Lavta (İstanbul lute) in history and lavta learning guide

Our work is divided into two main parts. In the first part, lavta is considered in the context of historical processes in different geographies. The data that has been collected is analyzed by content analysis method. The information about different types of lavta and playing styles is also provided in this part. The rest of our work contains a learning guide for lavta. The aim of this work, for those who have an interest in learning lavta, is to give information regarding the history, structure, well-known performers and luthiers of lavta. Due to the vertical playing technique of the lavta, it is likened to the ud while its fretting system is likened to the tanbur. The plectrum sound style of Tanburi Cemil Bey helped to create a sound that is very close to that of the tanbur. This style affected the other tanbur players. The number of tanbur players who played lavta during the same time increased day by day, while the number of lavta players diminished. It can be said that the majority of lavta players were actually tanbur players after Tanburi Cemil Bey. Due to such factors, the same finger positions as tanbur are taught. In some etudes a different plectrum style from the tanbur, suited for vertical playing, is given. However, musical ornament is given in the same way as tanbur and exemplified in some etudes. With this guide, it is possible to begin, process and perform lavta, which is preferred as second instrument by tanbur and oud players, in the same music styles that they are competent in. Through this guide, after learning lavta's basic technique, one can easily play lavta in different styles in modern music performances by taking advantage of the instrument's flexible and efficient performance.