\n\nALL ABOUT KOPUZ\nIt is the name of a Turkish musical instrument of Central Asian origin. It is said that many musical instruments in the Anatolian Turkish music culture, especially in baglama, are derived from\u00a0 turkish kopuz. Turkish kopuz has an important place among all Turkish music.The ancestor of baglama is known as turkish kopuz, a stringed instrument. Turkish kopuz and baglama are very similar in appearance and theft. It is considered the oldest national musical instrument of the Turks. In written and printed sources, it is revealed that the prototype of turkish kopuz has undergone structural changes and its varieties have emerged by spreading to different geographical areas in time, and that the name of turkish kopuz has been pronounced similar or partially similar to the language and mouth characteristics of the musical instrument. This is because turkish kopuz and so on, extending from Central Asia to the Caucasus, Anatolia, the Balkans and even Europe. The instruments found to be referred to by names do not have the same features in terms of shape and content.\n\u00a0\nHISTORY OF KOPUZ\nIn the studies carried out to determine the origin, spreading area and cultural accumulation formed around the kopuz, it is seen that the existence of the instrument in the historical process can only be traced back to the millennium. According to the sources, the oldest known text that the word kopuz is used as an instrument name belongs to the Uighur period.\nThere is a belief in Turkish communities that kopuz was invented by Dede Korkut and was a sacred instrument.\nIn fact, kopuz, a three-stringed instrument, has changed over time; the kopuz, the\u00a0"kopuz-\u0131 ozan"; The kopuz used by the Garp Turks was also called "kopuz-\u0131 Rumi".Kopuz-\u0131 Ozan is three and kopuz-\u0131 Rumi is five strings. After the seventeenth century, kopuz was not given much importance in Turkish societies as before. In fact, this instrument has not been included in our literature.It is still used today among Turks living in the Caucasus region. It is known that there is a musical instrument among Anatolian Seljuks in various sources. It is a popular instrument during the Ottoman period. There are three or five stranded ones. The kopuz used by the Kyrgyz today is more like a violin. The eclipse and the work form resemble the kemence. Two beams made of horse hair are stretched over the knob and metallic cymbals are attached to its handle. When the instrument is played, these cymbals produce a distinctive sound.\n\u00a0\n\n\u00a0\nPART OF KOPUZ\nTurkish kopuz instrument consists of 6 parts.\u00a0You may need to examine these details well when choosing Turkish kopuz.\n\n\nBowl: 11cm. 12cm wide. Deep, throat should be narrow.\n\nHandle: 29cm between throat and upper sill. There should be.\n\nCover: It should be frequent and parallel veined and should be installed by heating.\n\nAugers: Conical shape should be made should not miss the tuning.\n\nCurtains: Can be made of fishing line, galvanized wire and waxed rope.\n\nWires: Today's steel, hexagonal wires should be used.\n\n\u00a0\n\n\u00a0\nHow To Tune A Turkish Kopuz\n\u00a0Three Wire Kopuz Layouts:\n\u2022 Kopuz layout (also called binding layout.)\u2022 Zeibek layout (heavy and quick zeibeks are performed.)\u2022 Bogma layout\u2022 Out of order layout\u2022 Pipe layout\u2022 Misket layout\u2022 \u00c7iftelli layout\n\u00a0Tuning Example to Zeibek Layout\nThis Turkish long neck saz tuning is also called the flute arrangement. The three-wire kopuz is given a zurna sound.\n\nLower wire - to LA sound\nMiddle wire - to RE sound\u00a0 \u00a0 \u00a0 \u00a0\nThe upper wire is tuned to - RE\n\nThere are many different kinds of tuning.\nIn the tuning of la: \u00a0\u00a0\u00a01. Wire: re \u00a0- \u00a02. Wire: la \u00a0- \u00a03. Wire: do\nIn the tuning of si:\u00a0\u00a0\u00a0 1. Wire: mi \u00a0- \u00a02.\u00a0Wire: si \u00a0- \u00a03.\u00a0Wire: re In the tuning of do: \u00a01. Wire: fa \u00a0- \u00a02. Wire: do \u00a0-\u00a0 3. Wire: re# In the tuning of do#:\u00a0 1. Wire: fa#\u00a0 -\u00a0 2. Wire: do#\u00a0 -\u00a0 3. Wire: mi\nIn the tuning of re:\u00a0 \u00a01. Wire: sol\u00a0 -\u00a0 2. Wire: re\u00a0 -\u00a0 3. Wire: fa In the tuning of re#: 1. Wire: sol#\u00a0 -\u00a0 2. Wire: re#\u00a0 -\u00a0 3. Wire: fa# In the tuning of mi:\u00a0 1. Wire: la\u00a0 -\u00a0 2. Wire: mi\u00a0 -\u00a0 3. Wire: sol In the tuning of fa:\u00a0\u00a0 1. Wire: la#\u00a0 -\u00a0 2. Wire: fa\u00a0 -\u00a0 3. Wire: sol# In the tuning of fa#: 1.Wire: si\u00a0 -\u00a0 2.Wire: fa#\u00a0 -\u00a0 3.Wire: la In the tuning of\u00a0sol:\u00a0 1.Wire: do\u00a0 -\u00a0 2.Wire: sol\u00a0 -\u00a0 3.Wire: la #\n\u00a0\nIn this video we explain How To Tune A Turkish Kopuz\n\n\u00a0\u00a0\nWhich video must be next ?