniques without disturbing the traditional structure of baglama. During the maturation process of the article, resources related to the field of study were accessed with the document analysis method, it has been applied to different age groups who have learned the strings separation technique since 2003, concerts and recordings have been made in various platforms and performance areas. In addition, a special transcription showing this technique was prepared and presented in the article. Keywords: Baglama, Baglama Methods, Selpe, Strings Separation Technique, Kopuz.