Examining the notes and performance differences in Sedat Öztoprak's oud performance

This research examines the oud performance of Sedat Öztoprak in eight works: four works by himself and four by other composers. In line with this purpose, at first, the source notes of Sedat Öztoprak's works Mahur Saz Semaisi, Şehnâz Saz Semaisi, Şehnâz Buselik Saz Semaisi, Tahir Oyun Havası, and the source notes of the works, Anadol Sefası, Evlerinin Önü Yonca, Elmalı Yârim, Çek Kürekçi, whose composer is unknown and notated by us, were found and transcripted; afterward, the oud performance for the related works was analyzed in terms of left-hand technique and plectrum technique, and the difference between the written note and the performed note as part of the accessible visual and auditory sources was shown. In this respect, the secret oud performance of Sedat Öztoprak was revealed with tangible data, and it was aimed to contribute to the studies on the oud. The research is a descriptive study, and the survey model was used. The population consists of the works performed by Sedat Öztoprak with oud, and the sample consists of eight works that can be accessed, which are Mahur Saz Semaisi, Şehnâz Saz Semaisi, Şehnâzbuselik Saz Semaisi, Tahir Oyun Havası, Anadol Sefası, Evlerinin Önü Yonca, Elmalı Yârim, Çek Kürekçi (obtained from the internet, family and relatives with interview technique, and records, tapes and CDs). The works and related data constituting the research sample were obtained through a literature review. In line with the research findings, it was concluded that Sedat Öztoprak mostly preferred open positions in terms of left-hand technique, performed advanced positions on a single string, and position parts that require agility using empty strings, frequently used grace note and double grace note in terms of ornament techniques in his individual performance, and in addition, he used tremolando, grace note glissando, glissando, pedal tone techniques, and bottom-up plectrums regularly in terms of plectrum technique; in terms of rhythmic group variety within the scope of the performance-note difference, he divided the source note value into larger values in standard performances, divided into smaller values, and used frequently in his individual performance, most often performed quarter note of the rhythmic group variety at four 32nd and two 16th; in terms of melody diversity, he differentiated the performance by using double sound, adding notes in between, using disjunct sounds instead of sequential pitches, and using lower pitches to enrich the melody in the rest parts.