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Figure 2. Demonstration of the comparison of the golpe technique in flamenco guitar and the body beat technique in baglama

Figure 2 Demonstration of the comparison of the golpe technique in flamenco guitar and the body beat technique in baglama

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Baglama In order to accompany the song correctly, guitarists need to have knowledge about "copla", which means verse, and
Baglama In order to accompany the song correctly, guitarists need to have knowledge about "copla", which means verse, and
In this research, right-hand playing techniques of instruments belonging to two different cultures will be examined and similarities will be revealed. This study is considered important because it reveals the techniques of different cultures, which are called with different names, and sheds light on future research.
In this research, right-hand playing techniques of instruments belonging to two different cultures will be examined and similarities will be revealed. This study is considered important because it reveals the techniques of different cultures, which are called with different names, and sheds light on future research.
Notes 1. Representation of Forward-Back Hits in Notes (Yeprem, 1998: 60).
Notes 1. Representation of Forward-Back Hits in Notes (Yeprem, 1998: 60).
Figure 1. Comparison of back-and-forth beats in flamenco guitar, rasgueado and all-string percussion technique he Golpe Technique on the Flamenco Guitar and the Body Hit Technique in the Baglama
Figure 1. Comparison of back-and-forth beats in flamenco guitar, rasgueado and all-string percussion technique he Golpe Technique on the Flamenco Guitar and the Body Hit Technique in the Baglama
Notes 5. Traditional Classical Guitar Tremolo Technique (Yeprem, 1998: 67)
Notes 5. Traditional Classical Guitar Tremolo Technique (Yeprem, 1998: 67)
Notes 6. Flamenco Guitar Tremolo Technique (Yeprem, 1998: 68)
Notes 6. Flamenco Guitar Tremolo Technique (Yeprem, 1998: 68)
Figure 3. Comparison of tremolo, arpeggio technique in flamenco guitar and stringing and finger tapping technique in baglama
Figure 3. Comparison of tremolo, arpeggio technique in flamenco guitar and stringing and finger tapping technique in baglama
Figure 4, Comparison of apagado technique in flamenco guitar and mute technique in baglama Apagado, which means silenced, is a technique used by flamenco guitarists to silence any resonance (Yeprem, 1998: 68). In this technique, which is called the mute technique in Baglama, the purpose is the same in both instruments. As a method, the palm is used in the right hand apagado on the guitar, while the outer parts of the hand are mostly used in baglama.
Figure 4, Comparison of apagado technique in flamenco guitar and mute technique in baglama Apagado, which means silenced, is a technique used by flamenco guitarists to silence any resonance (Yeprem, 1998: 68). In this technique, which is called the mute technique in Baglama, the purpose is the same in both instruments. As a method, the palm is used in the right hand apagado on the guitar, while the outer parts of the hand are mostly used in baglama.
String Fulling Lechnique in baglama with Flamenco Guitar Apoyando, Picado, Lirando Lechniques Apoyando is performed by resting any of the "i, m, a" fingers on the next string after the string hit. When app [<See>) technique with the thumb “p” rests on the lower wire after the stroke. The aim of this technique is to obtain sounds (Ozkasnakh and Dalkiran, 2013: 207). The playing of single-note passages using the apoyando tec ying thi: powerfu. hnique i: called picado. Although this technique seems to be the same as the apoyando technique, it is different in musical sense The technique can be applied with “i-m, i-a” and their diversification. Guitarists have shaped this playing sty e in their own way. In this technique, the wrist is pulled out, the fingers are set perpendicular to the strings, and it is applied wit y q P § perp § Pp small movements and a dynamic stroke. It is a technique that shows the speed and reflex of the fingers (Ozkasnakli anc Dalkiran, 2013: 207). In the Tirando technique, it is the movement of the fingers of the right hand towards the palir with the “p, i, m, a” fingers by touching only a string and without applying any leaning (Ozkasnaklt and Dalkiran. 2013: 206).
String Fulling Lechnique in baglama with Flamenco Guitar Apoyando, Picado, Lirando Lechniques Apoyando is performed by resting any of the "i, m, a" fingers on the next string after the string hit. When app [<See>) technique with the thumb “p” rests on the lower wire after the stroke. The aim of this technique is to obtain sounds (Ozkasnakh and Dalkiran, 2013: 207). The playing of single-note passages using the apoyando tec ying thi: powerfu. hnique i: called picado. Although this technique seems to be the same as the apoyando technique, it is different in musical sense The technique can be applied with “i-m, i-a” and their diversification. Guitarists have shaped this playing sty e in their own way. In this technique, the wrist is pulled out, the fingers are set perpendicular to the strings, and it is applied wit y q P § perp § Pp small movements and a dynamic stroke. It is a technique that shows the speed and reflex of the fingers (Ozkasnakli anc Dalkiran, 2013: 207). In the Tirando technique, it is the movement of the fingers of the right hand towards the palir with the “p, i, m, a” fingers by touching only a string and without applying any leaning (Ozkasnaklt and Dalkiran. 2013: 206).
Figure 5. Comparison of apoyando, picado, tirando on flamenco guitar and string pulling technique in baglama Conclusion and Discussion
Figure 5. Comparison of apoyando, picado, tirando on flamenco guitar and string pulling technique in baglama Conclusion and Discussion
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