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Nevin Şahin is a musician, composer, and educator specializing in the qanun instrument. She inspires music lovers by offering qanun lessons, concerts, and valuable content related to music. “ Every Note Has a Life of Its Own. ” Experience the magic of qanun music at its best. Our website is your gateway to an exclusive collection of qanun music, concert videos and artwork that will captivate your senses and leave you wanting more. Q A N O U N N E V I N Instrumental Qanoun Lessons Online Qanaun Lessons Are Given. We work at Çınar Culture and Art Center every Friday between 11:00-13:00. Additionally, Psychotherapy Sessions with Music are Provided. E V E N T S JUNE 5 Rumeli Turks Foundation Turkish Classical Music Chorus CHEF. NILGUN GULER Bayrampasa Mehmet Akif Ersoy Cultural Center WEDNESDAY JUNE 11 It's 20:00 FREE... N E W S Alp Arslan Turkish Classical Music Choir continues at İspirtohane Cultural Center every week on Tuesday between 19:00 - 21:00. Bakırköy Dostlar Music Community continues every Monday between 19:00 - 21:30. Dede Efendi Choir, under the management of Bakırköy Music Conservatory Foundation Suat Güney, continues every week on Saturday between 13:00 - 15:30. Boğaziçi University Turkish Classical Music Choir, under the management of Kadir Tuncer, continues every week on Tuesday between 12:00 - 13:30. I teach Law Lessons at Çınar International Culture and Art Center. It continues every week on Friday between 11:00 - 13:00. Music Therapy - I continue with Clinic Psychologist Gülderen Kılıç. All Concerts and Events are Announced on Our Social Page, Instagram and Facebook. We are waiting for all music lovers. Join Thank you for submitting!

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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

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Share your questions and suggestions regarding qanun lessons with Nevin Şahin. In this section, you can find the contact information to convey your thoughts. Contact Kanoun Nevin Atakoy Ispirtohane Cultural Center Bakirkoy/Istanbul, Turkey +9 0532 477 63 33 nevsahin69@gmail.com Submit Thanks for submitting!

Instrumental qanun lessons are an educational process aimed at teaching participants the techniques and playing skills of an important instrument in traditional Turkish music. Lessons Our basic goal is for everyone to be able to play their own instrument and become self-sufficient after a certain period of time. We include pieces you love in our lesson content. In this way, you learn to play pieces you love in a short time. In addition, since your motivation is constantly high, your bond with your instrument is strengthened and your desire to learn increases. After a certain point, we need to be able to play the piece we want to play on our instrument more or less. For this, a correct technique and sufficient knowledge of notes are required. Learning and Playing, Playing and Learning! Instrument Qanun There are many benefits to studying music, and these benefits are extremely important for both personal development and social skills. Here are some reasons why you should study music: 1. **Creativity Development**: Music education increases your creativity. You have the opportunity to create musical compositions or discover new melodies while playing instruments. 2. **Discipline and Patience**: Learning music requires regular practice. This process helps develop discipline and teaches patience to achieve goals. 3. **Emotional Expression**: Music is a powerful way to express emotions. It enriches your emotional world both while performing and listening. 4. **Brain Functions**: Research shows that music education improves analytical thinking skills. Engaging in music strengthens memory and supports mathematical thinking. 5. **Social Skills**: Taking part in group activities (for example, in an orchestra or choir) improves your social interactions and increases your skills in teamwork, communication, and collaboration with people. 6. **Cultural Awareness**: Learning different types of music helps you become familiar with various cultures and deepens your understanding of cultural differences. 7. **Self-Confidence Boost**: Learning to play an instrument or performing on stage boosts your self-confidence; you strengthen your belief in your own abilities. 8. **Lifelong Learning**: Music is a constantly evolving art form; therefore, the process of receiving music education is a lifelong learning experience. In conclusion, studying music is more than just being involved in the arts; it is a multifaceted experience that supports your personal development and has many positive effects that will add value to your life. -NOTE- GENERAL MUSIC INFORMATION - KANOUN DEVELOPMENT -EXERCISES -THEORETICAL -ACORT ISSUE - VARIOUS EXPRESSION TECHNIQUES IN THE KANOUN (Arpeggio and chord techniques) -TRANSPOSITION - EXAMPLES FROM WESTERN MUSIC -ARPEGIO AND CHOIR TECHNIQUES History of the Kanoun Course Notes Playing Techniques Kanoun Making

Qanun is the knowledge of the construction and formation of the instrument, as a musical instrument produced through handicrafts or industrial production.. Kanoun Making kanoun Structure The structure of the kanoun is almost the same as the instruments called “zither” or “cimbal” used in Western music. Kanouns have two structures with 24 or 25 voices. The sound field of 24 voices; from rough yegah (RE) to treble beginner (FA), and from those with 25 voices, from rough yegah to treble neck (SOL). At the top are musicians who use 26 or 27 voice kanouns to add a Treble Muhayyer (LA) or Treble busel (SI). The skeleton of the kanoun is made of lime wood, a soft tree. Skeleton flat corners are also called a dovetail. The chest is made as a mahogany coating on plane or fir, the back on solid walnut or linden plywood. A gusset made of lime wood is glued and screwed to the wide-angle corner where the upper edge and the pegs and auger board meet. Attaching of Wires in Kanoun The slider covering the part where the wires are attached is removed on the right side of the kanoun. A knot is thrown in such a way that it cannot be opened to the end of the wire to be attached. It is inserted into the hole belonging to that wire in the slot on the right side. When the end of the wire comes out from the upper right edge of the kanoun, the knot is pulled into the socket. Then the wire is placed in the notch of that wire on the bridge. After the end of the wire is inserted into the hole of the auger, 1 cm part is bent in the direction of the lower end of the auger and held. The wire is wound on this curled part. Then it is placed in the auger hole. Kanoun Making The production stages of the kanoun instrument and the selection of wood material used in its construction People have chosen music as a tool to tell what is happening around it, to express themselves. They also called these instruments they used to express music. The biggest reasons for the instruments called this instrument to be made of wood are that wood is abundant in nature, sensitive to sound communication, and easy to process. The physical properties of wood material such as weight, hardness, degree of humidity and acoustics should be taken into account in making the Kanoun. Trees should be dried naturally up to 5-7% humidity. Appearance properties of wood, such as color and pattern, are also important. Attention should also be paid to the growing areas and growing conditions of the trees to be used in making the kanoun. It is possible to apply 3 types of varnish, namely shellac varnish, cellulosic varnish varnish and polyester varnish. Kanoun Repair - Repair and maintenance of damage to the main body - Latch change - Threshold repair and maintenance - Twirl change - Wire change - Varnish and polishing maintenance İleri