The makam analysis of the four tanbur taksim perfomed by Ercüment Batanay in hicaz makam

Among the Turkish music forms, the taksim form is a musical form in which the performer constructs musical sentences at the present moment by combining the melodies extemporaneously. Since this form is performed extemporaneously by the performer via structuring the tunes at the present moment, it is one of the most convenient forms to demonstrate the musician's knowledge and skills. Throughout his life Ercüment Batanay has not only allured with his saz playing but also with his musical knowledge which is apparent in his own compositions as well as in the taksims he makes. This study aims to address the use of the taksim form and the performance of the hicaz makam by Ercüment Batanay, who stands out with his unique style in the tanbur, through analyzing his taksims in the hicaz makam. The first section addresses the literature review which involves interviews conducted with people related to Ercüment Batanay's artistic personality. Additionally, the section discusses the surviving taksims of Ercüment Batanay, relevant for this study. As for the literature review done for the analysis section of this study, the sources on hicaz makam and form analysis in Turkish Music were examined to decide on the methodology of the study. The Hicaz taksims, which constitute the empirical part of this study, were listened and carefully noted, and then transferred to the digital arena with the Finale and Mus2 music notation software. These digital music notes are included in the appendix section. The findings revealed by a meticulous study were added line by line to the digital note with the help of the Adobe Photoshop program. To be a reference for future studies on Ercüment Batanay, the views of Murat Aydemir, Birol Yayla, Sadun Aksüt, Asistant Professor Özer Özel, Hakan Talu, Nihat Yalçınkaya, Ercüment Gümüşel, and Prof. Dr. Murat Salim Tokaç on Ercüment Batanay were included in the appendix section