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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!

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.

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

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!

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In this section, you can find informative articles about the origins, development, and significance of the qanun in the world of music as presented by Nevin Şahin. Gain detailed insights into the rich history and cultural importance of the instrument. Kanoun History Historical Development of Kanoun The kanoun was invented by Farabi (870-950), a Turkish scholar. According to some records, it has been suggested that Farabi made various changes on the kanoun. However, according to an ancient Arab narration, other than some historical documents that show that it was used by Egyptians and Sumerians in ancient times, the kanoun is said to have been invented by Ibn-i Hallegan and that this knowledge was from the Horasan Bermek family and Mosul was born in Irbil, a city with Turks. (13th century) According to one legend, the bird that died on a tree is said to have the kanoun inspired by the sounds of the dried intestines hanging down from the branches of the tree under the influence of the wind. In his Evliya Çelebi Seyahatname, he writes that the kanoun was invented by one of the famous masters Ali Şah, and that Revanlı Mirza Haydar Bey and Cağalzade Mustafa Bey knew about the kanoun. Albert Lavignac, Encyclopedi de la Musique et Dictionnarie du Conservatorie (Encyclopedia of Music and Encyclopedia of Music) also claims that the kanoun is an Arabic instrument. Clement Huart describes the kanoun as a smaller and invested warfare than the Australians zither and the Hungarian simbalum. It is generally accepted that the instrument named Çeng was found and developed together with the kanoun. Although its name is Greek canon (single-stringed instrument), the kanoun was brought to Anatolia after the Turks migrated from Central Asia to Anatolia after being invented in Asia. The fact that the name of the kanoun was given to this instrument also reminds me of the possibility that it was related to the kanouns of Acoustique. According to Kurt & Ursula Reinhard (1968), in the early ages of Islam, the kanoun was used for a pedagogical purpose to demonstrate the system of sounds. The Greek-origin canon, namely the rule, the name of the kanoun comes from here. The reason for the interest in the Near East lies in this function. Ahmedoğlu Şükrullah, who was a Turkish scholar who lived in the 15th century, is the IV. In his book dedicated to Isa Çelebi, one of the princes of the Ottoman Sultan Yıldırım Bayezid, there is extensive information about the instruments of the ancient Turks named “Çalav”. In this book, Ahmetoğlu Şükrüllah has been examined in two groups as their instruments of playing and playing, as well as musical instruments and incomplete instruments. According to the information about the kanoun, which he reported is from missing instruments, it is understood that the kanoun at that time was not different from today's kanoun in terms of shape and dimensions and beam (string) arrangement. Since it does not mention the leather part in its kanoun, we can think that it was added to the kanoun later in this part like the latch assembly. (This information belongs to the 12th and 13th centuries.) In a chapter describing the kanoun in Rauf Yekta's book called Turkish Music: “First of all, there was no cure for those who performed this instrument to apply other than a finger strike on the wire they wanted to raise the pitch of the sound, and to find a solution to the difficulty of this operation. Thirty years ago (the date of writing of the book, 1913), two or three metallic pieces (pegs) were thought to be placed under each wire; Thus, with these pegs, which are easily lifted and lowered, the desired pitch (pitch) is obtained treble or pest. Mahmut Ragıp Gazimihal says about the latch assembly: “The latch system for half-curtains was applied in Istanbul at the beginning of the century.” Today, 6 to 12 pegs can be seen for each triple wire. The kanoun was stolen by pressing the nail of the thumb of the left hand to the various parts of the wires and finding the curtains, as it was so difficult until the discovery of the above-mentioned latch assembly. Kanuni Hacı Arif Bey (1862-1911) is known as the biggest kanoun virtuoso of the time when the kanoun was stolen without a latch. Maragalı Abdülkadir (1350-1435) is the person who explained the technical features of the instruments used in the period of Islamic Music in the most proper way. Abdülkadir subjected the instruments to a scientific classification; He explained his production methods and technical features to his chords. The kanoun item was included in the "absolute" group and was introduced as follows; “His boat and chest are triangular, he doesn't have a handle, his strings are brass, and he is tuned three by three, that is, all three strings are pulled into the same sound, one octave is arranged so that eight bland sounds.” While Abdulkadir gave this information, he did not give the number of wires. As stated above, until the beginning of the 20th century, wires called beams made of intestines were used for the kanoun. These beams were completely abandoned and replaced by nylon wires, as the nylon wires were more durable and sound stronger, as well as abundant in various thicknesses. These wires have nothing to do with the fish lines we know and are used from pure nylon. Rauf Yekta, the great music scholar, wrote about the first quarter of our century: “As we have seen before, the kanoun was among the ancient instruments of the Turks; However, a time has come (throughout the 18th century) the kanoun was completely forgotten by the Turks. Here is the third brightest period of Turkish Music, III. During Selim's reign, there is no name that performs this instrument. II. Ömer Efendi, an Arab musician from Damascus during the reign of Sultan Mahmud (1818-1839), brought the kanoun to Istanbul and since then this instrument has found many amateur performers, including Turkish ladies in between. ” As Farmer (Henry George Farmer, Turkish Musical Instruments in the fifteenth Century) rightly objected, the view that the kanoun was forgotten or neglected in the 18th century is highly controversial. Because, as can be seen in the future, G. Scoitti's kanoun of the Turkish Girl, which he made in 1707-1786 and published a copy of Bonanni in 1723, and Toderini, who was in Istanbul between 1781 and 1786, also counted the kanoun among his chamber music instruments. Rauf refutes Yekta's views. Moreover, Toderini did not neglect to say that the kanoun was stolen by women in the palace; That is to say, the kanoun was not a market instrument at that time. Another 18th century writer Laborde counted the kanoun among the concert instruments. The kanouns of the instrument set by the Swiss painter JE Liotard in Istanbul and Izmir between 1738 and 1742 are a living document that shows that the instrument was used in the 18th century. Still, we cannot say that the kanoun is a common instrument, but this much is evident; Ömer Efendi has not brought the kanoun to Istanbul. He may have pioneered the spread and spread of this instrument. After Kanunî Ömer Efendi, Hacı Ârif Bey, who had the Kanun, had great services in the spread of this instrument. The path followed by Ferid Alnar is also interesting. The first real virtuoso in the instrument of kanoun are Ferid Moments. (1906-1978) was not yet seen at a very young age, he received great acclaim with his unusually virtuoso cravings and exhibited as a master kanoun artist before he was twenty. He also composed the first kanoun Concerto for string instruments and the kanoun in the 1950s. Vecihe Daryal, Nazım Bey, Âmâ Ali, Ahmet Yatman etc. were among the later kanoun enforcers. we can count other artists. Turkish music as a clear instrument of polyphonic works with close-up techniques, using all the fingers and harp, guitar technique, with a 3.5-octave wide sound field and a distinctive and harmonious voice amongst various instruments, suitable for expressing all kinds of emotions in a rich way. can be called the piano of. The kanoun is in the form of a trapezoid with a long curved edge. The purpose of this way is to adjust the length of the wires. Latches were added to this left side where the augers for tuning were placed. It is similar to a wooden box with a small thickness in terms of shape. The strands were stretched on the chest parallel to each other three and three. The length of the kanoun is 95-100 cm. 38-40 cm wide. and its thickness is 4-6 cm. between the right side is a right-angled trapezoid. Fir or spruce are generally used in the construction, plane trees, linden, hornbeam and beech trees are used as chest boards. On the right side, the wires pass over a bridge called the threshold and under this bridge is the skin that provides resonance. These leathers are also used in capricorn or fish skin. The load due to the tension of the wires is about 1 ton. In addition, it is the instrument that has the highest sound density among our plucked instruments. In the scales made in the laboratory environment, the middle octave sound intensity of "tanbur" is -6.66 dB, while the middle octave sound intensity of "ud" is -13.70 dB, while the middle octave sound intensity of "kanoun" is +2.21 dB. This shows that if we use these three instruments together in the performance of a piece, the sound of “ud” will be lost completely, “kanoun” will be heard more strongly than both instruments. One of the biggest problems of our music is the layout of our instruments. When placing the instruments, attention should be paid to the sound fields, and it is another important issue that the instruments are used in the layout according to their harmonic and melodic structures.