At the end of the technical and melodic features of Ahmet Meter's qanun taksim's, recommendations for advanced performance

Ahmet Meter is an artist having become a ecole with his performance and attitude on qanun. He is an artist who has guided the qanun instrumentalists that followed him with his Turkish music style and has a significant role in the development of our music with his performance. In this study; exercises for advanced performance have been created through improvisations of Ahmet Meter, one of the significant qanun instrumentalists of classical Turkish music. In the study which analyzes 6 improvisations, the following improvisations have been addressed: 3 intervallic improvisations that he made in the album "Super Fasıl" in the maqams Nihavend, Mahur and Hüseyni, Uşşak taqsim in the albüm ''Kanunla Sevilen Şarkılar 1'', taqsim which is modulated from Hüzzam to Nihavend from the albüm '' Ud ile Sevdiğiniz Şarkılar 1'' and Hüzzam taqsim which was included in an externally accessible casette record. All taqsims studied have been notated. The taqsims have been analyzed in a detailed manner both technically and melodically under the headings of '' performance techniques, the motives and sentence structures that he used, prominent rhythmic features and use of rhythm, form features and maqam practices.'' At the end of the study, it has been determined that Ahmet Meter's sentence structures are tremendously long in each taqsim, all of the taqsims move at a very fast pace, development transitions in all taqsims are kept quite long and there are stereotyped sentences used in taqsims that show the same maqam. In Meter's improvisations, it was felt that the inner balance and harmony that he has created within himself are unquestionably reflected in his taqsims and that almost a preconceived fictional structure has been planned. These ideas are supported by the data obtained from the study, and aforementioned results have been attained about Meter's musical identity and attitude. As a result of taqsim analyses, a total of 35 exercises for advanced performance were formed including 7 from Hüzzam taqsim, 5 from Hüseyni taqsim, 7 from Nihavend taqsim, 6 from Mahur taqsim, 5 from Uşşak taqsim and 5 taqsims modulated from Hüzzam to Nihavend. The playing techniques most concentrated on in the exercises that were formed are the use of nail touching, the technique of playing with plectrum (the use of appoggiatura notes, legato and legato more than 2 notes) octave and cromatic playing techniques. Exercises created on the basis of his improvisations which were analyzed; musical phrases, consisting of sequence were used the way that they were performed by the artist and formed in the same maqam order in keeping with the sound field of the instrument and in such a way as to end at tonic. All findings that were obtained have been evaluated in detail in the conclusion part of the research