Analysis of semah notes in TRT repertoire in terms of playing style and adaptation of these notes to baglama tuning

When we look at the historical development of baglama which can be considered as the most common instrument of our tradition, we can see that, in time the instrument undergoes changes both in terms of form and execution, and also in terms of playing style. We can call this change first a quest, then a development, and finally a presentation of a theme that is executed; a pattern that reflects the soul of the composition. If we summarize what we are talking about in one word, we can say "style" to it. When we consider the fact that the baglama instrument is played in almost every region in Anatolian, it is possible to see that each region has its own color, for example: Zeybek Style in Aegean, Konya Style in Konya, Karadeniz Style in Black Sea, Silifke Style in Silifke and the other local styles. When we search these local styles deeply, it is almost possible to smell people's way of life, their pains, their joys, their plays, their speech, their general moods; in short their cultures. The style in baglama playing does not change only according to the region. One of traditional music that shows a special style is the Alevi – Bektashi "deyiş" and "semahs". Almost all of thesemelodies are played with baglama. The player needs mastery and technical skill to play these melodies. In this style, you feel that bağlama plays both the melody and the rhythm like a percussion. This playing style combined so much with the songs that when we quit from this playing style, by being abstracted from the tune identity it loses its mystical air and dynamism. In baglama methods, we see that this playing style is shown on the musical notes. Efforts are being made to teach this style correctly using terms such as "plugging plectrum", "tapping" and "pulling". Today, a large percentage of our traditional music archives are preserved by radio station of Ankara, a TRT institution. From a conservative point of view, musical notes are taken from the archive for use, and it is tried to play properly as its origin. In the case of collective playing, the guide is the note and everyone plays the note. However, it is a question that the notes shows the true local playing style or not. Usually notes are written plainly and simply for ease of reading, so it is not always possible to see the style elements in the notes. This is a desirable subject. In this study, Semah notes of the TRT repertoire will be analyzed in terms of local playing style and the notes will be rewritten for baglama according to deyis-semah playing style. Key words Turkish Folk Music, Baglama, Semah, Alevi – Bektasi, Tavır, Musical Note.