Sadi Işılay (1899-1969), who has an important role in terms of both composition and violin performance in 20th century Turkish music history, has become a school with his performance manner by affecting the violin performers following him. He shows difference from the other violin masters of the period in terms of understanding of makam and techniques that he used in playing violin. In this study, showing this pointed difference by determining Sadi Işılay’s manner features in saz semai performance was aimed. Accordingly, screening model was conducted. Nikolaki’s Müstear Peşrevi which is one of the works performed by Sadi Işılay and Müstear Saz Semai of the İrtical Dede formed the sample of the study. Both of the works were compared with copies in TRT repertoire by notating the works with the form Sadi Işılay performed. Sadi Işılay’s performance characteristics were investigated with regard to decoration techniques, additional notes, rhythm differences, string techniques and steps of musical expression elements. It was determined that Sadi Işılay used strike decoration techniques and legato string techniques the most in his performance. Therefore, it is suggested that Sadi Işılay is to be often listened by performers in order to be able to be realized the manner acquisition which has crucial importance for the performance of Turkish music.
Keywords: Turkish Music, Sadi Işılay, Violin, Performance Analysis.