EXTENDED ABSTRACT
Introduction In Turkish music, "geçki" (modulation) is a fundamental concept that follows the basic elements such as makam, usûl, and tavır (style). Modulation is defined as passing from one makam to another or making transitions between makams. It serves as a tool to rescue the performance—whether it be taksim, gazel, or instrumental works—from monotony and adds aesthetic richness. Furthermore, it is a primary area where composers and instrumentalists display their mastery.
Existing literature on modulation generally focuses on defining the concept, categorizing its types (such as close/distant or continuous/temporary modulation), and identifying examples within musical scores. However, studies detailing the specific methods of modulation—how to practically apply the necessary sounds, scales, or makams to achieve a smooth transition—are superficial or lacking. Understanding how a concept or action is realized is as critical as analyzing the phenomenon itself. This study aims to address this gap by focusing on the practical modulation methods used by performers. Specifically, it examines the methods employed by two master musicians: Neyzen Yavuz Akalın and Tanburi Musa Kazım Tığlıoğlu.
Methodology This study employs a qualitative research design, utilizing a descriptive survey model to analyze existing musical performances without alteration. The participants were selected based on criteria such as being performers in state choirs or TRT radios, having works on modulation, and having experience teaching modulation in conservatories.
Data were collected through individual interviews with Neyzen Yavuz Akalın and Tanburi Musa Kazım Tığlıoğlu. Each performer provided four transition taksims (improvisations): two involving transitions between makams and two involving transitions between "âhenk" (tuning/pitch levels). These eight taksims were recorded and then transcribed into musical notation. The transcription focused on the main melodies relevant to the modulation, excluding ornamental techniques like glissando or trills to maintain analytical clarity. Content analysis was applied to the transcriptions to identify, name, and explain the specific modulation methods used.
Findings The analysis of the eight taksims revealed eight distinct modulation methods utilized by the master performers. These methods were identified based on the specific melodic and interval choices made during the transition phases:
1. Pitch Alteration Method (Perde Bozma Yöntemi): This involves changing one or two notes immediately without introducing a long different scale or makam. For example, Akalın used this to transition from Şevk-ü Tarâb to Sipihr by altering specific pitches.
2. Direct Modulation Method (Aracısız Geçki Yöntemi): Used when no intermediate makam, scale, or sound is inserted between the two makams. This is often preferred for makams with identical or highly similar scales, but can also apply to dissimilar ones where only the "seyir" (melodic progression) changes.
3. Accepted Modulation Method (Kabul Geçki Yöntemi): This method utilizes the phenomenon where the notes of a makam in one "âhenk" (tuning) mathematically equate to the notes of a different makam in another "âhenk." It is described as the least perceptible method for transitions between tunings.
4. Tuning Anticipation Method (Âhenk Önceleme Yöntemi): In transitions between tunings, the performer first introduces the target tuning's characteristic sounds before fully establishing the new makam structure.
5. Mediated Modulation Method (Aracılı Geçki Yöntemi): Often used for "distant modulations," this involves using a third makam or a section of a different makam as a bridge between the starting and ending makams. For instance, Tığlıoğlu used the Bûselik flavor as a bridge to move from Şedd-i Araban to Çargâh.
6. Interval Announcement Method (Aralık Duyurma Yöntemi): The performer emphasizes a specific musical interval (e.g., a perfect 5th or 4th) that strongly suggests the atmosphere of the target makam.
7. Note Sustaining Method (Perde Tutma Yöntemi): A method often preferred by instrumentalists with sustain capabilities (like the Tanbur). It involves holding a single note for an extended period to "erase" the auditory memory of the previous makam and clear the path for the new one.
8. Frequency Alteration Method (Frekans Bozma Yöntemi): This involves microtonal manipulations—sharpening or flattening a pitch within its frequency range—to transition between makams or tunings, as observed in Tığlıoğlu's transition from Evç to Bûselik.
Conclusion and Discussion The study concludes that modulation is not merely a theoretical concept but a practical skill involving specific, identifiable methods. The analysis shows that these methods can be used individually or in combination within a single performance. For example, a "Mediated Modulation" can be executed using "Pitch Alteration," or a "Direct Modulation" can be supported by "Note Sustaining".
The research highlights that modulation is a cognitive process that occurs spontaneously in the performer's mind. Therefore, methods may vary even for the same performer at different times. The eight methods identified (Pitch Alteration, Direct, Accepted, Tuning Anticipation, Mediated, Interval Announcement, Note Sustaining, and Frequency Alteration) provide a concrete written resource for students and performers who wish to learn modulation techniques. The study suggests that further research involving different performers and instruments could reveal additional modulation methods, enriching the pedagogical resources for Turkish music education.
Keywords: Yavuz Akalın, Musa Kazım Tığlıoğlu, Modulation (Geçki), Modulation Methods, Transition Taksim