The transfer of performance techniques used in the Iranian Ahl-e Haqq to the Anatolian saz

The Iranian Ehl-i Hak Tanbûr is a musical instrument with roots dating back to ancient times. In this instrument, particularly the right-hand playing techniques (pençe techniques) exhibit a rich variety of applications. While the left-hand techniques used in this instrument bear similarities to those employed in the Anatolian saz, the righthand techniques and the implementation of pençe patterns in both instruments show significant differences. This master's thesis aims to identify, analyze, and classify the pençe (right-hand) techniques encountered in the performance of the Tanbûr specific to the Ehl-i Hak (Yârsân) community, as well as the pençe patterns that emerge through various forms of application of these techniques. In the first section of the research, the purpose, scope, methodology, fundamental concepts, preferred terminology, and notation choices are explained in detail. Under the section on population and sampling, the selection criteria for the analyzed Tanbûr performers and the sources of the recorded materials are presented. In the section on theoretical background and organology, the fundamental characteristics of the Ehl-i Hak faith, the historical and cultural role of the Tanbûr within this belief system, the etymology of the term "Tanbûr," its historical development, body and neck structure, construction materials, string and tuning systems, fret arrangement, construction techniques, and traditional performance contexts are examined in detail. Within the chapter on performance techniques and notation in the Tanbûr, the historical development of pençe techniques, regional differences, main stroke types such as "rast" and "çep," as well as the physical application, finger combinations, and regional usage of all pençe patterns—comprising single, double, triple, quadruple, quintuple, sextuple, septuple, and higher-order strokes—are explained with examples. All these pençe patterns are supported by practice examples, photographs, notation symbols, and videos accessible via QR codes. Furthermore, the advantages and limitations of the notation systems used, together with the chosen symbolization and analytical approaches, are presented. In the technical analysis and application section, the pençe techniques identified from the solo and group performances of prominent Tanbûr performers such as Ali Akbar Moradi, Kaykhosro Pournazeri, Sohrab Pournazeri, Seyyed Arash Shahriyari, and Seyyed Khalil Alinejad are examined in detail. The analyses are carried out by considering right-hand stroke combinations, metric structures, tempo variations, and interpretive differences among performers. These findings are presented with notation examples. In the context of adapting the Tanbûr's pençe techniques and pençe patterns to Anatolian instruments, all types of strokes—including upward and downward single strokes, "takma" (attached) strokes, sliding strokes, and multiple strokes—have been adapted with the pençe technique, and each stroke type has been evaluated from technical and musical perspectives through various approaches. In the conclusion and recommendations section, the findings regarding the adaptation of the pençe techniques and pençe patterns from the Ehl-i Hak Tanbûr to Anatolian xxx instruments are thoroughly evaluated; the contributions of these findings to music education, performance processes, arrangement approaches, and their reflections within an ethnomusicological framework, as well as comprehensive recommendations for the field, are presented. Keywords: Iranian Ahl-e Haqq Tanbûr, Pence Technique, Pence Pattern, baglama, saz