Anatolian Folk Song - Geçti Dost Kervanı - Cover by @veliozdemiroglu

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Greetings everyone. This is my first time posting in the sound music group. I wanted to present one of my special works that I performed with baglama. It was a slightly different content than the videos I prepared for Hive Open Mic, Q-Inspired and Music groups before. The biggest reason for this was that the instrument I used was played with a tuning system other than the normal tuning system. For this reason, I performed this piece with a different tone compared to the normal baglama timbre. For example, while there are three rows of strings as lower, middle and upper strings in the normal bağlama chord and playing system, there is no middle string group in this playing system and the decision sounds and beats are taken from different frets.

In addition, some notes different from western music are used in Turkish music. F sharp 2 and B flat 2 are just two of them. Since these intermediate sounds are specific to Turkish music, some of our friends may sound distorted, but it is a type of maqam used extensively in Turkish music. I wanted to add this too.

The name of the work I performed was also mentioned, the caravan of friends. Pir Sultan Abdal, a traditional Anatolian poet, owns the words of this mystical work. He is someone who lived 500 years ago. It is unknown who the composition belongs to, that is, it is anonymous. I hope you enjoy listening. I wish everyone a good day.

Another cover by Cem Adrian and Mabel Matiz for this song;

Herkese selamlar. Sound music grubunda ilk kez paylaşım yapıyorum. Bağlamayla icra ettiğim özel eserlerden birisini sunmak istedim. Daha önce Hive Open Mic, Q-Inspired ve Music grupları için hazırladığım videolarımdan biraz daha farklı bir içerik oldu. Bunun en büyük sebebi kullandığım enstrümanın normal akord sistemi dışında bir akord sistemiyle çalınıyor olması idi. Bu sebeple de normal bağlama tınısına göre daha farklı bir tınıyla bu eseri icra ettim. Örneğin normal bağlama akord ve çalım sisteminde alt, orta ve üst olmak üzere üç sıra tel grubu varken bu çalım sisteminde orta tel grubu yok ve karar sesleri ve vuruşları farklı perdelerden alınıyor.

Ayrıca Türk müziğinde batı müziğinden farklı kimi notalar kullanılıyor. Fa diyez 2 ve Si bemol 2 bunlardan sadece ikisi. Bu ara sesler Türk müziğine özgü olduğu için bazı arkadaşlarımıza bozuk ses gibi gelebilir fakat Türk müziğinde bolca kullanılan bir makam çeşididir. Bunu da eklemek istedim.

İcra ettiğim eserin adı da geçti dost kervanı. Mistik içerikli bu eserin sözlerinin sahibi geleneksel Anadolu ozanlarından Pir Sultan Abdal. Kendisi 500 yıl önce yaşamış birisi. Bestenin ise kime ait olduğunu bilinmiyor, yani anonim. Beğeniyle dinlemenizi umuyorum. Herkese iyi günler dilerim.


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We sang this song when I was in the choir in my high school years and I played the saz in front of the first ensemble. You have a very nice playing technique my friend, I hope one day I will have the chance to watch and listen more closely when we play and sing together.👏🎼🎸🔥♥️👏🎼

Eyvallah @rsntpl dostum. Bu deyişin herkesin hayatından bi geçmişliği vardır. Umarım yakın zamanda birlikte çalar söyleriz. 🙂🖐

Hi @veliozdemiroglu

I do hear the specific sound but I am not really sure how to explain it.
Also, I am not sure are there some intervals that are smaller than the diatonic semitone in Turkish music?

Oh, and when you say F sharp 2 and B flat 2, do you mean double F sharp (Fx) and double B flat (B bb)?

Thanks! It was interesting to listen to your interpretation 🎶

Hi @mipiano. First of all, thank you for your sensitive and kind comment. To answer your question, I researched what are the notes of double B flat and double F sharp. As I understand it, double F sharp and double B flat; as a timbre, it corresponds to the notes of G and A. I just learned this. Is this true? :) So, these are not B flat 2 and F sharp 2.

On the other hand, there are three different B notations on the bağlama keyboard side by side. These are in order from bottom to top; b (natural), b flat 2 (quarter tone) and b flat (semitone). Therefore, B flat 2 is referred to as a quarter tone (between the interval of B natural and B flat) in our music. They are also called coma voices. The same situation is true for the F note sounds.

As a result, B flat 2 and F sharp 2 are smaller than the diatonic semitone in sound value, and they are used as frequently as semi and full tones in Turkish music. I think I was able to answer your question, albeit a bit complicated. :)

 2 years ago (edited) 

Yes, that's what I asked. :))

For me it's completely natural to read and play the double sharp and double flat notes, they indeed lower or rise the pitch for a whole step.

Oh, so yes, quarter tones 👌 so that are B flat 2 and F sharp 2. I can't play quarter tones on the piano, as it is tempered and tuned diatonically and the smallest interval is a semitone.

How cool you can achieve it in baglama and Turkish music uses quarter tones 🎶

Thanks for your answer 😃

You're welcome. This was very meaningful musical correspondence, and I thank you for that. :)) See you again, bye.

Wonderful performance bro. You play this instrument so good and sing very well too

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 2 years ago  

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Hola @velozdemiroglu me encantó comocer tu talento, una de las cosas que más disfruté de tu actuación para esta entrada fue la manera en que ejecutas tu instrumento y tienes unos tonos graves en la voz al cantar muy interesantes, gracias por preferir esta comunidad para mostrar tu música. Saludos con cariño desde Venezuela.