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Unison Conducting Style with Choir and Conductor

Kudum and tefle (tempo instruments) are the continuation of a tradition in Turkish classical fasıl music. In the Unison choir system, which is described as an innovation (this idiom was used by the late Mesut Cemil Bey), the administration with the (conductor) brought a new vitality to the classical attitude and style to a certain extent. However, the situation of the (chief) here is not just about standing in front of the community and keeping a beat. The conductor is the one who puts the musical ensemble in front of him in the mood of the works, and will have his knowledge, authority, richness of emotion called by the Franks (Vision artistique), superior taste and artistic power.

This musical ensemble style, which is generally divided into two as small fasıl and big fasil, was traditionally conducted with a tambourine, so there was no need for a (conductor). Since the tempo (holding-knocking) is superior in the old fasil order of Turkish music, they are tempo instruments that allow the tempo instruments of both (tambourine) and (kudum) works to be played perfectly. In this respect, the issue of efficiency, especially in the structure of major procedures, has been considered extremely important.

There are real distinctions between the order of Turkish music (ikaa) and the European (conductor) ingenuity. First of all, there is the finesse of Turkish taste. If you try to master the major tempos, for example (devr-i kebir), with 4/4, you will not be able to give the mood of the piece. This is the body of wisdom of (tambourine) and (kudum).

As a traditional performance order, the innovation in the unison chorus system, which is partly separate from fasilism, is not just the replacement of tambourine and kudum (conductor). In the fasil order, it starts with a pesrev and ends with songs and semails in various styles, an occasional taksim, or a gazel, and then a few songs and a saz semai, whereas in the unison chorus system such a sequence is out of question. It is seen that some (conductors) light and single beats (tanfor) and strong-light and heavy rhythmic beats called (tanfebl) do not fully comply with meter beats in the unison choir performance order, which is continued with a single voice style. Here, measure, method and rhythmic movements should not be confused with each other. Measure is an incomplete aspect of rhythm. The chef will know all these subtleties and will not simply become a metronome.

Another striking aspect is the relationship between (conductor) and (soloist). In a collective performance arrangement (soloist) does not wave hands with (conductor), that is, he does not attempt to conduct himself. This is at least disrespectful to the (chief).

Another important issue is the expansion of the Turkish musical repertoire. We have mentioned this point before.


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