Hanendes and Sezendes say that there is a lack in the work and an incomplete sensation in the execution of works composed by using Nim Sofyan and Semai methods. It is known that there are doubts in the minds of musicians such as whether the method of the work whose method is mentioned at the beginning of the note to be Nim Sofyan is Düyek or Sofyan and would it be better for the work which has Semai method if it was written in Yürük Semai method.In almost all theory books, Nim Sofyan and Semai are defined as both düzüm and simple method and also mentioned that Nim Sofyan and Semai give rise to other methods So except these two, all other methods are combined methods. For example, it is written in these books that Turkish Aksagi is a method which is combination of both Nim Sofyan and Semai methods, on the otherside rhythm masters claim that Turkish Aksagi is a method in itself and they do not add any Nim Sofyan method to another Semai method while performing Turkish Aksagi method. In this case; düzüm, method, simple method and combined method concepts are mixed. The main purpose of this declaration is to examine düzüm and method concepts from a new point of view and to propose a solution about Nim Sofyan and Semai rhythms.
Rhythm, method, düzüm, Nim Sofyan, Semai
|Yazar :||volkan gidiş - Hanefi Özbek, Ayşe Başak Harmancı İlhan|