Göksel Baktagir’s Kanun Performance Techniques: The Instrumental Composition ‘Dalgalar’ as a Case Study

This study examines Göksel Baktagir’s performance techniques through the lens of Dalgalar, focusing particularly on the performance practices he developed and utilized and the notational representations of these techniques. The research employed document analysis and interview methods to gather relevant data. Within this framework, two versions of the composition's score were accessed—one published in 1997 and another handwritten by the composer himself—and two video recordings in which the composer performs the piece and the commercial album version where the work is featured. To identify performance techniques not indicated in the score, an interview was conducted with Göksel Baktagir. This interview also provided insights into the compositional process behind Dalgalar and the performance techniques used throughout the piece. The findings revealed that in the The Free Rhythmical Section for Kanun section of the composition, the techniques of arpeggio, fingernail glissando, and pull-off plectrum (çektirme mızrap) were employed. In the Müsemmen section, the analysis identified the use of arpeggio, fingernail glissando, plectrum glissando, right-hand tremolo, octave playing, double stops (çift ses), lever change, pull-off plectrum, rhythmic bass stroke, and palm muting (string muting with the left hand). Also, it was determined that the asymmetric performance technique was used in the piece. It was found that Baktagir developed specific notation symbols to represent techniques such as fingernail glissando, plectrum glissando, octave, palm muting, çektirme mızrap, and rhythmic bass stroke. Notably, the rhythmic bass stroke technique was identified as a performance technique developed by Baktagir.