THE DEFINITION OF THE KABA ZURNA AND ITS STRUCTURE  

          The kabazurna used widely in Aegean, Thrace, Sivas, Tokat and Kastamonu is structurally the largest member of the zurna family. Its length changes between 50 and 55 cm. With the enlargement of the main body, other parts and the fingerholes also get larger proportionally. It is the most comfortable zurna type in respect to playing since it has a wide sound range as two octaves. The sharps and the flats can be played easily by this zurna since its fingerholes and the intervals between its fingerholes are large.

The kab-zurna is classified into two. The first is the zurna, larger than the other, called tam baba (perfect father) or tüm baba (whole father), mostly played around Aydın and in Thrace. The second, smaller than the first ca. 5-10 cm. is called orta kaba (middle kaba). This type is a good many seen in Tokat and its periphery, Sivas and Kastamonu.

            Especially, in Aegean and Thrace, two, even three zurna-s are played together. One of them drones and other plays the tune. Or, two of them drone and one plays the melody or vice versa. In a general manner, there are two davul-s accompanying them. The players droning to their masters are the new starters or inexperienced players and try to improve themselves. 

Due to its performance convenience because of the sound range and playing, it has become the chief instrument of the Mehterhane for many centuries. The main melody is played by the zurna.

   THE STRUCTURE OF THE KABAZURNA

            Main Body

 Main Body

           The kabazurna-s made of hard woods like plum, ebony, apricot, olive are more widely accepted. There are seven fingerholes on the front side of the main body and one thumbhole on the back side. These fingerholes are used to play the melody. The size of the fingerholes is adjusted according to the size of the main body.  The upper part of the body is slimmer. The lower part of the body is called kalak (the bell) which widens toward the lower part. The kalak part has a great influence on the highness of the volume. There are also the devil holes on the kalak. (See the manufacturing of the kabazurna part for the manufacturing of the main body).

           Main Fingerholes

            These fingerholes on the main body function to obtain various sounds. There are seven fingerholes on the front side of the main body and one on the back side. Three of the fingerholes on the front side from the upper side are closed by three fingers of the left hand while the little finger stays free. The remained four fingerholes in the bottom are closed by the four fingers of the right hand as the thumb holds and balances the zurna. The thumb of the left hand closes the thumbhole on the back side. This holding position is valid for the right-handed people whereas it differs for the left-handed. 

              Devil Holes

            These holes, which are also called genie holes in different regions, exist on the kalak part of the zurna in three rows. From bottom to upper side, three holes line up in the first row, one in the second row and three in the third row which have role in the tuning while the holes in other two rows has no importance technically. Devil holes balance the air coming out of the holes above

           Fork

Fork

         It is a part that fits into the main body in the blown part and plays an important role in sounding by giving strength to the mouthpiece. It is generally produced by a different wood than the main body. The most acceptable one is those produced by boxwood. The fork connects the body and the reed. In the middle of the fork fitting into the body, there is an opening through which the staple is inserted, so that the zurna can be played. The fork is called nezik, başlık, zaynak in different regions. The length of the fork must reach to the end of the third fingerhole. The variations in the length of the fork may result in the change of the intonation. (See the manufacturing of the kabazurna part for the manufacturing of the fork).

            Staple

Staple

           It is another part playing important role in sounding. The reed is fixed to its end and in Aegean the pirouette (or rosette), a small disc of wood called avurtlak is attached on it which facilitates exhaling and inhaling. It is usually made of metal and 1/4 of it fits into the fork. It is made of silver or brass, varying according to the regions. It has various names such as lüle, etem, metem, boru, ula etc. (See the manufacturing of the kabazurna part for the manufacturing of the staple).

            Reed

Reed

            The most important part to get sound is the reed. The high volume sound is obtained by it. The thinner end is bound to the staple by rope. It must be moistened before beginning to play. When the moistened reed is blown, the flattened edges begin to strike against each other. The speed of the strikes causes uncountable vibrations which produce sound in the reed. The position of the reed in the mouth while playing differs according to the regions. These distinctions result in different playing styles. (See the manufacturing of the kabazurna part for the manufacturing of the reed).