RRAASSTT MMÜÜZZİİKKOOLLOOJJİİ DDEERRGGİİSSİİ UUlluussllaarraarraassıı MMüüzziikkoolloojjii DDeerrggiissii wwwwww..rraassttmmdd..ccoomm MMIISSIIRRLLII AAHHMMEETT:: TTHHEE CCLLAAYY DDAARRBBUUKKAA TTEECCHHNNIIQQUUEE AANNDD IITTSS PPEERRFFOORRMMAANNCCEE AANNAALLYYSSIISS EEssrraaKKaarraaooll1 NNiillggüünn DDooğğrruussöözz2 ABSTRACT AAlltthhoouugghh iittss rroooottss aarree sseeeenn iinn aanncciieenntt ttiimmeess aanndd ddeessppiittee tthhee ffaacctt tthhaatt iitt plays a huge rroollee iinn tthhee hhiissttoorriiccaall ddeevveellooppmmeennttss ooff TTuurrkkiisshh aanndd wwoorrlldd mmuussiicc,, tthhee ddaarrbbuukkaa aanndd iittss ppeerrffoorrmmaannccee hhaavvee nnoott bbeeeenn eexxtteennssiivveellyy ttaakkeenn uunnddeerr mmuussiiccoollooggiiccaall ssttuuddiieess.. TThhiiss aarrttiiccllee iiss aabboouutt tthhee ppeerrffoorrmmaannccee aannaallyyssiiss ooff tthhee ddaarrbbuukkaa tteecchhnniiqquueess ddeevveellooppeedd bbyy Misirli Ahmet and ssttuuddiieedd uunnddeerr tthhee lliigghhtt ooff tthhee ffaacctt tthhaatt tthhee eexxiissttiinngg mmuussiiccaall ddiissccoouurrssee hhaass bbeeeenn ttrraannssffeerrrreedd ffrroommtteeaacchheerrttoossttuuddeenntttthhrroouugghhaaggeessoorraallllyy..PPaarraalllleellttootthheeccuullttuurraallcchhaannggeess,,tthheeaaddvvaanncceemmeenntt ooff cciivviilliizzaattiioonnss tthhrroouugghhoouutt tthhee ccoouurrssee ooff hhiissttoorryy,, the emergence of the instrument has shown ddiiffffeerreenncceess.. TThheerreeffoorree tthhee mmaatteerriiaall ooff tthhee ccllaayy ddaarrbbuukkaa hhaass bbeeeenn tthhee mmoosstt iimmppoorrttaanntt ffaaccttoorr aaffffeeccttiinngg tthhee ddiiffffeerreenntt tteecchhnniiqquueess ooff ppllaayyiinngg tthhee iinnssttrruummeenntt.. TThhee rreeaassoonn wwhhyy wwee emphasize on the performance annaallyyssiiss iiss tthhaatt iitt iiss ooff ffuunnddaammeennttaall iimmppoorrttaannccee ttoo mmaakkee oobbsseerrvvaattiioonnssaannddddeecciipphheerriittsscchhaarraacctteerriissttiiccsswwiitthhiinntthheeddiisscciipplliinneeooffmmuussiiccaalltthheeoorryy.. Keywords:: MMııssıırrllıı ((EEggyyppttiiaann)) AAhhmmeett,, ccllaayy ddaarrbbuukkaa,splitfingertechnique. MMIISSIIRRLLII AAHHMMEETT:: TTOOPPRRAAKK DDAARRBBUUKKAA TTEEKKNNİİĞĞİİ VVE İİCCRRAA AANNAALLİİZZİİ ÖZET KKöökklleerrii aannttiikk ççaağğllaarraa kkaaddaarr ddaayyaannddıırrııllmmaassıınnaa,, ggüünnüümmüüzzee kkaaddaarr TTüürrkk vvee dünya mmüüzziikklleerriinniinn ttaarriihhsseell ssüürreecciinnddee öönneemmllii rolü olmasına rağmen, darbuka ve icrası müzikoloji çalışmalarında kapsamlı ele aallıınnmmaammıışşttıırr.. MMüüzikal tekniğin ustadan çırağa sözlü aakkttaarrıımm vvee ggöörrsseell ööğğrreenniimm ggeelleenneeğğii iillee iilleettiillmmiişş oolldduuğğuu tteessppiitt eeddiillmmiişşttiirr.. TToopprraakk ddaarrbbuukkaa ççaallggııssıı üüzzeerriinnddee şşeekkiilllleenneenn,, ddaarrbbuukkaa iiccrraaccııssıı MMııssıırrllıı AAhhmmeett’’iinn ggeelliişşttiirrddiiğğii tteekknniiğğiinn iiccrraa 1 Yardımcı Doçent Doktor, Istanbul Üniversitesi Deevvlet Konservatuarı, Mirgün Köşkü-Emirgan & Türkiye, [email protected] 2ProfesörDoktor,IstanbulTeknikÜniversitesi,TMDDKK--Maçka&Türkiye,[email protected] 50 Mısırlı Ahmet: The Clay Darbuka Technique and Its Performance Analysis bağlamında analiz edildiği kısımlar vurgulanmaktadır. Tarihsel süreç içerisindeki kültürel değişimler ve uygarlıkların gelişmesine paralel olarak, çalgının ortaya çıkış süreci değişim göstermiştir. Materyali, icra tekniğinin değişimine etki eden en önemli faktör olmuştur. İcra analizine vurgu yapılmasının sebebi, toprak darbuka ile Mısırlı Ahmet tekniği arasındaki bağın önemi ile icra yapısıdır. Müzik teorisi disiplini düzleminde inceleme ve değerlendirme yapılması çalışmanın temel amaçları arasındadır. Çalışmanın belirleyici öğelerinden biri, darbuka icracısı olarak tekniği dünyada “split- finger technique” olarak bilinen, darbuka çalgısının icrasında yepyeni bir sayfa açan tekniğin analitik olarak incelenmesidir. Tekniğe dair hareketleri belirlemeye hizmet eden sembolik işaretlerle, standart tespit oluşturulması hedeflenmiştir. İncelenen metodik yaklaşımlarda herhangi modern notalama sistemine göre oluşturulmuş kapsamlı notasyona rastlanmadığından, tekniğe özgü vuruş ve hareketlerin oluşturduğu ritmik motiflerin notaya alınmasında tanımlayıcı ifadeler kullanılarak, teknik çerçevesinde çalgının nasıl icra edildiğini tanımlayan özel işaretlere başvurulmuştur. Çalgıya dair vuruşlardan türemiş ritimler yaygın geleneksel gösterimlerinden faydalanılarak, Mısırlı Ahmet tekniğinin etkileri ile birlikte analiz edilmiştir. Anahtar Kelimeler: Mısırlı Ahmet, toprak darbuka, Mısırlı Ahmet tekniği (split finger technique). INTRODUCTION It is considered that the oldest examples of instruments date from 4000 BC from Mesopotamia. “After humanity first discovered music through the voice, the rhythm was incorporated with the help of the first example of the drum, made of wood and with skins attached to the both ends of its round shaped edges (Dinçol, 1999: passim).” It is seen that these instruments have largely been made of clay in different cultures. Especially besides Asia Minor and Near Asia, clay is known to be used by the Central and South America, Africa and Australia. Percussion instruments are known to form an important part of the most ancient instruments. As with almost all instruments belonging to the family of percussion from past to present, the drums seen in Anatolia (until around 1100 BC in the Babel civilization), Central Asia and North Africa are considered to be precursors to darbuka. Roman (Gypsy) musicians are largely responsible as a force in the spread of this instrument inthe Middle East andEast Europe.Inancient times we canalsoseewide drums and other forms of drums that could be forefathers of the goblet shaped drums. In ancient inscriptionsgobletshapeddrumscanalsobeseeninfigures.“Adrumwithamonolithicskin found in central Europe in the late Neolithic and early Bronze ages, within the context of modern drums seems to bear a striking resemblance to the Egyptian tabla which is played with hands and has gained popularity in North Africa, Middle East, Turkey, Andalucía and Balkans under different names (Aiano, 2006: 96-105).” Darbuka is considered to be a restructured Hittite instrument though certainly used much before Hittites as well. Also, Assyrianarcheologicalremainsalsoshowthatthisinstrumentcanbedatedbackto1700BC. Finally it should not be overlooked that since these artifacts are only remnants without any writing document value and that these should only be seen as wordless pieces of evidence. “While different nomenclatures have been applied to this instrument in different countries, the most common used terms are dümbek, darbuka and tabla. But the word tabla used here 51 Karaol, E.& Doğrusöz, N. Rast Musicology Journal Volume II, Issue 1 (2014), s.50-67 must not be confused with the vessel drum of India (Hall, 2006:36).” Darbuka is an instrument used in theatric and classical music’s of some Middle East countries and also being extensively used in these countries’ popular music whereas it is most associated with bellydancing. “Despite the fact that darbuka actually can reproduce all the time cycles, their variants, all forms of their melismas and many other things which the Ottoman-Turkish classical music writers have put intoaccount,somehow this instrument is ignored inrelation to kudüm, whereas it far surpasses it with its tonality and other possibilities and has largely been considered as being lowly, as an instrument appealing to popular music of the undistinguishablemasses.”(Behar,2008:104)Darbukahaslargelybeennamedasdümbelek in the Turkish history and was not considered any further than a simple folk instrument due to its fragile body and tuning problems. Although it took a more mature standard shape in passing ages, it still was not used in Turkish classical music due to its sharp sound, over embellishedplayingmethods and longresonations. Darbuka has onlystartedgaininga place in Turkish music with the onset of 20th century but due to reasons we have given it founda more solidplace withinTurkishfolkmusic.Inthe late19thandearly20thcenturies darbuka was also given space in some western classical music pieces. For example, one of the first pieces of music that the goblet shaped drums were being used was Hector Berlioz’ The Trojans (1869) where darbuka was played in the part of the Nubian Slaves’ Dance. “DarbukahasbeenaverypopularinstrumentinIstanbul’spopularcitymusicsince1930s.In Turkish classical music it was also used until the end of 16th century (Özalp, 2000: 161).” Theinstrument was first widelyintroducedtothe professional musicians’ circleswithHasan Tahsin Parsadan (1900-1954) in the republic period. The clay darbuka form has initially been used in Arabic countries but with musical interactions it has also started gaining popularityamongTurkishmusicianssince1980s. At first it was not met with much enthusiasm as it was almost impossible to play it with the resident technique of playing the copper Turkish darbuka. But after Misirli Ahmet has discovered his new playing technique which was a perfect fit for this instrument andasheelevatedituptoworldwidelevelwithimpeccablevirtuosityhavinghisnameheard internationally besides Egypt and Turkey, the instrument regained popularity and actually sidelined the copper darbuka. Darbuka actually has gained importance with the rise of the ethnic music’s especially since the 90s and with the spreading of Misirli Ahmet’s technique, the Egyptian clay darbukas came to be indemandinTurkey. Thistechniqueisverydifferentthanthe“fiske”techniquethatwasbeingusedbefore because the curvy rim of the clay darbuka (known as tabla in Arabic countries which also is the name given generally to drums and also as dümbek) is radically different than the copper darbukas but with Misirli Ahmet’s technique its practice has been accepted and popularized. We have previously stated that despite the fact that this technique has such an indelible effect over the darbuka instrument and its practitioners, there has not been any extensive research on this issue before. This is mostly because this instrument has been overlooked and looked down upon by the academic music circles and also by a part of the public despite the fact that it has been for many ages all along. With this study, the darbuka instrument and issues concerning its practice have been aimed to be opened to academical discussions. In this research, practical and theoretical musicology, sociological and anthropological music theory and field research methods have been applied in order to 52 Mısırlı Ahmet: The Clay Darbuka Technique and Its Performance Analysis form the conceptual structure of the study in conjunction with the integrative aspects of differentdisciplines. METHODOLOGY(PRACTICAL ANDTHEORETICAL) Fieldwork+participant observation (anthropology): These are made up of an arrangement of ethnographical texts which have been derived from the data emanated from the visual and aural recordings done in various fields of research. The analyzed subject which is the main instrument that Mısırlı Ahmet's technique has been developed, the "clay darbuka", has been studied under the tutelage of Mısırlı Ahmet himself, therefore the research has been done with the “learning by doing” methodology. Musical analysis=descriptive notation+performance characteristics (music theory): As there are no comprehensive notation system within today's readily available methodic approaches that would match the needs of Mısırlı Ahmet's technique, it has been indispensable to come up with new special symbols in order to express the different strokes of the finger. The movementsandstrokesconnectedspecificallywiththisinstrument,itsperformingproperties and the rhythms that were derived have all been analyzed both under traditional and Mısırlı Ahmet'sstyles. Qualitative research (sociology and anthropology): As the purpose of qualitativeresearchistounderstandandestablishthetrueresultsofthestudyastheyexactly are, the applicability of the notes and symbols which were devised in order to understand and enunciate the stroke properties of the technique have been tested within the performance analysis. Comprehension: Conceptual structure that includes inductive hypothesizesintheelementofintegratedfactorsofvariousfields. THE BRIEFHISTORYOFDARBUKA Itisstillobservedinmanydifferentculturesthatsomedrumsaremadeofclaybased materials. Especially in Asia Minor and Anatolia, as well as Central and South America, Africa and Australia continents, clay is known to be used in the construction of percussioninstruments.Inthis context,the oldest knownfamilyof instrumentsispercussion instruments. It is seen that in the Dionysian tragedy plays, various forms of drums, such as dümbelek and tambourines have been used in the Sardes province of Manisa and we understand that these are instruments of Anatolian origin. Dionysus himself has taught the Indians how to celebrate the deities by playing cymbals and dümbelek. According to the information obtained from different sources, the term we use in today’s Turkish "malak gibi yatıyor" (to lie like a malak) actually is a transfigured version of the expression "balak gibi yatıyor". Balak was a huge drum of gargantuan size, almost impossible to move from its stand, used way back in the Sumerian civilization, utilized in temples for various religious ceremonies. The word “Du-Bala” has transformed into "dümbelek" today. Therefore drum and dümbelek are instruments of Asian traditional origins. (Formerly, in ancient times, Anatolia was simplyreferred as “Asia” but in time as the rest of Asis came to bebetterknown,Anatoliawashenceforthnamedas"LittleAsia"(AsiaMinor). TheprehistoricwidedrumsandsomeotherMesopotamianrootedgobletshaped-like prototypical drums were drawn as goblet shaped drums in ancient inscriptions. Darbuka’s root is based on antiquity. In Bohemia (old Czechoslovakia region) two large size clay- based goblet shaped drums were discovered and one of the most interesting things about 53 Karaol, E.& Doğrusöz, N. Rast Musicology Journal Volume II, Issue 1 (2014), s.50-67 them was how the skins were attached to the drum heads. The skin was attached by ropes, hookedandaffixedoverprotrusionsofclayorthedrumheadwastiedtothebodywithropes or was fused with the body. "Even today, a similar technique can be seen in Africa and elsewhere on the percussions made of wood (Hall, 2006: 32).” Essentially, darbuka is a member of the goblet shaped family of drums from Northern Africa which some other widelyknownpercussioninstruments suchasdunun(commonlynamedas thetalkingdrum) and djembe also belong to. When these instruments crossed the Sahara over to the Mediterranean coast of North Africa and reached the countries of Morocco, Tunisia, Libya and Algeria (the group of countries commonlycalledas the Maghreb) their goblet shape has turned into the vase shape. Although their body figure and the overall height (variable from 14 to 46 cm.) is quite diverse, they all feature a hollow body clay based goblet shape. This little model was generalized by the Arabs. While these drums are now extinct in Western Europe,theyarethemaindrumoftheIslamicworldtoday. Today’s modern darbuka of North Africa and the Near East, from Morocco to Iran, even as far north as Bulgaria, is made of metal or clay. Ceramic goblet shaped drums are extremely popular in Middle East and North Africa. For example, the small size ceramic darbukas of Tunisia named the “fındık (walnut) darbuka” are cooked at a high temperature givingwaytoaharderendproduct,withacamelskinattachedandis3to5cm.smallerthan the "solo darbuka”. Goblet-shaped drums are also seen outside of the Middle East but rather than clay these are usually made of wood or metal. With varying conditions of natural ingredients, the playing techniques of these instruments have also changed. Social status, historical and cross-cultural use, different multicultural pluralistic perspectives and characters and the fact that these interactions cover a wide range of time period makes it difficult todrawa cultural map.Whenconcentratingonrhythmical structure whichis oneof thebasicelementsofmusic,asstylesofperformanceonthisinstrumentdifferfrommusician to musician,we should perceive these differences inattitude as stylistic richness’s insteadof producingstrictpatternsofunderstanding. Darbuka is the modern Turkish equivalent of the word “darbuka” used in Arabic-speaking countries. It is thought to be coming from the word “darb” which means “to hit” in the old Ottoman-Turkish and it is considered as a foreign word despite its use in the modern day Egyptian Arabic and it does not appear to be a very old word in Arabic language. It also seems to be also more likely to be derived from the Arabic word “darba”. "This 'pounding' actionof the fingers ontheskin maycome fromthe Arabic 'darba' which means “repeated blows” (Thomas, 2009: 48).” "It has been named as dünbek, dümbelek, dönbet, tömbelek, deblek, deplek in various sources and also with such names as darbeki and debulak by the Azeri Turks Figure1:Dümbelek(Turkey) (Özalp,2000: 161).” According to Farmer, such modern words like dümbek and (ku)dümbelek remind us “dunbalak” which also comes in the form of some percussive like the metal bodied davul, timbale, kös (kettle drum) in the famous diaries of Evliya Çelebi (17th 54 Mısırlı Ahmet: The Clay Darbuka Technique and Its Performance Analysis century) and Evliya Çelebi has specifically mentioned clay pot dümbelek (timbale). It has been first written by him that earthenware style of percussion making had been done in Egypt. “Clay pot dümbelek has been invented in Egypt and the “Mahmil” guards of the pilgrimage convoys playitas theyare progressingtowardsMecca.Turks callit asdumbelek along with another type of nakkare (Farmer, 1999: 16-7).” Although copper based darbukas are widely being used by the musicians in Istanbul, the dümbelek which can be observed in figure 1 is still widely seen in the rest of Turkey, mainly except Eastern Black Sea, and it is beingmanufacturedbymanylocalartisansalloverTurkey,especiallyincentralAnatolia. Dimensions of ClayDarbukas The family of clay darbukas can be observed under three main categories named as “solo”, “sumbati” and “dehollo” from the smallest size to biggest. Today personally preferredsizescansurelybe orderedbutthe dimensions ofthreemainforms of darbukas are stated below. The smallest one, solo clay darbuka’s height is around 44-45 cm. from the tail to the neckwith a rimdiameter of 29-30 cm. and skin diameter of 22-23 cm. The mid range bass darbuka is called the sumbati and its height is 52-53 cm. with rim diameter of 35 cm. and skin diameter of 24-26 cm. The bigsize bass darbuka, the dehollo has a height of 57-58 cm. Its rim diameter is 38-40 cm. and skin diameter of 27-29 cm. Figure 2 and 3 showcase thesedimensionsinorder. Figure4:Tuninglamp Figure2:Threesizesofclaydarbukas(Egypt) Solo Sumbati Dehollo Height 44- 52-53 57-58 45 Rimdiameter 29- 3 38-40 30 5 Skindiameter 22- 24-26 27-29 Figure3:Dimensionsof2t3hreeclaydarbukasizes Figure5:MisirliAhmetandclay darbuka 55 Karaol, E.& Doğrusöz, N. Rast Musicology Journal Volume II, Issue 1 (2014), s.50-67 Clay darbukas are formed when four basic elements of earth, water, fire and air are combinedsuccessfully.Theearthiskneadedwithwater,andthentheshapedbodyisdriedin the air and heated under fire. Natural skin (goat etc.) is used and explained previously, it is tied tightly over the rim. In humid air as the skin lets itself down the darbuka gives a lower register of sound and in dry air, the exact opposite. Tuning of the clay darbuka is very different compared with metal bodied darbukas and is being done either with a tuning lamp or the sun itself. The changes in tuning due to facts like changes of temperature in weather and humidity is a problem and the lamps developed by the Egyptian clay darbuka manufacturer’s attempts tosolve this problem.As seeninfigure 4,thisapparatusis made up of a tripodholdingup a socket holder withthe lamp on top.When the lamp of the apparatus isturnedontheheatgeneratedbyitdriesthehumidityinsideandthislowheatalsohelpsthe skin to stretch to higher tones. Loweringthe light inside with a controller unit or completely switchingitoffwillbringbackalowerregister.Surelyaveryhighpoweredmaydamagethe skin therefore a 45 watt lamp is usually recommended. The earthenware nature of the clay darbuka andits natural skindefinitelymakes it give a more natural soundandtonality.Also, the fact that even the body of the darbuka excluding the skin care can offer different tonalitiesprovidesaverywiderangeoftones. THE MISIRLI AHMET TECHNIQUE ONCLAYDARBUKA TheflexibleapproachtakeninthelearningprocessofMisirliAhmet’stechniqueand the pieces of music which are added occasionally resulting from improvisation act as a parallel and result in adding further richness of free expression. In order to objectify the study, style and phrasing differences of performance have been overlooked and envisaged logically.MisirliAhmet’stechniqueisavehicleoftransformationinabroadsenseaswellas being a school of interpretation because the expression of the artistic creativity is the essentialfactorindeterminingtheimmaculatenessofthetechnique’susage.Thefactthatthe existent technique originally does not need a particular system may be understood as totally alien to learning and transference disciplines, it is quite important even only to construct a baseandcarryittoatexturalplane.MisirliAhmet(seeninfigure5)commitshismusiconly to memoryand teaches the student inthe same way, therefore our effort here should onlybe seenasasymbolictransference. Inthis study,theMisirli Ahmet technique has beensymbolizedwithvarioussigns in order to visualize the special strokes and figures in clay darbuka performance. Truly deserving a solid analysis, Misirli Ahmet’s technique which he conceptualized single handedly with a qualitative free will, surpasses the already evident Turkish and Arabic playing styles and has been analyzed technically here for the first time. This study is also aimedasanacademicapprovaloftheMisirliAhmettechniquewhichhassurpassedtheolder styles standingas the sole alternative tothemopeningupa brandnewage inTurkeyandthe worldwithitsexperimentalapproach.Thismethodemploystheindexandringfingersofthe left hand(ifthe useisright handed.Reverseispossible forlefthandedplayers) and can be considered as a school in itself as it has greatlyenhanced thevocabularyofexpression by incorporating both the fingers and the wrist of the hands giving way to previously unthinkable speeds in performance. Misirli Ahmet developed this technique thinking that an instrument would never capture freedom if it keeps playing already know memorized patterns. The nub of this technique is the fact that these two fingers facilitate various 56 Mısırlı Ahmet: The Clay Darbuka Technique and Its Performance Analysis melismas.As thetechniquefeaturesthesplittingof thefingers whenplayingithas knownto become as “the split finger technique” in other parts of the world. Today a huge part of the clay darbuka players use Misirli Ahmet’s technique. This technique has vastly enriched the expression range to the basic sounds of “düm” and “tek” maintainingan impressive position to the performer. Düm sound is maintained by hitting the very middle of the skin with the palm and tek is produced by a single finger stroke over the rim at the top of the skin. The first mentioned sound provides the base and is played by striking the middle. The second sound(s) is/are usually used for embellishments. The index and ring fingers have a key role inthistechniquewhichMisirliAhmet’sbeencontinuouslytryingtogivemoredepth. The opposite movements of the fingers maintain a harmonic balance which gives way to formingthe rhythms themselves. In order to explore new sounds Misirli Ahmet uses various hand and finger movements and frequency cutting techniques. Especially, as a darbuka player his use of handandfinger movements independent of one another is veryimpressive. As sometimes the movements of the fingers resemble a butterfly flapping its wings, this technique also is named as the butterfly technique mostly by the Roman (Gypsy) musicians. The aspects which must be evident in writing down music are creating specific signs and maintaining a relationshipand consistency between them. If there has not been any need for some signs that would indicate unique tothe technique, it doesn’t mean that theywill not be of use anymore neither it is expected of them to be perfect. The aim here is not to interfere withthe establishededucation style of this instrument in its improvisational context but is to set a standard determination in the beginning. But while stressing that the interpretation would never be standardized, it should be objectified over the compositions without narrowing freedom of expression. “One of the fundamental duties of the science of music is tofindout andtellwhatdothenotesmeanwithinthetime frame theywerewrittenandhave them transferred into understandable symbols. Naturally the science of music serves the performingand applying musicianinthis way.Performinga musical piece andacademic researcharetwoaspectsofthesamesearch.”(Barzun,1992:8) DISPLAYS OFSTROKES The beats and strokes on the clay darbuka along with the rhythms developed according to the Mısırlı Ahmet technique have been analyzed both by traditional methods of playing and affects of Mısırlı Ahmet's way of playing. For showing the strokes, a two lined percussion stave has been preferred. The notations are done for the right-handed performer (displays must be perfectly reciprocated for the left-handed player). For the strokes done by the right hand, the branches of the notes have been shown downwards and around the lower line; for the strokes done by the left hand, the notes' branches have been shown upwards, around the upper line. The symbols L and R are used to indicate which hands do the movements (again, from a right-handed perspective. Must be reciprocated for the left-handed person). Some classical western notation symbols (as in glissando), some embellishment notations and some other symbols used in other percussion instruments' notations (like "slap") have all been incorporated for a better quality of display. When some other variants of a major stroke are in question, these have been notated with abbreviations (like D1, D2 etc. for variants of the "düm" sound). Movements and strokes that belong only to the Mısırlı Ahmet technique have been shown with some appropriate letters, numerical symbols and abbreviations for an easier understanding. Letters symbolizing strokes over the 57 Karaol, E.& Doğrusöz, N. Rast Musicology Journal Volume II, Issue 1 (2014), s.50-67 notes(e.g."T"letterforthe"tek" stroke),symbols forhowthesoundmust be produced(e.g. a "+" if the stroke is of closed) and/or numbers for whichfingers must be usedhave all been used. The“Düm”Strokes In learning to play darbuka initially and also listening to it in the very first time the most striking sound happens to be the bass sound named as “düm” (the “ü” sound, “u” with an umlaut, is one of the letters of modern Turkish alphabet and its sound is pronounced like the word “über” in German). It has been shown at the below scale and with its tail looking downsinceitsymbolizesabasssound.It’splayedonthedarbukawiththerighthand’spalm with all fingers firmly closed with each other. It’s shown with capital D and stated with an (O) (open) to indicate the desired sound toreverberate.Other than this standardized version, other düm’s discovered by Misirli Ahmet have been shown with (+) (close) symbol. As examples, such moves like onlyright hand beingopenleft and right hands separatelyclosed andbothhandsclosedtogetherhavebeenshowninfigure6. Figure6:Düms Figure8:Meowtek The“Tek”Strokes Second striking fundamental sound after düm is the sharp “tek”, produced by finger strokes and represented on the upper scale with their tails looking upwards. On the right hand tek stroke, one should strike over such that the middle finger (3) comes over the rim wheretheskinmeets the edge.Onthis move actuallyallthreefingers (index(2),middle (3), ring(4) of the right hand touches the instrument. Misirli Ahmet’s tekstrikes are shown with a T, done with the index and ring fingers. These are used especially to do trills (also named as“trr”inMisirliAhmet’sjargon).Figure7showssixdifferentvariationsoftekstrokeswith righthands2nd,3rdand4thfingersandlefthand’sindexandringfingers. Figure7:Teks Figure9:Slap Other than these, Misirli Ahmet produces a glissando sound which is produced bystrikingtheverymeetingpointoftherimandskinwiththemiddlefingerofthe right hand and just gliding the finger without intervening. This sound, when the move is 58 Mısırlı Ahmet: The Clay Darbuka Technique and Its Performance Analysis doneproperly,producesaneffectratherlikeacat’scryof“meow”,hencenamedas“miyav” (meow),symbolizedinfigure8. TheSlapStroke This move has been stated just over the below line in order to differentiate from düm.It’splayedwiththepalmoftherighthandwithclosedfingersgivingthethumbaslight curve hitting the skin as if slapping it. It’s represented with capital (S) and the X symbol, showninfigure9. The“Cutting”Stroke Thishasbeenshownonthemiddleofthebelowanddownlinesandit’sproducedby usingbothhands.Thisisdonetoinstantlycutthefrequencydonebythelefthand’stek,with the sudden intervention of the right hand. Represented with small (k) andsymbolized with(-),thismoveisshowninfigure10. Figure10:Cutting Figure11:Kik Figure12a:Sweeping Figure12b:Sweeping The“Kik”Stroke This is a very sharp sound produced by a sudden and hard hit right over the rim of theinstrumentdoneataroughly45degreeangleinthistechnique.Thishasbeenrepresented withcapital(K)andshownwithadashovertheabovelineatfigure11. The“Sweeping”Movement Rather than being a stroke, this actually is an effect sound produced by either sweeping the tips or the nails of the fingers over the skin. To represent this we have chosen 59