Analysis of contrbass performance techniques in Turkish music

This study was carried out to facilitate and improve the use of contrabass, an instrument of western origin, in Turkish music. In the study, the techniques and methods used by Renaud Garcia-Fons and François Rabbath in performing the double bass are discussed in terms of Turkish music performance, and right and left hand techniques are explained. As a result of the examination, left hand techniques were classified and applied through samples as lower octave techniques and thumb techniques. In this study, left hand techniques, natural grasping technique, double finger grouping technique, triple finger grouping technique and non-press technique among lower octave techniques, crab technique and broken finger technique from thumb techniques were applied on double bass in simple makams. Taking into account the structural characteristics and attitude of Turkish music in the thumb position, new techniques and forms of performance have been developed. Right-hand techniques were classified and examined in terms of German bow technique, French bow techniques and pizzicato technique. As a result of this examination, German and French archeology holding styles, Pizz. di Arco, Spiccato, Legato, and Col Legno techniques were explained and applied. In addition, transpose practices in Turkish music ( displaced, one voice, four voices and five voices methods) that make Turkish Music different from other music genres and can be considered as the main problem in Turkish music double bass performance were examined and explained and applied over simple makams.