SOUND RANGE (Compass) AND TONIC OF THE KABAZURNA 

             Sound Range (Compass)

The sound obtained by closing all eight fingerholes is equal to Do (C) produced by the piano. This is however true for the kabazurna given in Manufacturing and Maintenance of the Kabazurna Part. When the size of the kabazurna changes, the tonality would also change.

It is important to point out that the spaces between the fingerholes are equal, which indicates that the kabazurna is a primitive instrument. The intervals mi (E) - fa (F) and si (B) - do (C) are obtained by blowing lower or higher according to the melody. Moreover the required sound could be easily found since the dampened and softened reeds without changing the finger positions allow to decrease and increase the pitch because of the elasticity of the reed.

 Pitches according to the keyboard of the piano

  Pitches according to the keyboard of the zurna 

             The sound obtained by closing all eight fingerholes is equal to Do (C) produced by the piano.

Since B in the zurna must be low according to the Turkish music structure, it must be regarded as the pitch segah which has normally no equivalent in the piano scale. The pitch kürdi, however, is equal to B flat in the piano; so, the zurna player must adapt this pitch according to his perception. 

            The sound range extends two octaves and one tone which is the sound when all the fingerholes are open and which requires talent, a good zurna, an excellent reed and qualified staple.

Tonic of the Kaba Zurna

            The pitch “Do” (C) for the piano obtained by closing all the fingerholes are called in a different manner in various regions according to the playing techniques and finger positions.

           In Thrace.......................................Fa (F) - Sol (G)

            In Aegean......................................La (A)

            In Tokat and neighborhood...........Fa (F)

            In Mehter.......................................Fa (F)

 Tonic According to the Finger Positions 

2 finger “La“ (A) tonic-scale

3 finger “La“ (A) tonic-scale  

4 finger “La“ (A) tonic-scale

5 finger “La“ (A) tonic-scale (Generally - Mehter – Thrace)

6 finger “La“ (A) tonic-scale (Thrace)

7 finger “La“ (A) tonic-scale (Aegean)

            The most convenient instrument among the zurna family members for the transposition is the kabazurna. It is possible to transpose to almost all pitches. On the other hand, there are three most frequently used tonics.  One of them is shown in the picture 5; it is played by closing the six fingerholes. The sound obtained by closing 1st, 2nd, 3rd, 4th, 5th, 6th and 8th fingerholes is accepted as “La“(A). This type of tonic is often seen in Thrace. Furthermore, 5 finger position is also found in some cities and towns of Thrace.

            The next tonic is shown in the picture 3; it is played by closing the five fingerholes. The sound obtained by closing 1st, 2nd, 3rd, 4th, 5th and 8th fingerholes is accepted as “La“(A). This type of tonic is often seen in the Mehter.

The last one is shown in the picture 7finger; it is played by closing the seven fingerholes. The sound obtained by closing all fingerholes is accepted as “La“(A). This type of tonic is seen only in Aegean region.