A review on the performance of dilsiz kaval in the halays of Kırşehir

The objective of this study is to review some of the halays, accompanied by dilsiz kaval of Kirsehir region and examining the playing techniques of the instrument and the style of this area. Historical background of Kirsehir, its geographical location and cultural structure are provided as an introduction to the study. Information about halays performed in this area, their general characteristics according to their locations as well as their place and importance in Turkish folk music are addressed. The definition of abdal music tradition along with the importance of regional style, life styles of abdals and the prominent abdals of Kirsehir area are mentioned. The instruments played in halays are stated and tuning arrangements of baglama which is the most widely used instrument among them is given. Historical background of dilsiz kaval, its development process and taking its place in Turkish music groups are covered. Holding position of kaval, its structural measurements and fret arrangements are explained. The scales, intervals and thematic characteristics of the four folk songs chosen as examples of Kirsehir halays are analysed. General information about these pieces and playing techniques of these halays are given. Performance characteristics of the above mentioned halays such as glissando, vibrato, embelishments, grace notes; accented, tongued and legato playing and optional frets are included. A glossary of the terms used as performance directions are also provided. Bibliographical research, examination of literature, observation, experimenting and interviewing masters are the methods used in realization of this study.