Analysis of Ulvi Cemal Erkin's 'Ninni, Improvisation, and Zeybek Türküsü' pieces in terms of violin techniques and form

Analysis of Ulvi Cemal Erkin's 'Ninni, Improvisation, and Zeybek Türküsü' Pieces in Terms of Violin Techniques and FormThe purpose of this research is to analyze the ?Ninni, Improvisation, and Zeybek Türküsü? pieces of Ulvi Cemal Erkin in terms of violin styles and form, thereby; to contribute to the better usage of these pieces in violin training by introducing them better.When we analyze Ulvi Cemal Erkin?s ?Ninni, Improvisation, and ?Zeybek Türküsü? pieces which reflects the rhythmic and melodic elements of Traditional Turkish Music in terms of form we see that the ?Ninni? piece is in the form of extended one partitioned song and is in ?mi hüseyni? mode, ?Improvisation? piece is in the form of extended three partitioned song and is in ?sol hüseyni? mode, ?Zeybek Türküsü? piece is in the form of two partitioned song form and is in ?la hüseyni? mode.When we analyze the pieces in terms of violin techniques, we determine that the piece called ?Ninni? significantly uses the detache and partially legato as right hand (bow) technique. Position transitions, glissando, small numbers of fleogelet sound technique and figuration method (stroke) are used as left hand techniquein this piece. The piece called ?Improvisation? uses detache in small numbers and mainly legato as right hand (bow) technique. This piece uses position transitions, glissando, partially note pairs and octave technique, and fleogelet, figuration methods (stroke and trill) in small numbers as left hand technique. The piece called ?Zeybek Türküsü? uses mostly detache, small numbers of legato and spiccato as right hand (bow) technique and position changes, glissando, mostly note pairs and octave technique with fleogelet sound technique, pizzicato and figuration methods (stroke) in small numbers.In the suggestions part of the research, sequential exercises to help practice pieces have been presented.