Techniques and Methodology of Masters and Experts in Learning and Teaching Saz-Baglama Playing and Ney "Ney" Instrument (Nây-ı Şerîf) Blowing-Playing

To become a master, one must approach music not merely as a hobby or pastime, but as an integral part of one's life. Instead of seeking out specific free time to play the instrument, one should view it as a vital part of life. When physical activity is impossible, one should develop a mental playing technique. Practice finger exercises whenever possible, even without an instrument, and engage the fingers, hands, and arms in practice. By constantly engaging with music in our minds and making it an inseparable part of our lives, we will find that our need for dedicated time will decrease, eliminating the problem of lack of time. And in this way, we will become true musicians (music lovers). Being so deeply immersed in music not only provides us with musical development, but also a significant cultural accumulation, richness of emotions and thoughts, and positive reflections of this on our attitudes and behaviors in social life, leading us towards becoming a good and mature person (insân-ı kâmil), a high-quality and righteous person (mürşid-i kâmil). Becoming a mature person begins with refusing to acquire. The "ney" (a type of flute) is a path, and "ney playing" is a journey, a way of life full of patience, gratitude, and contemplation. One out of a thousand reeds becomes a ney. The skilled ney player is humble and lives modestly. Being a good listener of folk songs and melodies is the most important requirement for becoming a good saz player. This systematic approach forms the basis of the techniques and methodologies used by masters and experts in learning and teaching saz playing. Constant listening and developing a good ear for music is crucial. Once this ear training has accumulated significantly, and you develop your saz playing skills accordingly, you will find yourself able to correctly reproduce many folk songs and melodies on your own. Of course, notation and studying from sheet music should also be practiced and accompanied by a systematic approach. In this way, you will see that you are both hitting the correct notes and developing a good saz playing method by feeling the regional style and technique. Playing and singing with feeling accelerates learning. If our voice isn't very suitable for singing songs and folk tunes, silently singing the lyrics while playing the instrument is an extremely beneficial practice. Reading literary works such as poetry and novels also contributes to playing the instrument and building musical knowledge. Being enthusiastic and playing the instrument with passion is also extremely important. As the great master poet Neşet Ertaş said, playing "with love"; "He who plays and sings with love never tires," says the great master. When it comes to the classification of music as either self-taught or formally trained, I can say that, like many instrumentalists, I am self-taught. While in the past, learning through a master-apprentice relationship might have been sufficient, nowadays it is necessary to also know basic music theory, which is also essential for the preservation of musical works. When the two are together, they create a much better, holistic structure that supports each other.