Finger position suggestions for the performance of nîm pitches played in Turkish maqam music on the G clarinet

Almost all members of the clarinet family; due to its physical structure and the way of blow, it can perform "nîm pitch", which are among the whole tones in Turkish Maqam music. Especially the G clarinet has become more preferred in Turkish music performance due to its proximity to Turkish music instruments as its voice range and its harmony of harmony. Nîm pitches; It is obtained by some tightening and loosening movements of the lip applied on the G clarinet. These traditionally used techniques are known as the main method for obtaining nîm pitches. However, there are some disadvantages and problems caused by these techniques. It is possible to list these as intonation, standardization in performance, articulation and dynamic problems. We have observed that some finger positions, which were not mentioned in the G clarinet methods written before and rarely mentioned in academic studies or other written studies. But which were noticed as a result of watching the performances of the performers, were used to obtain the nîm pitches. Therefore, for the solution of the disadvantages and problems that arise with lip techniques, questions such as whether or not nîm pitches can be obtained with different finger positions, to what extent the positions create lower in pitch or higher in pitch, how much it is possible to be applied in performance were discussed and the problems of this study were determined. In the first part of the study, information was given about the scope, quality, purpose, importance, problem and sub-problems of the research. In addition, some details about the universe, sample, limitations and methodology used in the research were given. In the second part of the study, general information about the subject handled within the scope of the research was given. Firstly, after giving information about the emergence of the clarinet, its historical development and the key systems formed in this process, general information was given about the clarinet family and the physical structure of the clarinet. Then, the information about the G clarinet was given separately, how to play nîm pitches with the G clarinet, the techniques used and the advantages, disadvantages and problems of these techniques were examined. The concept of pitches in Turkish Maqam music has also been examined as a separate title in order to better understand the concept of nîm pitch, which is directly related to our subject. In the third part of the study, information about the fingering chart of the G clarinet was given. Then, finger positions were determined for each curtain to examine the probability of lower in pitch and higher in pitc and the sound recordings of these positions were analyzed in the studio environment and their frequency, cent and comma values were determined.After expressing how the curtains will be represented with a theory, the relationship between the Arel-Ezgi-Uzdilek system and the Ankara Music and Fine Arts University system and the nîm pitches formed according to the curtain understanding was examined and comparisons were made. At the end of the chapter, a new "fingering chart" is proposed with positions where frequency, cent and comma values are analyzed and compared with nim pitches. Finally, the performance of the sample works determined to express the demonstration of the positions on the note and their applicability in the performance was carried out, the audio videos of these performances were added to the research with the data matrix system and the study was concluded with the conclusion part.