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A sheet music archive is a digital and physical collection that collectively contains the notes of musical works. Musicians and composers create resources for music education. Note Archive A-B-C D-E-F G-H-İ K-M-N O-P-R S-T-U V-Y-Z Hicaz Acaba şenmisin kederin var mı Bimen Şen Hicaz Affeyle suçum ey gül-i ter başıma kakma Şevki Bey Hüseyni Ağlama ey aşık-ı mihnetzede gel yanıma Hacı Faik Bey Rast Ağlasam her lahza hakkım yok mudur Gülbenkyan Efendi Uşşak Ağlatırlar güldürürler Dede Efendi Nihavend Açıldı bahçede güller Rıfat bey Gül-izar Dağdar-ı tır-i gamzendir gönül ey meh-cebin Tanburi İsak Hüzzam Değildi böyle evvel tarz-ı tavrın Celaleddin Paşa Buselik Dehr olmada bu sur ile ma'mur Dede Efendi Şehnaz Denizin dalgasını bekliyorum dinliyorum Şemseddin Ziya Bey Segah Der mevc-i perişan-i ma fasıla-i nist Itri Hicaz Derdimi arz etmeğe ol şuha Enderuni Ali Bey Kürdili Hicazkar Gaddar felek aşık-ı nalane dokunma İbrahim Efendi Rast Gamdan azade hemen dünyada bir meyhanedir Rıfat Bey Bestenigar Gayrıdan bulmaz teselli sevdiğim Mustafa İzzet Efendi Kürdili Hicazkar Geçdi zahm-ı tir-i hicrin ta dil-i naşadıma Hacı Arif Bey Mahur Gel bir daha gül ruyini aç handeni göster Selanikli Ahmet Bey İsfahan Gel ey ruh-i revan melek-simatım Hacı Arif Bey Rast Kar Abdülkadir Meragi Rast Kar-ı Muhteşem Abdülkadir Meragi Buselik Kar-i sur-i şahi Dede Efendi Kürdili Hicazkar Mahmur bakışı aşıka bin lutfa bedeldir Şekerci Cemil Bey Acem-aşiran Mahveder her neş'eyi üftadelik dildadelik Neyzen Rıza Bey Acem-aşiran Meşam-ı hatıra buy-i gül-i safa bula gör Dede Efendi Hüseyni O güzel gözlerle bakmasını bil Lem'i Atlı Muhayyer Ok gibi hublar beni yaydan yabana attılar Sahibi meçhul Hüseyni Pek cüda düştüm gülümden Selanikli Ahmet Efendi Nihavend Pek özledim seni Muhlis Sabahaddin Hüzzam Reh-i aşkında edip kaddimi kütah gönül Dede Efendi Uşşak Reng-i ruhsarına gülgün dediler Şevki Bey Hüseyni Saçın bükümleri gönül bağıdır Hafız Yusuf Efendi Nihavend Saçlarına bağlanalı ey perı Rahmi Bey Mahur Tac-ı hüsnün hükmeder şairlerin divanına Musa Süreyya Bey Hicaz Takat mı gelir sevdiğim ol işve vü naze Tab'i Mustafa Efendi Hüseyni Tal'atın devr-i kamerde Zaharya Nihavend Üç yıl beni sevdanın Muhlis Sabahaddin Karcığar Vah meyyus-i visalindir gönül Mahmut Celaleddin Paşa Şehnaz Vardım ki yurdundan ayağ göçülmüş Nevres Paşa Uşşak Yad ile geçmiş zamanı ağlarım Şevki Bey Acem-aşiran Yandı dil aşkınla ey şuh-i şenim Nikoğos Ağa Mahur Zahir-i hale bakıp etme dahıl bir ferdi Hacı Arif Bey Karcığar Zahm-ı hicranım gibi alemde yare var mıdır Selanikli Ahmed Efendi

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The plan defines the scope and limits of an offering and, where appropriate, associated pricing. Choose your pricing plan Gümüş Üyelik TRY 600 600TRY Every week Başlangıç Dersleri Select Kanun Online Dersi Bronz Üyelik TRY 3,000 3,000TRY Every month Haftalık Kanun Dersleri İsteyenler İçin Mükemmel ! 1 day free trial Start Free Trial Bronz Üyelik TRY 3,000 3,000TRY Every month Haftalık Kanun Dersleri İsteyenler İçin Mükemmel ! 1 day free trial Start Free Trial

Comprehensive studies and practices related to Nevin Şahin's qanun lessons. In this section, you can access exercises and applied materials designed to enhance your techniques on the instrument. Course Studies Kanun Etüdleri Kanun Etüdleri

Kanun dersleri ve dosya paylaşımı yapılmaktadır.

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"Performances, lessons, and works featuring Nevin Şahin. These videos showcase her talents with captivating qanun melodies and instrumental techniques." Tüm Videolar Tüm Videolar Play Video Share Whole Channel This Video Facebook Twitter Pinterest Tumblr Copy Link Link Copied Search videos Search video... Now Playing Selahattin İçli'nin 102. Yılına Özel Konser! 04:13 Play Video Now Playing Divan Musiki Topluluğu 01:00 Play Video Now Playing Çınar Uluslararası Kültür ve Sanat Merkezi 00:20 Play Video

Kanuni Nevin art gallery, qanun and compositions, concerts, events, music videos, qanun instrumental topics, visual content. G a l l e r y

Knowledge of the basic notes of the qanun instrument's music, solfeggio, techniques to understand and internalize the melody to improve your playing emotional expression power. Qanun Playing Techniques Qanun playing techniques: *To be able to play qanun, first you should have its training. But at first we advice some important steps. *First, To have the right posture and holding instrument. *The chair should be designed comfortable to sit well. *The chair should not have arms otherwise the arms can prevent to play well and not comfortable for our elbows. *When we put the qanun on our knees, it should be 90 degree angle between the body and knees . To krep the qanun in balance we can use A stand under our shoes. *İn A classical qanun playing technique, our elbows should be close our body but not squeeze because elbows will move forward or backward. *Our knees should be closer to seem respectful. *The main important thing to know about pics strikes is to open and close the thumb and pointer fingers in line. *During playing the qanun straching , rubbing or holding on strings are wrong ways. For having natural sound to use fingers right....... Qanun Work Technique The Qanun has been stolen in different ways by Qanuns (the Qanunmaker) in the past centuries and formed their characteristics. If we give two examples of Calis technique; 1- Elbows are kept close to the body and hands close to the surface of the Qanun. The wrists of both hands are loose. The strings are hit by moving index fingers. It is a soft voice over technique. 2- Elbows are open from the body. Index fingers are kept upright. The wrist is not broken during work. The forearm from the fingers to the elbow moves as a whole. This figure is suitable for "work fast" and for the purpose of making maximum sound from the Qanun. A brighter sound is produced by hitting the parts of the wires close to the bridge and pegs. While playing the Qanun, the left hand moves about four fingers to the right from the pegs board, and the right hand moves on the line between the cages and the skin on the right side of the chest of the Qanun. The normal voice of the Qanun sounds on this area. If the strings are played from the middle of the string, a drummed and sweet voice is obtained. Today, there are those who use the first or second form among the Qanuns, as well as those who use both forms in a mixed way. New learners should definitely refrain from hitting a few plectrums of great value at the beginning. It is necessary to perform each note with a single hit, or tremola should make notes of great value. The Ring Wearing the Finger in Qanun The Qanun rings are made of yellow or white metal, roundly rounded to fit the thickness of the index finger. Curved ends may be tipped or overlapped. Rings are worn first on the index finger of both hands, and then plectrums are passed between the finger and the ring, not too tight. The best plectrum is called the tortoiseshell and is made of sea turtle shell or animal horn. The width of the plectrums is 1-2 mm thick in the middle part and thinner towards both ends. The fineness of these tips varies according to the wishes of the users. The surface of the plectrums should be smooth and shiny. Otherwise, rubbing sound is heard when the spear touches the wires. The plectrum must contact the wire with its entire surface and at an angle of approximately 30 to 45 degrees. When the wire is hit, it should vibrate on three wires that give the same sound. Handle Type of the Tuning Key The round part of the key is held in the palm and the long axis of this part is held in the direction of the thumb and little finger. During tuning, the key is not pressed too much on the auger. First, the wire is rotated so that it loosens more or less, that is, the sound is gone. It is then pulled to the desired pes. Using Coma Latches Depending on the malfunctions in the melody to be played, the more pegs need to be changed, the more pegs are held between the thumb and middle fingers of the hand and are lowered or raised. At this time, it should be paid attention that the latches do not make much noise. Sometimes latches may need to be used for a very short time. For example; During a chromatic (with half aperture) exit, when the latch needs to be held for a very short time, the latch is not held in the slot but is held between the middle and thumbs to lift the wire and is released immediately after the sound is played. If a single latch is to be lowered, only the tab of the middle finger of the left hand is attached by latching. If a single latch is to be lifted, this time it is lifted with a thumb. Chord of Qanun The accord of the Qanun, which normally includes 25 sounds, begins with Neva wires. The neva wires are drawn into the sound heard from a tuning whistle, tuning fork or electronic tuner. Then Yegah with an octave pest, then treble neva in a octave treble, Kaba Yegah wires with two octave peaks are adjusted according to the sound of the neva wires. In order to tune the Qanun, it is necessary to know the quad and quad ranges very well. New learners do not have a chance to tune until they are familiar with these ranges. Tuning can be performed using a piano or organ. Kanun is the most difficult instrument to tune in Turkish music. Latch System in Qanun The latch system in its Qanunis divided into two; 1-Coma System: In the Qanuns where this type of latch is attached, the pillow latch is fixed and 5 latches other than the unused pillow latch are between flat and natural. Each latch gives a coma sound. 2-Conscious System: 6, 7, 8 pegs are attached until the natural sound that comes after the pillow pegs. This system, which usually has 6 pegs after the pillow pegs, gives 6 pegs balance sound. The Use of Latches According to Authorities in the Qanun In Qanuns where 6 pegs are attached except for pillow pegs; In the natural order (in the bench series) 6 pegs are lifted Nihavent tonality (from natural pegs): 6 pegs Hicaz tonality (from natural pegs): 5 pegs Uşşak mode (from natural pegs): 3 pegs Rast Authority (from natural pegs): 2 pegs Hüzzam tonality (from natural pegs): 1 latch down Segah tonality (from natural pegs): 1 latch down Nihavent Makam: 6 pegs are lowered except for the bottom latch on the Si (haze) pitch. 6 pegs are lowered except for the bottom pegs on the Mİ (Hüseyni) curtain. Hicaz tonality: 5 pegs except the bottom latch are lowered on the Si (haze) curtain, and 5 of the 6 sharps on the DO (bench) curtain are removed. 4 of the 5 pegs on the FA curtain are removed. Uşşak Mode: 3 pegs are lowered from the curtain (SIK). Rast Authority: 2 pegs are lowered from the Si (haze) pitch. 4 of the 5 sharps, which are descended from the FA curtain, are removed. Hüzzam Makam: 1 pegs are lowered from the Si (haze) curtain, 4 pegs are lowered from the Mİ (Hüseyni) curtain. 4 out of 5 sharps are removed from the FA (Novice) pitch. Suzinak Authority: 1 latch is removed from the Si (haze) curtain, 4 of the 6 pegs are removed from the M (Hüseyni) curtain, 4 of the sharp pegs are removed from the FA (Novice) curtain, 4 of the natural pegs are removed from the LA (curtain) curtain. Kürdili Hicazkar Mode: 6 pegs are lowered except for the bottom pegs on the Si (haze), Mİ (Hüseyni), LA (dome) curtains.

You can find answers to frequently asked questions about qanun lessons, concerts, and music, or you can contact us. Sıkça Sorulan Sorular General1 How long will it take for me to play the instrument I am training on? After receiving basic note training and learning the basic features of your instrument, you can perform simple pieces within an average of 3 months. It may vary depending on the amount of your practice and, ultimately, your talent. Where can I get my instrument? You can obtain the instrument from us because the instruments are selected under the supervision of the teacher and made available to the students. Do I have to bring my instrument? You don't have to bring it. But sometimes it is in your best interest to bring your instrument and have it tuned and maintained. Are our lessons considered to be completed during summer vacations, illness, exams, etc. that prevent education? In cases of necessity, you can get permission by giving prior notice and take make-up lessons for later. Do you have variable schedules for variable employees? Since the lessons are private (one-on-one), a special lesson program can be prepared for you in the instrument. How long are the lessons? Lessons last approximately 1:00 hours. Are there classes every day of the week? There are classes every day of the week. How many days a week do we need to come? You have to come once a week. What is the playing age of my instrument? There is no age limit for playing an instrument. Of course, there are many advantages to starting music education at an early age, but starting at a later age is not an obstacle to your education. Are the lesson times sufficient? Since the lessons are private (one-on-one), the lesson duration is sufficient. What is the difficulty level of my instrument? In general, the qanun is seen as the most difficult instrument. However, this does not prevent you from learning, you can just make up for it by working a little harder. How much work do I have to do? Two to four hours of practice every day is enough. Does talent matter? It's important, but you can compensate for this by working harder. Can I take lessons 2 days a week? You can benefit from it 2 days a week upon request.

Compositions are created with lyrics and notations are written. The piece is an important part of Turkish musical culture and is respected and preserved by those who perform it. Compositions **My Compositions: Melody of My Heart** My compositions are melodies that I create to reflect my inner world and the moments I live in. Each note carries traces of my past and also contains my hopes for the future. My composition process usually begins with moments of inspiration; sometimes I create new melodies by meeting with the sounds of nature and sometimes with the small details of daily life. The intensity of my emotions and the depth of my thoughts guide my music, and each composition is shaped by the desire to tell a story. Every composition process teaches me new things: To be patient, not to be afraid to experiment and to push the boundaries of creativity… I am constantly trying to improve myself; for this reason, I research different musical styles and try to enrich them by using different instruments. I hope that my listeners will find their own emotions in my work. Music is always a personal journey and I want to be with them on that journey. As a result, my compositions are not just notes; they are the embodiment of my inner journey... Each piece defines me, while also aiming to touch other lives. Hoping to share many more stories filled with music...

"Media news, concerts, events, clips, and compositions are regularly updated. Stay up to date by following our media page." MEDIA This is my Media Page. It's a great opportunity to help my visitors understand the context and background of my latest work. 01 Nilgün Güler TSM Choir Turkish Classical Music and Balkan Breezes Concert at Edirne Huzurevin... 02 Bakirkoy Music Conservatory Foundation MÜZDAK's 2022 Turkish Music Awards have found their winners. More