Suggestions for the detection and solution of intonation problems encountered in tulum instrument

Tulum instrument appears in different geographies of the world with different names according to the musical structure of the nations. Tulum in Turkey, ney-anban in Iran, Chiboni in Georgia, Tsampouna in Greece, bagpipe in Scotland, Musette in France. The tulum instrument, which has an important place in the music culture of the Black Sea region, is performed as a solo instrument in genres such as road air, horon, atma folk song, and bride's exit. The tulum instrument, which consists of five pitches and six sounds, is a polyphonic instrument due to its double pitch. Due to the narrow sound range, transposition cannot be made in the tulum instrument. The tulum instrument, which has limited tones in the region due to the fact that it is traditionally performed as a solo instrument, started to be performed with instrumental ensembles after it entered TRT with Master Remzi BEKAR in 1977, but intonation problems were observed due to the authenticity of the instrument. This research is important in terms of contributing to the studies to be carried out on behalf of the instrument in line with the goals of determining the problems encountered by interviewing the instrument performers and the masters of the tulum instrument in order to eliminate the intonation problems encountered during the performance of the tulum instrument with the instrumental ensembles, ensuring sound unity with other instrument types, eliminating the difficulties of intonation based performance, and standardizing the measurements used during the construction of the instrument. In this research, the measurements of the A tone tulum instrument made by different master.