Turkish Musical Influences upon Carlo Domeniconi's Variations on an Anatolian Folk Song and Koyunbaba: Implications for Performance
Item Type text; Electronic Dissertation
Authors Sönmezler, Ahmet
Publisher The University of Arizona.
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Link to Item http://hdl.handle.net/10150/306145
TURKISH MUSICAL INFLUENCES UPON CARLO DOMENICONI’S VARIATIONS
ON AN ANATOLIAN FOLK SONG AND KOYUNBABA:
IMPLICATIONS FOR PERFORMANCE
by
Ahmet Sönmezler
______Copyright © Ahmet Sönmezler 2013
A Document Submitted to the Faculty of the
SCHOOL OF MUSIC
In Partial Fulfillment of the Requirements For the Degree of
DOCTOR OF MUSICAL ARTS
In the Graduate College
THE UNIVERSITY OF ARIZONA
2013
2
THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE
As members of the Document Committee, we certify that we have read the document prepared by Ahmet Sönmezler entitled Turkish Musical Influences upon Carlo Domeniconi’s Variations on an Anatolian Folk Song and Koyunbaba: Implications for Performance and recommend that it be accepted as fulfilling the document requirement for the Degree of Doctor of Musical Arts.
______Date: 05/05/2013 Thomas Patterson
______Date: 05/05/2013 Donald Hamann
______Date: 05/05/2013 Janet Sturman
Final approval and acceptance of this document is contingent upon the candidate's submission of the final copies of the document to the Graduate College.
I hereby certify that I have read this document prepared under my direction and recommend that it be accepted as fulfilling the document requirement.
Document Director______Date: 05/05/2013 Thomas Patterson
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STATEMENT BY AUTHOR
This document has been submitted in partial fulfillment of requirements for an advanced degree at the University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library.
Brief quotations from this dissertation are allowable without special permission, provided that an accurate acknowledgement of the source is made. Requests for permission for extended quotation from or reproduction of this manuscript in whole or in part may be granted by the copyright holder.
SIGNED: Ahmet Sönmezler
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DEDICATION
To my father Musa Türker Sönmezler, my sister Göral Sönmezler, my grandparents Hediye Sönmezler, Ahmet Musa Sönmezler, Akan Şükrü Üçay, to my aunt Şaziye Sönmezler, and to my fiance Betül Gülderen. Thank you very much for your endless support and belief in me. I love all of you so much.
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ACKNOWLEDGEMENTS
This document would not be possible without the countless help and encouragement of Prof. Thomas Patterson, Dr. Donald Hamann, Dr. Janet Sturman, father Musa Türker Sönmezler, grandmother Hediye Sönmezler, aunt Şaziye Sönmezler, sister Göral Sönmezler, and my beloved fiance Betül Gülderen. I also would like to thank Turkish Ministry of Education and Culture for granting me a doctoral success scholarship throughout the completion of Doctor of Musical Arts degree program.
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TABLE OF CONTENTS
LIST OF MUSICAL EXAMPLES...... 8
LIST OF FIGURES...... 12
ABSTRACT...... 13
FOREWORD...... 14
CHAPTER I. INTRODUCTION AND SCOPE OF STUDY...... 15
CHAPTER II. CARLO DOMENICONI (b. 1947)...... 20
Turkish Poetic Writing...... 22
Melody of Uzun ince bir yoldayım...... 24
Melodic Organization...... 35
Rhythmic Organization...... 36
Chordal Organization...... 38
Dörtlü Armoni Sistemi (Quartal Harmonic System)...... 39
Technical imitation of Turkish plucked string instruments (bağlama and ud)...... 41
CHAPTER III. TURKISH MUSIC...... 50
Turkish Folk Song (Türkü)...... 50
Türküler, according to their melodies...... 51
Usullü Türküler...... 52
Usulsüz Türküler...... 52
Türküler, according to their subjects...... 53
Türküler, according to their structures...... 53
Stylistic performance of Turkish folk music...... 56 7
TABLE OF CONTENTS – continued
Mihriban...... 57
CHAPTER IV. PERFORMER’S GUIDE: VARIATIONS ON AN ANATOLIAN FOLK SONG AND KOYUNBABA...... 61
Overview...... 61
1. Variations on an Anatolian Folk Song...... 61
2. Koyunbaba...... 68
Suggested Listening List...... 74
CHAPTER V. CONCLUSIONS...... 76
REFERENCES...... 78
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LIST OF MUSICAL EXAMPLES
Musical Example 1: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 1-3)6...... 17
Musical Example 2: “Uzun ince bir yoldayım,” by Aşık Veysel Şatıroğlu18 ...... 25
Musical Example 3: A section of the verse from Uzun ince bir yoldayım by Aşık Veysel Şatıroğlu...... 26
Musical Example 4: “Variation III,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-8)19...... 27
Musical Example 5: “Variation IV,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-7)20...... 27
Musical Example 6: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-7)21...... 28 Musical Example 7: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 1- 3)22...... 29
Musical Example 8: “Moderato,” 1st movement from Koyunbaba by Domeniconi (m. 4)23 ...... 29
Musical Example 9: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 32-34)24...... 29
Musical Example 10: “Moderato,” 1st movement from Koyunbaba by Domeniconi (m. 42)25...... 30
Musical Example 11: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (m. 130)26...... 30
Musical Example 12: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (m. 8)27...... 30
Musical Example 13: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 22-23)28...... 31
Musical Example 14: “Variation III,” from Variations on an Anatolian Folk Song by Domeniconi (m. 7)29...... 31
Musical Example 15: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 38-39)30...... 31 9
LIST OF MUSICAL EXAMPLES - continued
Musical Example 16: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 104-105)31...... 31 Musical Example 17: “Mosso,” 2nd movement from Koyunbaba by Carlo Domeniconi (mm. 21-22)32...... 33 Musical Example 18: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 10-14)33...... 35
Musical Example 19: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 35-36)34...... 35
Musical Example 20: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 43-44)35...... 36 Musical Example 21: “Moderato,” 1st movement from Koyunbaba by Domeniconi (m. 4)37...... 37 Musical Example 22: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-5)38...... 38 Musical Example 23: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 10-14)39...... 38 Musical Example 24: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 45-48)40...... 39 Musical Example 25: Quartal trichords41...... 40 Musical Example 26: “Variation IV,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 21-22)42...... 40 Musical Example 27: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 89-92)43...... 41 Musical Example 28: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-4)46...... 44 Musical Example 29: “Presto,” 4th movement from Koyunbaba by Domeniconi (mm. 62- 79)47...... 45-46 Musical Example 30: “Variation I,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 16-23)48...... 47
Musical Example 31: “Variation V,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 16-23)49...... 47 10
LIST OF MUSICAL EXAMPLES - continued Musical Example 32: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 21-22)50...... 48 Musical Example 33: “Mosso,” 2nd movement from Koyunbaba by Domeniconi (mm. 5- 6)51...... 48 Musical Example 34: Mihriban64...... 58 Musical Example 35: The vocal rendition of Mihriban65...... 59 Musical Example 36: Musical indication chart66...... 62
Musical Example 37: “Thema,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-24)67...... 63
Musical Example 38: “Variation I,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 9-23)...... 64
Musical Example 39: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 10-14)...... 64
Musical Example 40: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 15-19)...... 65
Musical Example 41: “Variation III,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-3)...... 65
Musical Example 42: “Variation III,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 13-18)...... 65
Musical Example 43: “Variation IV,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-8)...... 66
Musical Example 44: “Variation V,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-8)...... 66
Musical Example 45: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 12-19)...... 67
Musical Example 46: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 37-45)...... 67
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LIST OF MUSICAL EXAMPLES - continued
Musical Example 47: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 54-61)...... 67
Musical Example 48: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 62-70)...... 68
Musical Example 49: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 1-6)68...... 68
Musical Example 50: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 10-15)...... 69
Musical Example 51: “Mosso,” 2nd movement from Koyunbaba by Domeniconi (mm. 1- 6)...... 69
Musical Example 52: “Mosso,” 2nd movement from Koyunbaba by Domeniconi (mm. 11- 19)...... 70
Musical Example 53: “Mosso,” 2nd movement from Koyunbaba by Domeniconi (mm. 23- 26)...... 70
Musical Example 54: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 1-4)...... 71
Musical Example 55: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 5-8)...... 71
Musical Example 56: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 23-29)...... 71
Musical Example 57: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 23-29)...... 72
Musical Example 58: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 71-80)...... 72
Musical Example 59: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 81-88)...... 73
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LIST OF FIGURES
Figure 1: Lyrics of “Uzun ince bir yoldayım,” by Aşık Veysel Şatıroğlu17...... 23 Figure 2: The image of saz44...... 42 Figure 3: The image of ud45...... 43
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ABSTRACT
The structure and content of Carlo Domeniconi’s Variations on an Anatolian Folk
Song and Koyunbaba are heavily influenced by Turkish folk music. A stylistic and accurate performance of these pieces becomes possible through the study of Turkish folk music and its performance practices.
This document provides information that may help the reader understand what some of the aspects of Turkish folk music are and show how Italian composer and guitarist Carlo Domeniconi (b. 1947) used them in two of his most popular solo classical guitar compositions. This document not only serves as an informative tool to highlight several characteristics of Turkish folk music but also as a guide to interpret Variations on an Anatolian Folk Song and Koyunbaba in the Turkish style. Chapter four, Performer’s
Guide, includes a number of musical examples that are specifically edited to bring out
Turkish stylistic aspects of interpretation. Many performers can benefit from these detailed musical examples.
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FOREWORD
Variations on an Anatolian Folk Song (1982) and Koyunbaba (1985) are the main focus of this document because; they represent a number of Turkish folk music ideals and inspirations. As a Turkish classical guitarist, I felt the need to identify and discuss many of the Turkish stylistic elements that inspired Carlo Domeniconi when composing
Variations on an Anatolian Folk Song and Koyunbaba. The primary intention of this document is to help performers understand Turkish folk music styles and be able to interpret Variations on an Anatolian Folk Song and Koyunbaba in a manner reflecting
Turkish musical aesthetics closer to Turkish music style.
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CHAPTER I. INTRODUCTION AND SCOPE OF STUDY
As a Turkish classical guitarist, I have always had a special interest in learning repertoire that is either originally Turkish or somehow Turkish influenced. Variations on an Anatolian Folk Song (1982)1 and Koyunbaba (1985)2, compositions by the guitarist/composer Carlo Domeniconi (b. 1947), demonstrate strong elements and influences of Turkish folk music, which are best represented through stylistic Turkish folk music performance practices. My main intention was to investigate the core construction of these compositions and use of elements from these works to provide in- depth and detailed understanding. Moreover, I discussed Turkish folk music in general and identified those aspects of composition, performance, and classical guitar technique used in Variations on an Anatolian Folk Song and Koyunbaba. It is my hope that this study will help other musicians and guitarists understand the nuances that are present in
Turkish music that will lead to a more satisfying musical experience for performers and audiences.
A close examination of Turkish folk music repertoire confirms that the classical guitar was not the typical instrument used in Turkish folk music.3 The saz (bağlama), ud, kanun, and kemençe were the only Turkish string instruments that were traditionally used
1 This reference is taken from: Complete score. Carlo Domeniconi: Variations on an Anatolian Folk Song for Guitar (Berlin: Boosey & Hawkes, Bote & Bock, 1999), 2.
2 This reference is taken from: Complete score. Carlo Domeniconi: Koyunbaba: Suite für Gitarre Op.19 (Berlin: Edition Margaux, 1998), 1.
3 When we examine Turkish folk music repertoire through written scores and folk music ensembles, it becomes quite clear that the classical guitar was not in use. It is only in modern times that the classical guitar joined to a very few number of ensembles to provide chordal support to the songs. 16
in Turkish-style folk music.4 Apart from not being the common solo instrument, the classical guitar was not included in any kind of Turkish folk music ensemble and it is only in modern times that the guitar has been used as accompaniment in Turkish folk music ensembles. The lack of folk music repertoire for solo classical guitar has encouraged many contemporary guitarists to compose and transcribe music for the instrument; however, only a few compositions have been produced to date. Classical guitar is usually thought of as an instrument that is associated with classical music and popular music.
In his dissertation, Dr. Ruey Shyang Yen discusses the exotic elements used in
Koyunbaba by Carlo Domeniconi, which is the only published research on this subject.
Dr. Yen attempts to discuss the influences of Turkish folk music and the imitation of the saz in the composition Koyunbaba. Even though Dr. Yen includes valuable findings, the information is at times, unclear if not inaccurate. In his dissertation, Dr. Yen states that the performance of Turkish instrumental music is very often arranged as a cycle or suite in a single makam (mode) without presenting any kind of source that supports his claim.
Moreover, Dr. Yen goes on to relate this statement to Koyunbaba, where he states that there is a structural similarity to a suite in a single makam since Koyunbaba is also in the form of a suite in a single “A” mode (aeolian, in Western terms).5 What is overlooked is the substantial use of the phrygian mode (flat 2^) of D minor (Eb), which is obvious from
4 Unlike saz, kanun, ud, and kemençe, the classical guitar was not thought to be a part of Turkish folk music. Its deficiency in playing microtones makes itself insufficient to bring out the microtonal qualities that Turkish folk music requires.
5 Ruey Shyang Yen, “Exoticism in Modern Guitar Music: Works of Carlo Domeniconi, Ravi Shankar, Benjamin Britten, Dusan Bogdanovic” (D.M.A diss., Arizona State University, 1996), 23.
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the very first measure of the first movement (see Musical Example 1).
Musical Example 1: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 1-3)6
In his dissertation, Dr. Yen describes uzun hava (long air) as a rhythmically free song with broad, descending melodic lines.7 It is true that uzun hava is a collective name for all of the Turkish folk songs that have no rhythmic regulation and is freely expressed.
However, it would be misleading to classify uzun hava primarily as a descending melodic pattern. Instead, uzun hava consists of long, sustained notes and has an improvisational feeling in general, even though it is quite challenging to count uzun hava as pure improvisations since they comprise of standardized melodies. Furthermore, uzun havalar8 (long airs) can be divided into various kinds of genres according to their melodies. Dr. Yen further states that from the diatonic modes the “D” mode (dorian) and
“A” mode (aeolian) are the most common in Turkish music.9 However, when one looks more closely at Turkish musical repertoire, the extensive use of the phrygian mode proves the opposite. It is true that the phrygian mode is a minor mode however, the use
6 This reference is taken from: Complete score. Carlo Domeniconi: Koyunbaba: Suite für Gitarre Op.19 (Berlin: Edition Margaux, 1998), 1.
7 Ruey Shyang Yen, “Exoticism in Modern Guitar Music: Works of Carlo Domeniconi, Ravi Shankar, Benjamin Britten, Dusan Bogdanovic” (D.M.A diss., Arizona State University, 1996), 24.
8 -lar is an appendix for plural in Turkish language.
9 Ruey Shyang Yen, “Exoticism in Modern Guitar Music: Works of Carlo Domeniconi, Ravi Shankar, Benjamin Britten, Dusan Bogdanovic” (D.M.A diss., Arizona State University, 1996), 26.
18
of pure minor modes are more common in Turkish popular music than they are in
Turkish folk music. Moreover, besides the use of various church modes, the use of numerous makamlar (modes) in Turkish folk music is not illustrated in Dr. Yen’s dissertation.
There have been numerous performances and recordings of Variations on an
Anatolian Folk Song and Koyunbaba by Carlo Domeniconi by world-renowned classical guitarists including John Williams, David Russell, Alvaro Pierri, William Kanengiser,
Lily Afshar, Dale Kavanagh, and Antigoni Goni. These performances and recordings don’t transmit detailed scholarly information regarding the Turkish folk music elements that these compositions possess. Apart from Dr. Ruey Shyang Yen’s document, which slightly touches on Turkish peculiarities of Koyunbaba, there is no other document that solely focuses on these two guitar compositions of Domeniconi. This document will not only identify significant Turkish elements in these compositions but will also serve as a guide for many performers to understand better how to create regional interpretations and phrases on the classical guitar. The accessibility of Turkish folk music literature and scholarship on the other hand, is quite limited especially because of the Turkish language.
This document will also serve as an international guide that will help musicians understand many features of Turkish folk music. There are ample methods written in
Turkish on how to play certain Turkish musical instruments but not exactly on how to interpret Turkish folk music. Therefore, the need exists for a specific study that focuses on understanding and interpreting Turkish folk music on the classical guitar. I deliberately chose the two most popular guitar compositions of Carlo Domeniconi, 19
Variations on an Anatolian Folk Song and Koyunbaba for analysis as they arguably the most widely performed and recorded compositions of this genre.
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CHAPTER II. CARLO DOMENICONI (b. 1947)
Guitarist and composer Carlo Domeniconi was born in Cesena, Italy in 1947. He studied classical guitar with Carmen Lenzi Mozzani and composition with Hanz
Friedrich Hartig. At the age of 17 he earned a diploma at the Conservatory of Pesaro in
Italy and then went to school in Berlin, Germany, where he earned another diploma in music. From 1969 to 1992 Carlo Domeniconi was a lecturer at the Berlin College of Arts in Germany, and from 1977 to 1980, was the chair of the guitar department at the Istanbul
Conservatory in Turkey.
His close interaction with assimilation of Turkish, Indian, and Arab musical styles, tonalities, forms, and rhythmic structures helped him develop a highly unique and personal style that attracted renowned performers from all around the world.10 Carlo
Domeniconi composes primarily for guitar solo, guitar ensembles, or guitar in combination with another instrument or voice. He has written more than twenty concertos, the best-known of which are Medium Sweet Guitar Concerto, Concerto
Mediterraneo for two guitars, Concerto di Berlinbul for Turkish saz (bağlama), guitar and chamber orchestra, and El Trino del Diablo. Among his solo guitar compositions
Koyunbaba, Variations on an Anatolian Folk Song, Hommage a Jimi Hendrix, Toccata in
Blue, and Sindbad are highly popular in today’s recital programs.11 Carlo Domeniconi
10 This reference is taken from: Complete score. Carlo Domeniconi: Variations on an Anatolian Folk Song for Guitar (Berlin: Boosey & Hawkes, Bote & Bock, 1999), 11.
11 “Carlo Domeniconi.” Accessed February 5, 2011. http://www.my-favourite- planet.de/carlodomeniconi/english/biography.html
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has written about 300 solo guitar pieces and about 20 guitar concertos.12 In many of
Domeniconi’s compositions, there are prominent traces of Anatolia. “Anatolia is among my biggest inspirations,”13 says Domeniconi and he states that Anatolia is an open geography to both east and west. In the same article Domeniconi further states that “Türk
Halk Müziği (Turkish folk music) and Klasik Türk Müziği (Turkish classical music) are two big sound treasures for a guitarist, and saz (bağlama) and ud include charming sonorities.”14
Even Domeniconi himself is surprised to see how popular his composition
Koyunbaba has become. It has been performed in many other countries from Norway to
Argentina and from Japan to China. According to research, Koyunbaba is the most performed guitar composition in China in the past five years.15 Domeniconi states that the reason for this popularity is due to the different sound and manner that he brought to the instrument as the guitar is usually played in the Spanish-Latin manner and in the classical manner.16
In both Variations on an Anatolian Folk Song and Koyunbaba, Carlo Domeniconi used Turkish folk music elements including modes (makam), microtones (kayde), rhythm
(aksak), melodic (linear and sequential), and chordal organization (dörtlü armoni). These folk music elements will be discussed in this chapter however, we will first begin with
12 “Carlo Domeniconi: Music is my destiny, Anatolia is my inspiration” Accessed January 22, 2013.http://www.muziksoylesileri.net/cms/index.php?option=com_content&task=view&id=58&Itemid=44
13 Ibid.
14 Ibid.
15 Ibid.
16 Ibid. 22
Turkish poetic writing and why it is necessary to gain insight into the lyrics and the poetic structure of Turkish folk songs.
In Variations on an Anatolian Folk Song, Carlo Domeniconi did not use the instrumental (bağlama) introduction of the original türkü. The poems of Turkish folk songs have critical importance. When these poems are sung with a specific melody, then they are considered to be türkü. As many other Turkish folk songs are remembered,
Uzun ince bir yoldayım (I am on a long narrow road), is also remembered for its lyrics more then its melody. Domeniconi’s usage of only the verse melody as the theme for his guitar composition reflects his dedication to the poem and not necessarily to the melody.
In the following section, I will look further into the Turkish poetic writing and its importance in interpretation of Turkish folk music.
Turkish Poetic Writing
The examination of Turkish poetic writing and Turkish folk songs should lead to a better interpretation and comprehensive understanding of that musical style. For example: understanding the main poetic theme, the ideas that are presented in the poem, and the expression of the poem should direct the performer in understanding the overall theme and the atmosphere of the musical work. This understanding may lead to a better interpretation of the music, to a better expression of the musical ideas that correspond to the poem. If there were important and also recurring sentences, for example, “bilmiyorum ne haldeyim (I don’t know what state I am in), or gidiyorum gündüz gece (I am going day and night),” from the poem of Uzun ince bir yoldayım, the music for this section would be interpreted with more emphasis and drama. If the conveyed message of the poem 23
were not clear to the performer, this section would be interpreted exactly in the opposite manner, more cheerful or straighter. In the performer’s guide in chapter four, I will discuss in detail how to interpret such sections in the style of Turkish folk music.
The importance of understanding the poem when performing Turkish folk music is paramount. Therefore, discussion of the lyrics of Uzun ince bir yoldayım (I am on a long narrow road) by Aşık Veysel Şatıroğlu must be undertaken. I will begin with presenting the lyrics of this türkü (generic name for all of Turkish folk songs) with its direct English translation that will somewhat highlight the important aspects of Turkish poetic writing, especially the syllabic organization, overall conveyed message, and the form (see Figure 1).
Figure 1:17
17 Uzun ince bir yoldayım (I am on a long narrow road) is a very famous Turkish folk song known by nearly everybody in Turkey and in Turkish Republic of Northern Cyprus. I have translated it into English. 24
This folk song is about seeking an objective decisively, regardless of what obstacles you may encounter in life. Understanding the overall concept of the poem of Uzun ince bir yoldayım will help playing the music more decisively. There are eight syllables per line and the poem is both rhymed and rhythmic. It is very common to repeat a specific poetic line at the end of every stanza along with mentioning the name of the poet in the final stanza, both of which appear in the above figure (see Figure 1). When such poems are sung with a specific melody, they are considered as türkü. It is quite important to have an idea about what the poem of a folk song is about so it can guide the performer towards an appropriate interpretational direction. In Turkish folk music, the poem and the melody are inseparable. Without the poem or melody, we wouldn’t name the selection as türkü. Once a specific türkü melody is attached to a poem, that melody becomes the only melody for that türkü. In the following section, I will discuss how Domeniconi used the verse melody of Uzun ince bir yoldayım for his composition Variations on an Anatolian
Folk Song.
Melody of Uzun ince bir yoldayım
Carlo Domeniconi has taken the melody of Uzun ince bir yoldayım and used it as the main theme for his solo classical guitar composition called Variations on an Anatolian
Folk Song. Carlo Domeniconi chose only the original melody of this türkü that
25
accompanies the lyrics, excluding the solo bağlama introduction. The figure below displays the original theme of Uzun ince bir yoldayım together with the instrumental opening originally played with bağlama by Aşık Veysel Şatıroğlu (see Musical Example
2).
Musical Example 2: Uzun ince bir yoldayım by Aşık Veysel Şatıroğlu.18
The melodic strength of Turkish folk music is quite apparent even in this short instrumental opening of Uzun ince bir yoldayım. The melodies are often constructed with several consecutive motives in the form of descending sequences over simple major and minor chords. They are highly linear and syncopated, which gives a different melodic and rhythmic flow to the music. The rhythmic structure is quite versatile and changes
18 I have created this edition of Uzun Ince Bir Yoldayım from the following source: http://www.dailymotion.com/video/x70drj_ayyk-veysel-uzun-ynce-bir-yoldayym_music 26
quickly, giving the impression of rhythmic instability. However, even though the rapidly changing rhythm seems unstable, it is situated over a regular pulse. The pulse of the bağlama introduction and both the A and B sections of the verse (main theme) of Uzun ince bir yoldayım are predominantly set in quadruple time. This type of rhythmic freedom combined with regular pulses creates an improvisational feeling not only in Uzun ince bir yoldayım but also throughout the broader Turkish folk music repertoire.
After presenting the melody of the lyrics (A and B sections of the verse, see Musical
Example 2) as the main theme for his composition, Carlo Domeniconi has written five variations and a Finale. The Finale includes a reiteration of the original opening theme.
Musical Examples 3, 4, 5, and 6 display how Carlo Domeniconi has assimilated the tune of this türkü in some of the variations and in the Finale of the Variations on an
Anatolian Folk Song. Musical Example 3 is the A section of the verse of the türkü. The grey colored boxes in Musical Examples 4, 5, and 6 indicate how the A section of the verse is used. Once Musical Examples 4, 5, and 6 are compared to Musical Example 3, it becomes clearer to see how Domeniconi varied the original tune of the türkü in his composition (see Musical Examples 3, 4, 5, and 6).
Musical Example 3: A section of the verse from Uzun ince bir yoldayım by Aşık Veysel Şatıroğlu.
27
Musical Example 4: “Variation III,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-8)19
Musical Example 5: “Variation IV,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-7)20
19 Complete score. Carlo Domeniconi: Variations on an Anatolian Folk Song for Guitar. Berlin: Boosey & Hawkes, Bote & Bock, 1999. 4.
20 Ibid.
28
Musical Example 6: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-7)21
In the above discussions, I talked about the importance of understanding the text of türkü in interpreting Turkish folk music and how Carlo Domeniconi used the main theme of Uzun ince bir yoldayım in his composition, Variations on an Anatolian Folk Song.
The Variations on an Anatolian Folk Song and Koyunbaba are filled with elaborate modal organizations, which alternate and merge with the regular tonal harmonies. The assimilation of the “D phrygian” mode is encountered in many places in both of the compositions. Musical Example below displays some of the use of “D Phrygian” mode. The grey circles indicate the key accidental “Eb,” the flat second degree of D minor mode that makes the scale phrygian (see Musical Examples 7 through 16).
21 Ibid., 6.
29
Musical Example 7: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 1- 3)22
Musical Example 8: “Moderato,” 1st movement from Koyunbaba by Domeniconi (m. 4)23
Musical Example 9: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 32-34)24
22 This reference is taken from: Complete score. Carlo Domeniconi: Koyunbaba: Suite für Gitarre Op.19 (Berlin: Edition Margaux, 1998), 1.
23 Ibid.
24 Ibid., 3.
30
Musical Example 10: “Moderato,” 1st movement from Koyunbaba by Domeniconi (m. 42)25
Musical Example 11: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (m. 130)26
Musical Example 12: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (m. 8)27
25 Ibid.
26 Ibid., 12.
27 Complete score. Carlo Domeniconi: Variations on an Anatolian Folk Song for Guitar. Berlin: Boosey & Hawkes, Bote & Bock, 1999. 3.
31
Musical Example 13: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 22-23)28
Musical Example 14: “Variation III,” from Variations on an Anatolian Folk Song by Domeniconi (m. 7)29
Musical Example 15: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 38-39)30
Musical Example 16: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 104-105)31
28 Ibid.
29 Ibid., 4.
30 Ibid., 7.
31 Ibid., 9. 32
In the previous discussion, I talked about one of the most crucial features of
Turkish folk music, the use of phrygian mode in both Variations on an Anatolian Folk
Song and Koyunbaba. Perhaps the most important feature of Turkish folk music that differentiates itself from many other genres is its microtonal qualities (kayde). In vocals and unfretted musical instruments, playing microtones is quite easy. However, for the fixed-fretted classical guitar, it becomes fairly difficult. In the following discussion, I will discuss Carlo Domeniconi’s attempt to bring out the microtonal qualities of Turkish folk music as performed on the classical guitar.
In Koyunbaba, Domeniconi utilizes a scordatura tuning where all of the open strings of the classical guitar are tuned to generate a C-sharp minor chord. Since the tuning of D-minor is frequently used among performers, I will be discussing the crucial features of the scordatura tuning based on the D minor tuning.
One of the most important reasons for using an alternate tuning on the classical guitar is creating a divergent sonority and timbre. However, Domeniconi’s elaborate use of alternate tuning in Koyunbaba does not only create a divergent sonority and timbre but also functions as a tool in imitating microtonal sonorities of Turkish folk music. The fixed fretted contemporary classical guitar is incapable of playing microtones without bending the string. The musical indications of left hand bends in the Variations on an
Anatolian Folk Song help creating microtonal sounds. In Koyunbaba, it is suggested that the same note should be played between two adjacent strings that are tuned differently.
Such practice helps in creating similar microtonal sonorities due to the divergent color of two different strings that are tuned differently and are played with different fingers of the 33
left hand. Musical Example 17 displays one of these elaborate groupings in the second movement Mosso from Koyunbaba (see Musical Example 17).
Musical Example 17: “Mosso,” 2nd movement from Koyunbaba by Carlo Domeniconi (mm. 21-22)32
In addition, the notes on the higher frets of the classical guitar (from the seventh fret up to the nineteenth) are more likely to be naturally out of tune in comparison with the notes played on the lower frets. It is important to be more cautious about the angle of your left-hand fingers when pressing down the string, which will help eliminate this problem. However, when approached wisely, this natural problem can be used to the advantage of bringing out the microtones for a closer stylistic interpretation of
Koyunbaba with Turkish folk music. Further more, in the case of tuning the classical guitar from the standard tuning into the D minor tuning of Koyunbaba, which is frequently seen in concerts when only one guitar is used, there might be instances where the guitar slips in tuning closer to the previous standard. Even if this situation is undesirable by performers, it might actually be helpful for acquiring some microtonal sonority unintentionally when the general tuning is slightly off (not as much off as a half
32 Complete score. Carlo Domeniconi: Koyunbaba: Suite für Gitarre Op.19. (Berlin: Edition Margaux, 1998), 5.
34
step). However, this observation does not necessarily suggest a different tuning of the classical guitar other than the specified D minor for the purpose of achieving better microtones. Since the whole process of retuning the guitar might get very confusing and controversial, it would be better if the microtonal sounds were created with the clever use of the left hand based on the interpretation of the performer. The situation of slipping in tuning may not occur when the guitar is constantly left in D minor tuning. The alternate tuning of Koyunbaba usually generates discomfort for the players on stage. Although tuning to D minor from a standard tuning might be advantageous for Koyunbaba, it can function quite oppositely for the next piece, which is in the standard tuning. The tuning must be accurate. One of the main reasons for changes in such tuning is the limited time strings have to settle and adjust to the new tuning. To minimize this complication, today’s performers will either play Koyunbaba at the end of the first half so that they can re-tune throughout the intermission or at the end of their concert program. They may use a second guitar tuned to D minor, enabling them to perform it whenever they desire in their concert program. Nevertheless, some performers choose to perform Koyunbaba in various different parts of their program. They may add a discussion of the piece while the strings adjust to the new tuning. In the previous discussion, I talked about some of the substantial uses of alternate tuning that can affect the tonal quality of the classical guitar and how Carlo Domeniconi attempted to use alternate tuning to create microtonal qualities. In the following discussions, I will examine the melodic structure, rhythmic structure, and the chordal structure of Turkish folk music in order, and how Carlo
Domeniconi used these stylistic features in both Variations on an Anatolian Folk Song 35
and Koyunbaba.
Melodic Organization
Turkish folk music is fairly linear and stepwise with occasional intervening intervals of thirds and fourths that are usually approached by glissandos. Because of its highly ornamental and improvisatory nature, the melodic structure of Turkish folk music consists of numerous filler eight and sixteenth notes. Musical Examples 18, 19, and 20 display some of the linear (scaler) aspects of Turkish melodic style assimilated by
Domeniconi in Variations on an Anatolian Folk Song.
Musical Example 18: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 10-14)33
Musical Example 19: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 35-36)34
33 Complete score. Carlo Domeniconi: Variations on an Anatolian Folk Song for Guitar. Berlin: Boosey & Hawkes, Bote & Bock, 1999. 3.
34 Ibid., 7.
36
Musical Example 20: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 43-44)35
Musical Examples above display the linear (stepwise) melodic structure of Turkish folk music that is used by Carlo Domeniconi in Variations on an Anatolian Folk Song. The rhythmic structure of Turkish folk music is as important as its melodic structure. The different groupings in rhythm also help identify the Turkish style of folk music. In the following discussion, I will closely look into the rhythmic organization of Turkish folk music and how Carlo Domeniconi used rhythmic organization in his composition,
Koyunbaba.
Rhythmic Organization
In addition to the existence of intricate rhythmic organizations in Turkish folk music, which are relatively similar to the Western classical music in style, aksak rhythm is a special type of rhythmic grouping that exists in Turkish folk music and is stylistically different. In his study Le Rythme Aksak, Romanian composer and ethnomusicologist
Constantin Brăiloiu states that Bulgarian musicologists were the first inventors of aksak rhythm. He further states that aksak rhythm exists in countries like Turkey, Greece,
Albania, Romania, Yugoslavia, and Switzerland. The Turkish name “Aksak,” which was
35 Ibid.
37
36 created by eminent Turkish musician Ahmet Adnan Saygun, literally means “Lame.”
What is stylistically different in the structure of aksak rhythm in contrast with the
Western Classical music is the unevenness of its parts. For instance, 2+2 is a rhythmic grouping with two parts that are equal. A 2+3 or a 3+2 rhythmic grouping is uneven between its two parts where one of the parts is longer than the other. As this rhythmic unevenness or irregularity can be viewed as short versus long or vice versa, it could also be viewed as a brief delay on one of the parts or breathing within the rhythmic grouping.
Aksak rhythm can be felt when dancing, which requires dancers to create brief delays for upward movements in the air during the longer part of the rhythmic grouping. Carlo
Domeniconi used 2+2+3 aksak rhythm in the opening of the first movement Moderato from Koyunbaba, which is displayed in the figure below (see Musical Example 21).
Musical Example 21: “Moderato,” 1st movement from Koyunbaba by Domeniconi (m. 4)37
36 Nice Fracile, The Aksak Rhythm, a Distinctive Feature of the Balkan Folklore, (Studia Musicologica Academiae Scientiarum Hungaricae) T. 44, Fasc. 1/2 (2003), 198.
37 Complete score. Carlo Domeniconi: Koyunbaba: Suite für Gitarre Op.19. (Berlin: Edition Margaux, 1998), 1.
38
Chordal Organization
In Turkish folk music, there are specific intervals that are extensively used.
Those intervals are mostly seconds, fourths, and fifths. However, the intervallic structures vary depending on the instrument that is used to accompany the melody. The tuning of bağlama in perfect fifths will inevitably provide a host of harmonic support in perfects fifths versus the ud, which provides harmonic support in perfect fourths. The tuning of the classical guitar is also in perfect 4ths similar to the ud except the third and second strings, which are tuned in a major third. In both Variations on an Anatolian Folk
Song and Koyunbaba, there is extensive use of perfect fourths. Musical Examples 22 and
23 display some of this use (see Musical Examples 22 and 23).
Musical Example 22: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-5)38
Musical Example 23: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 10-14)39
38 Complete score. Carlo Domeniconi: Variations on an Anatolian Folk Song for Guitar. (Berlin: Boosey & Hawkes, Bote & Bock, 1999), 3.
39 Ibid.
39
I previously talked about the alternate tuning of Koyunbaba where the classical guitar is tuned to D minor with mostly perfect fourths and perfect fifths. Musical Example below displays the use of these intervals in the third movement of Cantabile from Koyunbaba by Domeniconi (see Musical Example 24).
Musical Example 24: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 45-48)40
Dörtlü Armoni Sistemi (Quartal Harmonic System)
In modern Turkish music, the harmonic system called Dörtlü Armoni Sistemi
(quartal harmonic system) is a system of constructing chords only with the intervals of fourths. For instance, a trichord on the note “A” is built with its upper fourth and the lower fourth intervals (E, {A}, D). Moreover, as the main note remains unchanged, the upper fourth or the lower fourth intervals can receive an accidental, which will create different scale and chord formations. Various examples for this kind of trichord formations are as follows: (E, {A}, D-sharp), (E-sharp, {A}, D), (E-sharp, {A}, D-sharp),
(E-flat, {A}, D), (E, {A}, D-flat), and (E-flat, {A}, D-flat). What is critically important is that all of these chord formations are in inversion, with the tonic note in the tenor rather
40 Complete score. Carlo Domeniconi: Koyunbaba: Suite für Gitarre Op.19. (Berlin: Edition Margaux, 1998), 8. 40
than the bass. You can apply the formation of quartal trichords to every scale degree of any particular makam, however, these quartal trichords can be inverted in the same manner used in western classical music theory. Musical Example below displays a trichord built on “A” and its two inversions (see Musical Example 25).
Musical Example 25:41
In the Variations on an Anatolian Folk Song, Carlo Domeniconi used quartal trichords that are mostly in inversion. The figures below display this usage (see Musical Examples
26 and 27).
Musical Example 26: “Variation IV,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 21-22)42
41 Gökhan Yalçın, Dörtlü Armoni Sistemi uygulamalarını içeren armoni kitaplarının karşılaştırmalı analizi, vol.2, no.5 (Inonu University Journal of Art and Design, 2012): 222.
42 Complete score. Carlo Domeniconi: Variations on an Anatolian Folk Song for Guitar. (Berlin: Boosey & Hawkes, Bote & Bock, 1999), 5.
41
Musical Example 27: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 89-92)43
Apart from several Turkish ideals, discussed in the previous paragraphs, Carlo
Domeniconi was inspired by the techniques of bağlama and ud. The bağlama and ud are two Turkish plucked string instruments that are indispensable in Turkish folk music performance. Variations on an Anatolian Folk Song and Koyunbaba include a number of instrumental techniques from both the bağlama and ud, which I am going to explore in the next section of this chapter.
Technical imitation of Turkish plucked string instruments (bağlama and ud)
The bağlama is one of the most commonly used Turkish plucked string instruments that is heard in both Turkish folk and art music. Therefore, I will first begin with identifying bağlama. This will help us not only in understanding its nature but also in having a better awareness of its use when compared to the classical guitar. The bağlama typically has three courses (pairs of strings) on a relatively thin fingerboard with movable plastic frets. It has a fairly small body with an arched back and a sound hole at the bottom of the instrument that can be seen when the instrument is positioned perpendicularly with its head at the top. Musical Example below displays the bağlama in two different angles (see Figure 2).
43 Ibid., 8. 42
Figure 2:44
The bağlama differs in size and have varying ranges. It is played with a plectrum by strumming all of the courses while the left hand is fretting only the first course with other courses being used as drones for accompaniment. From this description it is clear that the bağlama has many features in common with the classical guitar even though it has a noticeably different timbre and tuning. The bağlama is tuned in perfect fifths as opposed to the classical guitar, which is tuned in perfect fourths with a major third interval from its third to the second string. Therefore, it is very typical to encounter the frequent use of perfect fourths in guitar music and perfect fifths in bağlama music.
The ud is a short necked, plucked string instrument from the Middle East. It is another extensively used instrument in both Turkish folk and art music. The literal meaning of ud is twig, a flexible rod or piece of wood. It has a relatively wide fretless
44 “Saz.” Accessed on March 12, 2011. http://www.activemusician.com/item--MD.SAZE 43
fingerboard and six courses with the sixth course having a single string called bam. The ud is tuned in perfect fourths even though the tunings change frequently according to the needs and desires of the player. The ud has a shallow top with several sound holes. It has a rounded back that is made of several thin layers of wood. The ud is played with a plectrum or occasionally strummed with a plectrum. The figure below displays the ud in two different angles (see Figure 3).
Figure 3:45
After the brief introduction to the two important Turkish plucked string instruments, we will now talk about the compositional techniques used by Domeniconi in both Variations on an Anatolian Folk Song and Koyunbaba that convey the instrumental techniques of the bağlama and ud.
45 “Ud.” Accessed on March 12, 2011. http://www.activemusician.com/item--MD.UD
44
The Variations on an Anatolian Folk Song suggests a “D” tuning for the sixth string, which creates another open string drone besides its upper octave fourth string “D.”
A similar approach to tuning was issued by Carlo Domeniconi in the Koyunbaba. In
Koyunbaba, besides the exact tuning of both the sixth and fourth strings as described above, the second string is also tuned to “D” an octave higher than the fourth string.
These features have particular significance in imitating the full and ringing textures of the bağlama and ud.
In the Thema and the second variation of the Variations on an Anatolian Folk
Song, Carlo Domeniconi decides to use the open string “D” as a continuous drone, imitating the playing techniques of the bağlama and ud. Musical Example below displays how Carlo Domeniconi has used this feature in the second variation of the
Variations on an Anatolian Folk Song (see Musical Example 28).
Musical Example 28: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-4)46
The integration of bağlama and ud textures with single melodic lines over continuous drones is taken to an advanced level in Koyunbaba. The following figure from the last movement Presto of Koyunbaba includes a sustained drone of harmonics
46 Complete score. Carlo Domeniconi: Variations on an Anatolian Folk Song for Guitar. (Berlin: Boosey & Hawkes, Bote & Bock, 1999), 3. 45
over a single melody on the fourth string. This innovative approach not only provides similarity with the bağlama and ud texture but also creates a percussive effect when the muted bass strings are struck by right hand fingernails in the Rasguedo (strumming) technique, sounding similar to how the plectrum would on both the bağlama and ud.
Musical Example below displays this percussive effect in the Presto of Koyunbaba (see
Musical Example 29).
Musical Example 29: “Presto,” 4th movement from Koyunbaba by Domeniconi (mm. 62- 79)47
47 Complete score. Carlo Domeniconi: Koyunbaba: Suite für Gitarre Op.19. (Berlin: Edition Margaux,1998), 17. 46
Carlo Domeniconi has extensively used the Campanellas (“little bells” as identified by Baroque guitarist Gaspar Sanz). It is a technique used to seem similar to the technique of the bağlama and ud in order to generate fuller and impressive sonorities out of an uninterrupted succession of fast notes that are distributed between more than one string. Campanellas is a technique that refers to the overlapped construction of a group of notes with intervening open strings to help create a continuous ring. Musical
Examples 30 and 31 display the use of Campanellas in the Variations on an Anatolian
Folk Song (see Musical Examples 30 and 31).
47
Musical Example 30: “Variation I,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 16-23)48
Musical Example 31: “Variation V,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 16-23)49
One of the most important embellishments in Turkish folk music is a trill. The first movement Moderato and the second movement Mosso from Koyunbaba are excellent examples of the use of prolonged trills. Domeniconi’s trills are quite unique in the way they are written as they involve the inclusion of open strings. Musical Examples
48 Complete score. Carlo Domeniconi: Variations on an Anatolian Folk Song for Guitar. (Berlin: Boosey & Hawkes, Bote & Bock, 1999), 3.
49 Ibid., 5.
48
32 and 33 display the use of prolonged trills in Moderato and Mosso from Koyunbaba
(see Musical Examples 32 and 33).
Musical Example 32: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 21-22)50
Musical Example 33: “Mosso,” 2nd movement from Koyunbaba by Domeniconi (mm. 5- 6)51
The textures of both the bağlama and ud are light and flowing even if the phrases are constructed with a multitude of ornamental figures aside from the main tunes.
Ornamental notes add an improvisational texture to the composition. In order to imitate the lightly flowing character, Carlo Domeniconi has indicated many slurs in both
Koyunbaba and Variations on an Anatolian Folk Song and has intentionally written ornamental notes that give the impression of pure improvisation. With the discussion of trills and a number of instrumental techniques of both the bağlama and ud used by
Domeniconi in Koyunbaba and Variations on an Anatolian Folk Song, I have completed
50 Complete score. Carlo Domeniconi: Koyunbaba: Suite für Gitarre Op.19. (Berlin: Edition Margaux, 1998), 2.
51 Ibid., 4.
49
this section of chapter two. In chapter three, I will talk about Turkish music in general. I will begin with Turkish folk music (türkü), Turkish folk music according to their melodies, subjects, and structures, and finally move on to the discussion of stylistic performance of Turkish folk music.
50
CHAPTER III. TURKISH MUSIC
The unique qualities of Turkish music have inspired many composers and performers from both past and present.52 If we begin with the Ottoman Empire (now
Turkey), we find that the two most important musical categories in the Ottoman Empire were Ottoman (Turkish) folk music and Ottoman art music. These two musical categories are thought to have emerged during the mid-17th century, though some musicologists suggest they were already in existence as early as 13th century. The main difference between folk music and art music is the regions with which they are associated. Folk music is associated with the rural regions where art music is generally associated with the urban regions of Turkey. Both categories have specific musical and poetic genres that belong to them. Folk music compositions greatly outweigh art music, which possesses comprehensive cultural qualities of Turkish tribes. Thus, in this study, I will primarily focus on Turkish folk music and how Carlo Domeniconi used Turkish folk music elements in two of his guitar compositions. In the following paragraphs, I will talk about the Turkish folk song (Türkü) in detail.
Turkish Folk Song (Türkü)
One of the most popular and widely influential folk music genres is the Türkü, which dates as early as the 15th century. It was first used in Eastern Türkistan
52 Even from Classical Era for instance: Haydn, Mozart, and Beethoven wrote music of Alla Turca (Turkish style) that are inspired from Janissary bands. Carlo Domeniconi got inspired from Turkish music as well which resulted in many compositions that reflect this inspiration. Koyunbaba and Variations on an Anatolian Folk Song are the two compositions that are disscussed in this document. Several performers that performed Koyunbaba for instance are specified in the introduction of this document.
51
(Turkistan) for poems that were sung with a specific tune.53 The term Türkü is thought to be derived from adding the Arabic appendix “i” to the end of the word Türk which became Türki. The literal meaning of Türki is related to Türk or peculiar to Türk.
Through years of oral transmission Türki slowly evolved to become Türkü. Among
Turkish tribes, Türkü has miscellaneous derivations. For instance: Azeriler (Azerbaijan people) refer to Türkü as Türküyü Azeri, Başkırtlar (Bashkir people) as Başkırtlar Halk
Yırı, Kazaklar (Kazakhstan people) as Kazaklar Türki, Kırgızlar (Kirghizstan people) as
Kırgızlar Eldik Ir, Kumuklar (Kumyk people) as Kumuklar yır, Özbekler (Uzbek people) as Özbekler Türki, Tatarlar (Tatar People) as Tatarlar Halk Cırı, and Türkmenler
(Türkmen people) as Türkmenler Halk Aydımı.54
As the noted scholar Nurer Uğurlu has observed, as Türkü became a popular part of Turkish culture, it also became the general representative for all Turkish folk songs.
Türküler55 can be divided into three main categories: Türküler according to their melodies, Türküler according to their subjects, and Türküler according to their structures.
In the following paragraphs I will talk about these three main categories of Türküler.
Türküler according to their melodies
Türküler according to their melodies can be divided into two sub categories.
Usullü Türküler (Türküler with regulation), and Usulsüz Türküler (Türküler without
53 Cevdet Kudret, Örneklerle Edebiyat Bilgileri, 1st ed., (Istanbul: Inkılap Kitapevi, 1980), 295.
54 Nurer Uğurlu, Halk Türkülerimiz: Folklor ve Etnografya, (Istanbul: Örgün Yayınevi, 2009), 129.
55 -ler is an appendix for plural in Turkish language. Türküler means Turkish folk songs.
52
regulation).56 I will begin with discussing Usullü Türküler.
Usullü Türküler
Usullü Türküler have melodic and rhythmic regulation. Kırık Hava, Oturak,
Zeybek, Horon, and Karşılama are among Usullü Türküler. Kırık Hava (broken air) is the general name given to melodies that use rhythm in Turkish folk music. Oturak is a party like gathering that is accompanied with alcohol and dancing. Zeybek is the common name for the folkloric dance that is accompanied with music in West and
Middle Anatolia. It is most common in the regions of Aydın, Muğla, Çanakkale,
Balıkesir, Manisa, Burdur, and Denizli. Horon is a folkloric dance as well as a melody that is sung during the dance that is common especially in the regions of Eastern Black
Sea. Karşılama is a folkloric dance as well as a melody that is sung when a pair or pairs of dancers dance face to face.
Usulsüz Türküler
Usulsüz Türküler are long airs (Uzun Havalar) that do not have specific melodic or rhythmic restrictions and are freely expressed. Bozlak, Ağıt, Divan,
Çukurova, Koşma, Kerem, Hoyrat, Maya, and Türkmani are among Usulsüz Türküler.
Bozlak is a common name used for the Uzun Hava (long air) in Turkish folk music that is prevalent in the regions of Southern, Middle, and Eastern Anatolia. Ağıt is counted among Türküler that are lyrical and ceremonial. It is usually sung as a lament. Çukurova is sung with melodies without a certain type of rhythm. Hoyrat is most commonly sung in the regions of Urfa, Diyarbakır, Erzurum, and Kars. It is sung by men in the style of
56 Nurer Uğurlu, 7-9. 53
Uzun Hava (long air) with rhymes that reflect love and longing. Kerem is the common name used for a group of long airs where pitches are presented from lower to higher registers and at least the first four pitches are kept the same. Koşma is the most prevalent type of Turkish folk poetry, which is poetic as well as melodic. Its lines are comprised of eleven syllables and are sung with a specific melody by folk performers. Maya is a
Türkü that almost sounds improvisatory without rhythm, with fixed melodies and rhythmic choruses.57
Türküler, according to their subjects
Türküler, according to their subjects, can be divided into seven sub categories.
Lyrical Türküler (lullaby, pastoral, love), Satirical and humorous Türküler, Narrative
Türküler (historic, legendary), Türküler that deals with occupation, Ceremonial Türküler
(wedding, religion), Türküler that involves dancing (Zeybek, Halay, Horon), and Mutual
Türküler.58
Türküler, according to their structures
Türküler, according to their structures, can be divided into six sub categories.
Kavuştaklı Türküler (Türküler with chorus), Kavuştaksız Türküler (Türküler without chorus), Türküler with two lines in each stanza, Türküler with three lines in each stanza,
Türküler with four lines in each stanza, and 3f) Türküler that are regulated in the style of
Koşma (abab, cccb, dddb, and eeeb).59
57 Ibid., 203-215.
58 Ibid., 218-236.
59 Ibid., 606.
54
The most distinctive characteristic of Türkü is its highly ornamental, modal, and improvisatory like sonorities. For instance, when some of the various Turkish poems like
Koşma, Destan, and Semai, are sung with a Türkü melody they are considered Türkü.
60 The lines of these poems include eight, nine, or eleven syllables. The Türkü texts generally deal with love, nature, desire, war, longing, prison, and excitement, where the lines are mostly rhymed and rhythmic. The characteristics of Türkü and their reasons for emergence can be based upon the various factors including educational and psychological factors, economical factors, historical factors, and artistic factors of the regions with which they are associated. These factors can have strong influences on determining both the subject and the wording of any particular poem.
In the region of the Eastern Black Sea, where forthright talking is not accepted and is viewed as impolite, such poetic lines as Boynundaki altının (for the gold on your neck), Ben verdim parasını (I paid money for it) can be frequently heard in poems.
Such phrases are not found in the regions like Urfa or in Diyarbakır, where they are considered impolite and insulting. Thus, the educational and psychological circumstances of specific regions may have crucial roles in determining restricted and private expression versus unrestricted and public expression. The subjects and the wordings of the poems can also be closely related to the economic factors of the region with which they are associated. Such factors include natural resources, social and primary needs, job opportunities, workers pay rate, and popularity of the professions. For
60 Kurt Reinhardt, “Turkey,” in The New Grove Dictionary of Music and Musicians, 2nd ed., xxv, 912.
55
Example: even though the Akdeniz Bölgesi (Mediterranean region), Karadeniz Bölgesi
(Black Sea region), Marmara Bölgesi (Marmara region), and Ege Bölgesi (Aegean region) are the areas that are near the sea, it is difficult to find Türkü lyrics that deal with fishery since fishery is not among the primary industries for human survival.
Furthermore, due to economic factors, especially in the Doğu Anadolu Bölgesi (Eastern
Anatolian region) men need to live abroad for a certain period in order to work and support their relatives by sending money back. However, since living away from loved ones created sorrowful feelings among all of the relatives, various Türkü began to emerge dealing with strong longing. The historical factors, especially in Doğu Anadolu Bölgesi
(Eastern Anatolian region), had an important effect on the construction of Türkü. The proximity to the terrorist and enemy invasions resulted in Türküler that dealt with patriotism, anger, and hatred for the enemy, feelings that are typical in such regions and reflect the terrible conditions being experienced by the local population.
Uzun ince bir yoldayım was not written due to one of the aforementioned factors that frequently affected Turkish folk songs. It is written by Aşık Veysel Şatıroğlu (1894-
1973) for his wife who abandoned him for her new lover while he was sleeping at night.
Uzun ince bir yoldayım was composed in Anatolia, in the village of Sivrialan.
After having talked about the Turkish folk music (Türkü) in the previous discussions, I will now focus on the stylistic performance of Turkish folk music. I will begin with the transmission of Turkish folk music, which will be followed by the discussions of original renditions of Turkish folk songs and a number of guidelines that differentiate stylistic performances of folk music. 56
Stylistic performance of Turkish folk music
The folk music repertoire was first transmitted orally however, in modern times, the medium of transmission is likely to be a transcribed or recorded version created by regional folk music artists or ethno-musicologists. It is common for musicians to develop their own renditions of the original repertoire, and these arrangements will increase the repertoire’s variety based on the performer’s desire, ability and cultural/musical background. Nevertheless, a personal style of interpretation should never distort the original identity of the prototype. Such distortions would be viewed as concocted and
61 artificial.
Dr. Markoff (at York University) explains:
“An important criterion for the evaluation of an authentic and thus acceptable performance is the ability to invoke distinctive regional melodic and rhythmic configurations, tonal systems, pitch deviations, ornamental devices, and expressive idiosyncrasies.”62
It is typical that a stylistic interpretation is possible when the performer grows up in the region affiliated with that specific musical style. If the musical and cultural peculiarities of that specific region are be learned naturally while growing up they will be reflected more genuinely in the musical interpretation. There are various guidelines that differentiate an acceptable interpretation from one that is distorted and altered. The first guideline is ensuring that the rendition of the folk music repertoire is recognizable when compared to the original. Next, the performer must guarantee that the interpretation does
61 Irene Markoff, The Ideology of Musical Practice and the Professional Turkish Folk Musician: Tempering the Creative Impulse (University of Texas Press, 1990/1991), 133.
62 Ibid., 134. 57
not distort the region’s original style due to the incorporation of stylistic elements of other regions. Third, the performer must not use excessive ornamentation that would confuse the melodic identity of the original work. Finally, the performer must ensure that the rendition of folk music repertoire is performed only after he or she has become familiar with the important characteristics of the original piece. The most widely accepted arrangements of the original folk music repertoire are ones that consider the aforementioned guidelines and apply subtle differences without disrupting the regional stylistic integrity as it pertains to the melodic, rhythmic, and harmonic aspects.
In the following discussion, I will demonstrate the stylistic interpretation of one of the most popular Turkish folk songs, Mihriban (Mihriban). I have selected Mihriban to provide another example next to Uzun ince bir yoldayım for better understanding of how to bring out kayde (stylistic interpretation) of Turkish folk songs. I will first present the original musical score of Mihriban and then show how it would be interpreted stylistically.
Mihriban
A stylistic interpretation of Turkish folk music will be accomplished via applying a number of specific musical tools. However, apart from the strict use of these musical tools as they are defined in classical music, they have slightly varying behaviors when interpreting Turkish folk music. The following aspects can be conceived as a formula that provides some crucial techniques in using these musical tools to create a similar style to Turkish folk music. Using vibrato on almost every note, Using minimal delays on the exact pitch of any note (using continuous roaming around the microtones), Using 58
extensive legato passages to connect each note, Using vibrated slides between notes,
Using subtle crescendos and decrescendos on single notes while vibrating, Using smooth articulations on faster notes, especially on sixteenth notes, Using softer articulation on anticipated notes moving into a stronger and more articulated main note, Using rubato widely, Using three note trills on descending melodic lines, and Adding an improvisational feeling throughout the music (more free as if the rhythm is unstable).63
Musical Example below displays the first twelve measures of Mihriban. It is notated without the microtonal melodies (see Musical Example 34).
Musical Example 34: “Mihriban,” (mm. 1-12)64
63 These various aspects are put together by myself in regards to help converting the standard classical tradition of phrasing into the style of Turkish folk music. It is mainly intended for individuals who are not familiar with the Kayde (stylistic interpretation) of any specific Türkü.
64 The following musical edition is taken from: Salih Turhan, Meşhur Olmuş Türküler, 2nd ed., (Istanbul: Alfa Yayınları, 2003), 176. 59
Musical Example 35 is based on the first two vocal lines of Mihriban as notated in the
Musical Example 34, which exhibits the significant use of this specified formula.
Musical Example 35 demonstrates the widely known Kayde of Mihriban, which has been created with the intention of its vocal interpretation with special attention to microtones
(see Musical Example 35).
Musical Example 35:65
In the above discussion, I talked about a popular Turkish folk song Mihriban. In
Musical Example 34, I provided the original score of Mihriban, which in Musical Example
35, I edited its first two vocal lines that would give better insight on how to perform closer to Turkish style. The following chapter, chapter four, consists of number of musical examples that solely focus on the stylistic interpretation of Variations on an
Anatolian Folk Song and Koyunbaba. The similar performance indications as seen in
65 This vocal rendition of Mihriban is created by myself based on the printed score from: Salih Turhan, Meşhur Olmuş Türküler, 2nd ed., (Istanbul: Alfa Yayınları, 2003), 176. 60
Musical Example 35 will provide direction on which performance initiatives may be taken for the selected musical passages in chapter four, performer’s guide.
61
CHAPTER IV. PERFORMER’S GUIDE: VARIATIONS ON AN ANATOLIAN FOLK SONG AND KOYUNBABA Overview
This chapter is organized to provide guitarist interpretative insight into the performance of Variations on an Anatolian Folk Song and Koyunbaba. In this chapter, I will look at specific musical sections from both Variations on an Anatolian Folk Song and
Koyunbaba by Carlo Domeniconi. Once I identify these specific musical sections, I will then edit them in a way that they become closer to a Turkish stylistic interpretation.
These editings will be comprised of fingerings, dynamics, color indications, and articulations. This chapter will also include suggested listening that may help performers imitate and assimilate similar interpretational sounds. I will first begin with breaking down several sections of Variations on an Anatolian Folk Song.
1) Variations on an Anatolian Folk Song
The figure below displays some of the important indications that will be used throughout the musical scores in order to guide the performers to create a better stylistic interpretation of Variations on an Anatolian Folk Song and Koyunbaba (see Musical
Example 36).
62
Musical Example 36:66
The stylistic interpretation of the Thema is extremely important since it represents the melody of the türkü, Uzun ince bir yoldayım that Carlo Domeniconi used in his composition. Musical Example below displays the entire Thema from the
Variations on an Anatolian Folk Song by Domeniconi with the suggested interpretational editing done by myself (see Musical Example 37).
66 This musical example is prepared by myself with the Finale Print Music 2008 software.
63
Musical Example 37: “Thema,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-24)67
I added instructions on articulation, slurs, glissandos, rubatos, dynamics, and fingerings. The use of vibrato is intended in the classical manner with lateral size wide movement.
67 The following musical examples concerning Variations on an Anatolian Folk Song are taken from the following source, which are then edited on the Finale Print Music 2008 software by myself. Complete score. Carlo Domeniconi: Variations on an Anatolian Folk Song for Guitar. (Berlin: Boosey & Hawkes, Bote & Bock, 1999).
64
The Musical Example below displays the Variation I from the Variations on an
Anatolian Folk Song by Domeniconi with the interpretational editing done by myself (see
Musical Example 38).
Musical Example 38: “Variation I,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 9-23)
I added instructions on vibrato, rubato, tenuto, dynamics, slurs, and timbre.
Musical Example below displays the updated fingerings for better stylistic interpretation of the musical passage from the Variation II from the Variations on an
Anatolian Folk Song by Domeniconi (see Musical Example 39).
Musical Example 39: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 10-14)
I added instructions on fingering, glissando, and arpeggiation. 65
Musical Example 40: “Variation II,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 15-19)
I added instructions on fingering, vibrato, timbre, dynamics, glissando, and rubato.
Musical Example 41: “Variation III,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-3)
I added instructions on fingering, articulation, dynamics, and rubato.
Musical Example 42: “Variation III,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 13-18)
I added instructions on fingering, dynamics, articulation, and expression. 66
Musical Example 43: “Variation IV,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-8)
I added instructions on fingering, dynamics, vibrato, rubato, and articulation.
Musical Example 44: “Variation V,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 1-8)
I added instructions on fingering, dynamics, rubato, and slurs.
67
Musical Example 45: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 12-19)
Musical Example 46: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 37-45)
Musical Example 47: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 54-61)
68
Musical Example 48: “Finale,” from Variations on an Anatolian Folk Song by Domeniconi (mm. 62-70)
I added instructions on fingering, dynamics, articulation, vibrato, and timbre.
2) Koyunbaba
Musical Example 49: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 1-6)68
I added instructions on phrasing, fingering, dynamics, rubato, articulation, and timbre.
68 The following musical examples concerning Koyunbaba are taken from the following source, which are then edited on the Finale Print Music 2008 software by myself. Complete score. Carlo Domeniconi: Koyunbaba: Suite für Gitarre Op.19. (Berlin: Edition Margaux, 1998).
69
Musical Example 50: “Moderato,” 1st movement from Koyunbaba by Domeniconi (mm. 10-15)
I added instructions on fingering, vibrato, rubato, and dynamics.
Musical Example 51: “Mosso,” 2nd movement from Koyunbaba by Domeniconi (mm. 1-6)
I added instructions on phrasing, fingering, vibrato, bending, articulation, and dynamics.
70
Musical Example 52: “Mosso,” 2nd movement from Koyunbaba by Domeniconi (mm. 11- 19)
I added instructions on fingering, dynamics, articulation, rubato, and timbre.
Musical Example 53: “Mosso,” 2nd movement from Koyunbaba by Domeniconi (mm. 23- 26)
I added instructions on fingering, vibrato, rubato, tenuto, and dynamics.
71
Musical Example 54: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 1-4)
I added instructions on fingering, rubato, tenuto, vibrato, articulation, dynamics, and timbre.
Musical Example 55: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 5-8)
I added instructions on fingering, vibrato, rubato, and dynamics.
Musical Example 56: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 23-29)
I added instructions on fingering, vibrato, rubato, tenuto, dynamics, and bending. 72
Musical Example 57: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 23-29)
I added instructions on fingering, vibrato, rubato, tenuto, dynamics, and timbre.
Musical Example 58: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 71-80).
I added instructions on fingering, vibrato, rubato, tenuto, and dynamics.
73
Musical Example 59: “Cantabile,” 3rd movement from Koyunbaba by Domeniconi (mm. 81-88)
I added instructions on phrasing, fingering, vibrato, rubato, tenuto, dynamics, and bending.
74
Suggested Listening List
The following list is thought to serve as guidance for people who would like to become familiar with the interpretation of Turkish music. Selections are chosen to provide an example of songs that pertain to a specific genre.
Türkü, Turkish folk song:
- Mihriban (Musa Eroğlu);69
- Urfa'nın Etrafı Dumanlı Dağlar (Kazancı Bedih);70
- Ormancı (Müzeyyen Senar);71
- Odam Kireç Tutmuyor (Alpay Unyaylar);72
- Gesi Bağları (Mustafa Oruç);73
- Kara Toprak (Aşık Veysel Satıroğlu);74
Uzun Hava (Long Air):
- Yaradan Var (Ibrahim Tatlıses);75
69 Musa Eroğlu, Bir Nefes Anadolu, Duygu Müzik Plak, CD, 2000.
70 Kazancı Bedih, Tükendi Nakti Omrüm, Kılıç Müzik Film, CD, 1999.
71 Müzeyyen Senar, Bir Bahar Akşamı, Coşkun Plak San., CD, 2004.
72 Alpay Unyaylar, Piyano Kanun, Ateş Müzik Cahit, CD, 2010.
73 Mustafa Oruç, Yörük Ali, Bey Plak, CD, 2000.
74 Aşık Veysel, Aşık Veysel Arşiv 1, Kalan Ses Görüntü, CD, 2001.
75
- Uzun Hava (Ismail Yılmaz);76
Kırık Hava (Broken Air):
- Kara Ova Düğünü (Hafız Rıza Yağız);77
Aksak Ritim (Lame rhythm):
- Sulukule (Instrumental);78
This chapter serves as the core of this study. Besides much information on
Turkish style of folk music and how Carlo Domeniconi used them in his compositions, this chapter is designed to help performers benefit from the edited musical figures for more stylistic and accurate interpretation. The suggested listening list provides insight for performers to enhance their aural perception and understanding of Turkish folk music.
The final chapter of this study concludes with a summarization of the findings and a discussion of how this study has affected my teaching and performance of Variations on an Anatolian Folk Song and Koyunbaba.
75 Ibrahim Tatlıses, Söylim mi-Hesabım var, Idobay Müzik Yapım, CD, 1991.
76 Ismail Yılmaz, Düşlere Yolculuk 2, Ahenk Müzik Yapım, CD, 2008.
77 Hafız Rıza Yağız, Kara Ova Düğünü, Bey Plak, Casette, 1994.
78 Sulukule, Rom Music of Istanbul, Traditional Crossroads, CD, 2005. 76
CHAPTER V. CONCLUSIONS
Turkish music makes use of a vast number of divergent sonorities, textures, genres, techniques, styles, and structures. Examining and understanding Turkish music is a challenging task and requires years to accomplish. Being born and raised in its culture, speaking its language, espousing and understanding its ethics, growing up in its social environment are among indispensable factors in one’s strong perception of the core of that nation. The unique and genuine musical characteristics of Turkish music do not only impress its natives but also inspire artists from around the world. In particular, Carlo
Domeniconi is a significant international admirer of Turkish folk music. His use of
Turkish folk music elements in several of his compositions displays his devotion to the style. In this document, there were number of discussions made to demonstrate how the structure and content of Carlo Domeniconi's Variations on an Anatolian Folk Song and
Koyunbaba are heavily influenced by Turkish folk music, and that more stylistic and accurate performances of these pieces become possible through the study of Turkish folk music and its performance practices.
In this document, there are various findings that show Variations on an Anatolian
Folk Song and Koyunbaba by Domeniconi include a number of Turkish folk music ideals. These findings help in understanding what are some of the important Turkish folk music nuances and how Carlo Domeniconi uses them in two of his solo classical guitar compositions. These ideals are modes, melodic organizations, rhythmic organizations, chordal organizations, and instrumental techniques of Turkish string instruments that are identified and discussed in this document with musical figures. The findings that are 77
discussed in this document have influenced my teaching due to a comprehensive understanding of some of the crucial features of Turkish folk music style and how
Domeniconi integrates them into the classical guitar. This research has improved my performance significantly. I continue to strive ways to improve my stylistic interpretation of Turkish folk music. Chapter four, performer’s guide, displays detailed figures for stylistic interpretation of some of the significant musical passages from
Variations on an Anatolian Folk Song and Koyunbaba. These detailed figures should provide adequate guidance for performers to create more musical interpretation of
Domeniconi’s wonderful compositions.
78
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