An Analysis of Yorgo Bacanos’ Performance of “Mahur Aranağme”

The aim of this study is to reveal the theoretical performative elements behind Yorgo Bacanos’ performance of the aranağme [short instrumental passage between verses in Turkish music] at the end of the song “Gülşen-i Ezhar Açtı Her Yana” that he recorded with Hafız Kemal and Sadettin Kaynak. The study first examines preliminary information about Yorgo Bacanos the performer and the musical culture centered in Istanbul. The study then comparatively analyzes the performance of the aranağme and its score in the repertoire using the performance analysis method based on five criteria (i.e., pitches and maqam lines, motivic variations, ornamentation techniques, instrument positions, and form analysis). While this textitaranağme has a simple melodic structure in its original score, it is observed to have taken on a very different character in Bacanos’ performance. With Bacanos’ strong sense of rhythm and the self-confidence that comes from having mastered the ağır aksak usul [a tempo in 9/4], which is frequently used in fasıl [musical overture/series of compositions in the same maqam] performances, he was able to easily diversify the aranağme by using various motifs and practically recomposed it during the performance. By combining his agility in right hand technique with his improvisational skill, Bacanos created a piece that is extremely difficult to perform while at the same time demonstrates his strict adherence to the usul [tempo]. Bacanos’ aranağme performance is an attractive example of musical interpretation.