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Hem solo hem de eşlik sazı olarak icra edilen neyin, günümüzde çoğunlukla beş çeşidi kullanılmaktadır. Bunlar Klasik Türk Müziği teorisindeki akortlara adını veren aynı zamanda birer ney çeşidi de olan mansur (yegâh), kız (hüseyni aşîran), süpürde (rast), müstahsen (ırak) ve bolahenk (dügâh) neylerdir. İcra edilen akorda göre bu ney çeşitlerinden uygun olanı kullanılabileceği gibi farklı akortlardaki icralarda tek bir ney, göçürme yapılarak da kullanılabilir. Aynı zamanda bu durum neyde bir ustalık göstergesi olarak kabul edilir. Çalışmada Dede Efendi’nin Rast Kâr-ı Nâtık eseri, içerisinde birçok makam geçkisi barındırması ve bu özelliği ile farklı perdeler üzerinde göçürme yapma imkânı sağlaması açısından örnek eser olarak seçilmiştir. Seçilen örnek eser kız ney ile icrada bolahenk akorda göçürülerek notaya alınmış ve yapılan makam geçkileri analiz edilmiştir. Çalışmada ayrıca neyde göçürme icra konusunda teknik zorlukların aşılmasına yönelik önerilerde bulunulmuştur.
What is performed as both solo and accompanying, is mostly used in five varieties today. These are the names of the acorts in the classical Turkish music theory, but also a variety of mansur (yegâh), girl (hüseyni aşîran), supurde (rast), müstahsen (raak) and bolahenk (dügâh). According to the executed acorde, the one that is suitable for these varieties of ney can be used in different acorts, one ney can also be used by migrating. At the same time, this situation is also considered as an indicator of the skill. In the study; Dede Efendi's Rast Kâr-i Nâtık work was chosen as an example work in terms of hosting many office passes and providing the possibility of migrating on different curtains with this feature. The selection of examples of the work of the girl with the icrada bolahenk acorde was taken to the note and the office passes were analyzed. The study also suggests how to overcome technical difficulties in the implementation of immigration.
Five kinds of neys are mostly used today which are performed both as solo and in accompaniment. These are the mansur (D-yegâh), which also gives its name to the tunings in the Classical Turkish Music theory, each of which is also a kind of ney, the kiz (E-hüseyniaşiran), supurde (G-rast), mustahsen (F balance '4 commas' sharp-irak) and bolahenk (A-dugah). These types of ney can be modified according to the exercise or can be used by transposition of different tunings with a single ney. At the same time, this is considered an indicator of mastery indicator the ney. In this study, the Dede Efendi's Rast Kar-i Nâtik has been chosen as an exemplary work in order to have many maqam passes and to provide the opportunity to the transposition of different curtains with this feature. The selected sample work was passed on to the bolahenk tuning with the kiz ney and the passages of the maqam were analyzed. In the study, suggestions were made in order to overcome technical difficulties in terms of transposition of the ney.
Field : Eğitim Bilimleri; Filoloji; Sosyal, Beşeri ve İdari Bilimler
Journal Type : Uluslararası
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