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Istanbul Technical University Graduate School of Arts ISTANBUL TECHNICAL UNIVERSITY GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES SYSTEMATIZATION FOR HARMONIC PRACTICES IN SELPE TECHNIQUE Ph.D. THESIS Ahmet Ozan BAYSAL Department of Music Music Ph.D. Programme MARCH 2020 ISTANBUL TECHNICAL UNIVERSITY GRADUATE SCHOOL OF ARTS AND SOCIAL SCIENCES SYSTEMATIZATION FOR HARMONIC PRACTICES IN SELPE TECHNIQUE Ph.D. THESIS Ahmet Ozan BAYSAL (409132002) Department of Music Music Ph.D. Programme Thesis Advisor: Assist. Prof. Dr. Eray ALTINBÜKEN Thesis Co-Advisor: Prof. Erol PARLAK MARCH 2020 İSTANBUL TEKNİK ÜNİVERSİTESİ SOSYAL BİLİMLER ENSTİTÜSÜ ŞELPE TEKNİĞİNDE ARMONİK UYGULAMALAR İÇİN SİSTEMLEŞTİRME YÖNTEMİ DOKTORA TEZİ Ahmet Ozan BAYSAL (409132002) Müzik Anabilim Dalı Müzik Doktora Programı Tez Danışmanı: Dr. Öğr. Üyesi Eray ALTINBÜKEN Eş Danışman: Prof. Erol PARLAK MART 2020 Ahmet Ozan Baysal, a Ph.D. student of ITU Graduate School of Arts and Social Sciences with student ID of 409132002, successfully defended his thesis/dissertation entitled “SYSTEMATIZATION FOR HARMONIC PRACTICES IN ŞELPE TECHNIQUE”, which he prepared after fulfilling the requirements specified in the associated legislations, before the jury whose signatures are below. Thesis Advisor : Assist. Prof. Dr. Eray ALTINBÜKEN Istanbul Technical University Co-advisor : Prof. Erol PARLAK Ankara Music and Fine Arts University Jury Members : Prof. Dr. Can KARADOĞAN Istanbul Technical University Prof. Dr. Tolgahan ÇOĞULU Istanbul Technical University Prof. Dr. Aynur ELHAN NAYIR Necmettin Erbakan University Assist. Prof. Dr. Urum Ulaş ÖZDEMİR Istanbul University Prof. Dr. Songül KARAHASANOĞLU Istanbul Technical University Date of Submission : 6 March 2020 Date of Defense : 25 March 2020 v vi To my parents, vii viii FOREWORD This Ph.D. thesis, titled “Systematization for Harmonic Practices in Şelpe Technique” was prepared at the I.T.U. Social Sciences Institute, Dr. Erol Üçer Center for Advanced Studies in Music (MIAM). Firstly, I would like to thank my advisors Prof. Erol PARLAK and Assist. Prof. Dr. Eray ALTINBÜKEN, and thesis committee members Prof. Dr. Aynur ELHAN NAYIR, Prof. Dr. Can KARADOĞAN, Prof. Dr. Songül KARAHASANOĞLU, and Assoc. Prof. Dr. Tolgahan ÇOĞULU for their priceless advice. My special thanks go to Ozan SARIER, Laçin ŞAHİN, and Ayşe YÖRÜKOĞLU who helped me a lot for shooting photos and performance videos for this thesis. I would also want to convey my thanks to Assist. Prof. Urum Ulaş ÖZDEMİR, my colleagues Oğuz ÖZ, Oğul KÖKER, and Sinan AYYILDIZ. Finally, I thank my father and my mother for their deep endless supports, understanding, and patience. March 2020 Ahmet Ozan BAYSAL (Musician) ix x TABLE OF CONTENTS Page Outlines of Saz/Bağlama and Şelpe Technique ................................................. 2 Purposes of the Thesis ........................................................................................ 4 The Methods of the Research ............................................................................. 5 Theoretical Outline and Literature ..................................................................... 5 General Information about Şelpe – Performing Technique of Saz/Bağlama without a Plectrum ................................................................................................. 25 2.1.1 Historical roots and etymology of şelpe ................................................... 28 2.1.2 Sub-techniques of şelpe ............................................................................ 30 2.1.2.1 Pençe .................................................................................................. 31 2.1.2.2 Tel çekme ........................................................................................... 33 2.1.2.3 Parmak vurma .................................................................................... 34 Notation and Education .................................................................................... 36 Modernization Process of Şelpe Technique ..................................................... 40 Harmonic Practices of Şelpe (Since the 1980s) ............................................... 55 3.1.1 Musical textures of şelpe and analysis ...................................................... 57 3.1.2 Tonal harmonic structures used in modern şelpe technique ..................... 68 Matrix System for Şelpe ................................................................................... 71 3.2.1 Classification of chords and chord symbols using in matrix system ........ 72 3.2.2 General rules and limitations of matrix system ........................................ 74 3.2.2.1 Tuning system of saz/bağlama ........................................................... 74 3.2.2.2 Octave range of saz/bağlama ............................................................. 75 3.2.2.3 Use of the chords for three-stringed saz/bağlama .............................. 76 3.2.3 Matrix system for pençe and tel çekme sub-techniques ........................... 77 3.2.3.1 The concept of “fretboard position” ................................................... 78 3.2.3.2 The concept of “sub-position” of the fretboard.................................. 79 3.2.3.3 The concept of “pitch number” of fretboard ...................................... 79 3.2.3.4 Structure of matrix symbolization for one hand on the fretboard ...... 79 3.2.3.5 Limitations for sub-positions and pitch numbers on a fingerboard position ........................................................................................................... 84 xi 3.2.3.6 Positioning table of the chords for pençe and tel çekme sub- techniques on all fretboard positions .............................................................. 86 3.2.4 Matrix system for parmak vurma sub-technique....................................... 88 3.2.4.1 The concept of “connector” ................................................................ 89 3.2.4.2 The concept of “combination of chords” with two hands .................. 89 3.2.4.3 Structure of matrix symbolization for two hands on the fretboard .... 92 3.2.4.4 Limitations for tensioned chords and stabilizing chord degrees ........ 96 3.2.4.5 Positioning tables of the chords for parmak vurma sub-technique on all fretboard positions ..................................................................................... 98 3.2.5 Exceptional cases in matrix system ......................................................... 102 3.2.6 Positional mixture (shifting) of the chord positions for parmak vurma sub- technique in matrix system ............................................................................... 107 Model Implementations of Matrix System ..................................................... 110 3.3.1 Şelpe accompaniments with matrix system ............................................ 111 3.3.2 Case analysis with matrix system............................................................ 118 xii ABBREVIATIONS FP : Fretboard Position ITU : Istanbul Technical University PN : Pitch Number SP : Sub-position TRT : Turkish Radio and Television xiii xiv SYMBOLS C : Connector Value [x] : The root degree of any chords (x) : The chord degree executed by any open strings of Saz/Bağlama [(x)] : The root degree of chord executed by any open strings / : Positional mixture of any chord combination - : Unused string in a chord positioning 푭푷 (푺푷) : Matrix symbolization structure for one hand chord positioning 푷푵 푭푷 푭푷 (푺푷 푪. 푺푷) : Matrix symbolization structure for two hands chord positioning 푷푵 푷푵 xv xvi LIST OF TABLES Page xvii xviii xix xx LIST OF FIGURES Page xxi xxii xxiii xxiv SYSTEMATIZATION FOR HARMONIC PRACTICES IN ŞELPE TECHNIQUE SUMMARY This study aims to identify the musical texture of traditional and contemporary Şelpe1 music, to present a new system to analyze the multipart musical creation of Saz/Bağlama using the Şelpe technique, and to provide practical performance symbols for Şelpe players. This study also aims to demonstrate structures of vertical textures, such as chords and their finger positioning on Saz/Bağlama’s fretboard. In this systemization, the matrix diagrams of mathematics are used to display the coordinates of any kind of chords and their finger positioning on the fretboard. The features of the Matrix system in this systematization are quite different from the Matrix arrays of mathematics. The structure of this systemization is thoroughly explained, tested and presented by samplings such as analyses, arrangements, compositions, notations, figures, and tables. The multi-purpose aspect of this systemization was especially emphasized by showing samples of analyses, compositions, and musical accompaniments. History of the Saz/Bağlama performing technique without a plectrum, namely Şelpe, goes a long way back, having its roots in various pastoral-nomadic communities of Central Asia and the Middle East. It is a deep-rooted traditional technique performed with Saz/Bağlama and its long-necked lute variants such as kopuz, dutar, dombra and saz in various sizes. The tradition to play Saz/Bağlama without a plectrum, Şelpe, tended to cease in Anatolia in the 19th and 20th centuries after the plectrum became popular. Nevertheless, with the help of urbanization, the Şelpe technique survived in the cities and local Saz/Bağlama artists continued following this tradition by performing the Şelpe technique mostly on the radios. Modern Saz/Bağlama artists of the cities, educated in institutions, re-discovered the traditional techniques by either learning directly from the local
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