Investigation of characteristics of personal saz style in Neşet Ertaş's saz performance

In this study titled "Investigation of Characteristics of Personal Saz Style in Neşet Ertaş's Saz Performance", the most important features reflected in Ertaş's personal style in the performance of the saz performed, which is mentioned with the phrase "Bozkır'ın Tezenesi", were examined. Ertaş has an unique saz playing style which is known as the "Neşet Style". He is influenced by the playing techniques of his father Muharrem Ertaş, Hacı Taşan, Çekiç Ali and Bayram Aracı. The subject of our study, which is characteristics of Ertaş's style in the saz performance, were examined under different headings. In this direction, in the first part; the purpose, method, universe and sample, numbers, limitations, problem status and notation and terminology preferences were discussed and in the second part; Ertaş's life and musical life were discussed chronologically from a summarizing point of view. In the third part, various analyzes were made out of Ertaş's 15 transcribed works and findings about his saz style were obtained. Also, the findings were supported by various video and audio recordings. Some findings that are reflected in Ertaş's personal saz performance style were obtained based on the analysis of the 15 works selected for the sample and the video and audio recordings that support the findings. The main findings obtained are as follows: Ertaş actively uses body language in saz performance. The sazes used by Ertaş are large-body sazes and his right hand position usually closes to the bridge during the playing. He performs his left hand, which he actively uses in the lower wire along the handle, in the section where there aren't fret on the cover, and sings the melodies with a sensitive intonation in this region. Since the maturation period, Ertaş has added many frets to the instruments. He has taken on the understanding of "multifrets" throughout his life. The melodies performed by Ertaş usually decide on the fret in the 5th position of the first string of the saz. Some works are detected his little finger is batting slightly hits on the cover. In some works, it is determined that the middle, ring and little fingers' nail beats of the cover. In some works, it is seen that he performed the cover by making very hard, upright and circular strokes. In the study, Ertaş's right and left hand techniques were examined in detail and the features reflected in the personal style were emphasized. It has been determined that Ertaş uses different types of "mızrap patterns" in his performance. Also, in his works he frequently includes various variants of some patterns and melody patterns. As a result, Neşet Ertaş is a master saz performer and keeps the execution bar of the works. In addition to this, he produces high and announces it in a dynamic structure by constantly diversifying and improvising. Since a child's age, it has been known that he has been playing fretless saz such as drums, violin and darbuka. Also, it is seen that he reflects some of the technical features of these instruments to the performance of saz. His exclusive patterns, mızrap technique, and unique execution techniques he applies while obtaining different decorations are important elements that reflect his personal style.