Methods of creating melodies by active use of open strings in "Bozuk düzen" in saz performance

This study, which proposes a performance method in which open strings are actively used in saz performance, consists of six parts. This proposed performance method was inspired by the practices previously seen in traditional saz performance. In the introduction part, the importance of the study and what it covers is emphasized, and in the second section, information such as the structure of the saz, its history, and performance techniques are shared. In addition, in order to solve the problems of how open strings can be actively used in melody performance and what kind of performance methods can be formed by applying various techniques within the framework of certain understandings, the subject of open strings is discussed from various angles in the study. Firstly, from the use of a single open string in music theory, issues related to our study, such as increasing the number of strings, producing various instruments over time and the function of the open string in the performance of these instruments, have been investigated. The previously sees uses of open strings in saz performance are analyzed in three aspects: burdon (dem/pedal) sound function, fret/note function and chord/accompaniment sound function. The third part of the study is the section in which concepts such as left hand position, pitch, keys(ahenk) and fret tuning system are explained and the conceptual framework of the study is drawn. The working principle of the application called "SAS", which was developed by Sinan Ayyıldız in order to collect the data needed, and which consists of converting information such as the fret system and tuning system of the model saz into numerical values and defining them in the excel program, is explained in detail. Data such as how the open strings are positioned in each keys, where the frets of the maqam to be performed are located, which of these frets are also open strings, and which are the most efficient positions were collected through this application called "SAS". The "playing techniques" used in the proposed performance method, the understanding of the performance, and how the melodies are performed with open strings in accordance with which methods are explained and shown on the transcriptions(sazs playing notes). In the fifth part of the study, the data obtained through the "SAS" application in twelve keys and fret tuning system within the framework of the limitations were discussed, the data such as "efficient position" and "efficient key" defined in the study were revealed, and the performance of examples of works and melodic movement examples on efficient keys and efficient positions were shared by using the performance method whose "playing techniques" and performance approaches were explained. Therefore, the hypothesis of the study was tested on all the data obtained. In addition, in this section, the data obtained about efficiency are given in hierarchical order in tables called "efficiency tables". The usability of the proposed performance method has been demonstrated in twelve keys and in line with the data of the fret tuning systems within the limitations. As a result of the study, twelve "playing techniques" belonging to the proposed performance method were revealed. In addition, the most efficient keys were determined as the "Davud key" for the "Kürdi fret tuning system" and the "Kız key" for the "Buselik fret tuning system", as they have nine efficient positions. The efficiency information about all keys and the pitch patterns within the framework of limitations is given in detail in the "key efficiency" table in the results section. In addition, six switches with no open wires were identified for various fret tuning systems within the limitations. On the other hand, the keys for various fret tuning systems were examined, and eighteen of them were found to have all three open strings. An interesting result, which is one of the limitations of the study, is that pitches such as "eviç", "hicaz" and "buselik", which are almost never used as the tone("karar") pitch in "bozuk düzen tuning on saz". As a result, it is understood that the "method of creating melodies by active use of open strings" can be used in all fret tuning systems with open strings and in all efficient keys.