Now i would like to play this example in A minor. Make sure to sustain the “A” note while playing the melodies . Again with zero vibrato 🙂
If you make a lot of vibrato it helps you to find the right places and its not good for improving your entonation.
We can practice the same example from “E” we transpose the tonic and we will add one sharp note out from the C major scale.
You don’t need to pay attention to the right hand on this exercise because its a regular playing technique i am not making any “çarpma”.
Glissando and Vibrato
On this exercise we are going to play a bass note while we are coming to a note with glissando.For example we want to stop on “D” we start from the “C” and we stop at “D” the important thing is to correct the intonation of bass and the single string. When we use this glissando technique the sustain of the string is decreasing in every second.Now the “vibrato” takes the roll here. When your sustain decreases you can hold it with vibrato.
Composition Exercise 1
This is small composition which i write for you to practice on you fretless.When you download the pdf you will recognize that some of the notes are not written on the page.Generally in turkish music notes are only transfer the melodies to us the player can add some notes, or embellishes the melodies and improvise.
Composition Exercise 2
Now we are looking at the phrasing of this piece deeply. If there is a place to improvise in the melody you can use this chance as much as possible.
On this exercise we are going to start from the F# and move to D
This is melody on hicaz makam. First play the melody without any “çarpma” than use the technique to sound it better.