Examination of Niyazi Sayin's ney taksims in terms of makam çeşnisi

In this study, ten taksims of Niyazi Sayın, who is an important figure in Turkish music ney performance, are noted. Makams of the taksims are segâh, mahur, ferahnâk, hüzzam, yegâh, hicaz, sultaniyegâh, şevkefzâ, nihavend and rûy-i ırak. These taksims have been analysed in terms of makam flavour. While analysing these noted taksims, the Arel-Ezgi-Uzdilek system has been used. In addition to that, features that are revealing the attitude of Niyazi Sayın in the taksims, as well as the differences in terms of the composition of the taksim, are mentioned. In his taksims, Niyazi Sayın uses the flavours that are found in the Arel-Ezgi-Uzdilek system, with some other unique flavours. In the introductory phrases of his taksims, he uses the taksim composition uniquely that has different features than the familiar features of the makams, he usually makes finger clasps rapidly. It has been determined that he uses vibrato applications and open-closed positions of the ney instrument in a unique way.