Analysis of aşik Davut Sulari's saz/baglama performance in terms of personal performance characteristics

One of the most prominent and common features shared by the "âşık" who lived in Anatolia and those still active today is their ability to compose and recite poetry extemporaneously. Their instrumental performances typically serve to accompany and guide their vocal delivery. However, what sets Davut Sulari apart from other "âşık"s is not only his exceptional vocal performance but also his highly advanced instrumental technique on the saz. This study, titled "An Analysis of Aşık Davut Sulari's Saz/Bağlama Performance in Terms of Stylistic Characteristics," aims to identify and examine the key features that reflect the unique performance style of Davut Sulari. As an itinerant âşık, Sulari developed a distinct performance manner influenced by the Eastern Anatolian Âşık Tradition, particularly rooted in the Eastern Anatolian Alevi Âşık heritage. The stylistic characteristics of Sulari's saz performance are analyzed under various subheadings throughout the study. The first section outlines the study's methodology and objectives, the research problem, assumptions, as well as the notation and terminology used. The second section adopts a general-to-specific approach, tracing the âşık tradition from its broader historical context to the particular case of Davut Sulari. In the third section, an analysis based on transcriptions of 16 selected works is conducted to identify specific features of Sulari's saz performance style. The findings reveal that Sulari typically performed with moderately sized saz instruments measuring approximately 40–41 cm in body size. He used both short-necked baglamas with 19–20 frets and long-necked versions with 24–25 frets. His playing posture and body language were closely aligned with his way of holding the instrument. In performances where he raised the neck of the saz, his posture adapted accordingly, while in some instances he maintained a fixed position. By positioning his arm over the upper bridge of the instrument's body, he placed his wrist near the middle bridge, executing his plectrum strokes in that region. His use of the plectrum—categorized into single, multiple, and "takma" (fixed) strokes—was found to be rich and proficient. It was also observed that Sulari employed distinct melodic patterns that he frequently repeated across various compositions. Primarily adopting a dynamic performance style, Sulari introduced rhythmic and melodic variations within single pieces through diverse plectrum techniques. In addition to these features, his unique saz performance style was further defined by his left-hand techniques, including the frequently used "kıstırma" (lateral stopping), finger tapping and pulling techniques, and his particular approach to ornamentation.