(World Fusion / Instrumental Guitar) Hasan Cihat Örter (Hasan Cihat Orter / Hasan Cihat Oerter) - Fretless Songs - 2006, MP3, 192 kbps

Hasan Cihat Örter
From Wikipedia, the free encyclopedia
Born 1958
Istanbul, Turkey
Genres
Turkish folk, Jazz, New-Age
Occupations Composer and Guitarist, Arranger
Instruments guitar,fretless guitar piano, violin, baglama, Fretless guitar, utar, oud, cümbüş, tambur, yaylı tanbur, yaylı cümbüş,
Years active 1970–present
Labels
EMI, Sony Music, DMC, Genç Müzik, Üç Adım Müzik, Anadolu Müzik, Ads Müzik, Balet Plak, Artvizyon Yapım
Website hasancihatorter.com.tr
Notable instruments
Piano, Fretless classical guitar, Fretless electric guitar, Baglama",Utar, Yaylı Cümbüş
Hasan Cihat Örter (born October 24, 1958 in Istanbul, Turkey) is a Turkish composer, guitarist and arranger who specialized in remixes of traditional Turkish music, particularly instrumental, folk, jazz, new-age, vocal and dance music. He has recorded numerous albums and his compositions and transcriptions are widely published.
Contents
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Discography
• 1983 - Anatolian Folk Music Classical Guitar- - (Kent Müzik (Istanbul)
• 1994 - Anatolian Folk Music Classical Guitar-E.M.I. - (Kent Müzik) - (Gold Record Award))
• 1995 - Women symphonies -Kadın'ın Senfonileri - New-Age- E.M.I. - (Kent Müzik)
• 1996 - Re-formation 1 (Turk Enstrumantal Music, New-Age)- (Sony Music - Colombia (International catolog))
• 1997 - Re-formation 2 (Turk Enstrumantal Music, New-Age)- (Sony Music)
• 1998 - Insprition (Re-Formation Remix - London )- (Sony Music)
• 1998 - Istanbul Şarkıları, Modern Folk Üçlüsü- (Raks)
• 1998 - Buddha Bar 3 Catolog (Re-Formation- Dj.Rawin )- (Buddha Bar III)
• 1998 - Mektup, (Film music saund track )- (Raks)
• 1999 - Aşk ve Hüzün -Vocal Music Compositions - (Ezgi Medya)
• 2003 - Gitarın Sessiz Çığlığı (for Yavuz Cetin) - Rock Guitar Compositions - (Genç Music)
• 2004 - İstanbul'da Modern Oyun Havaları-Enstrumantal - (Seyhan Müzik)
• 2005 - Senden Yanayım -Vocal Music Compositions - (Artvizyon Müzik)
• 2005 - Music Therapy - Enstrumental Compositions -with book - (Genç Mephisto)
• 2006 - Dünyanın Gözyaşları -Vocal Music Compositions - (E.M.I)
• 2006 - İki Derviş'in Aşk Yarası -Vocal Music Compositions - (Seyhan Müzik)
• 2005 - The Symphony of Kabe and Hicret - (Genç Müzik)
• 2006 - Fretless Songs - Fretless Guitar & E-bow - (DMC)
• 2006 - Hasan Cihat Örter Albums in Mixed Classics : I,II,III,IV, - (H.C.O.Prd.)
• 2007 - Mustafa Kemal Atatürk ve Vatan Senfonisi - (Atlantis Müzik)
• 2007 - World Classical Guitar Pieces - (Genç Müzik)
• 2008 - "Haz" Classical Guitar - Saz Eserleri- Compositions - (Genç Müzik)
• 2008 - "Giz" Accustic Fretless Guitar - (Seyhan Müzik)
• 2008 - Sadabad - Osmanlı Sarayı- (Tanbur Compositions)Tanbur ile Besteler - (Anadolu Müzik)
• 2009 - Seven Days in Istanbul -Accustic guitar - (Mem Productions "Mr. Murat Malay)
• 2010 - Fretless Love -Fretless Songs - (Mimoza Medya "Mr.Bedri Büklülmez)
• 2010 - Fretless Guitar Methot, DVD - (Mimoza Medya "Mr.Bedri Büklülmez)
• 2012 - Renkler /Colors - (Mem Productions "Mr. Murat Malay)
Books
• Hayatım, Gitarım ve Müziğim - (Pan Yayıncılık)
• Anadolu Ezgileri Klasik Gitar ve Piyano İçin Düzenlemeler - (Pan Yayıncılık)
• HASAN CIHAT ÖRTER "SANATÇI, VCD" - (Bemol Müzik Yayıncılık)
• Hasan Cihat Örter´le Herkes Gitar Çalabilir, 2 VCD - (Belgesel Ajans)
• Buzuki Erol (Örter) Rebetiko - (Pan Yayıncılık)
• İki Satirlik Şiirler - (Birun Kültür Sanat Yayıncılık)
• Saz Eserleri - (Bemol Müzik Yayınları)
• Anadolu'dan Klasik Gitar Çeşitlemeleri - (Bemol Müzik Yayınları)
• Müzik İle Terapi, Music CD - (Genç Mephisto Kitabevi)
Gallery
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A view of musician with one of his awards •
Hasan Cihat Örter on stage •
Home Studio of Hasan Cihat Örter •
Hasan Cihat Örter, playing a traditional Turkish instrument

Fretless guitar
From Wikipedia, the free encyclopedia
A fretless guitar is a guitar without frets. It operates in the same manner as most other stringed instruments and traditional guitars, but does not have any frets to act as the lower end point (node) of the vibrating string. On a fretless guitar, the vibrating string length runs from the bridge, where the strings are attached, all the way up to the point where the fingertip presses the string down on the fingerboard. Fretless guitars are fairly uncommon in most forms of western music and generally limited to the electrified instruments due to decreased acoustic volume and sustain in fretless instruments. However, the fretless bass guitar has gained fairly widespread popularity and many models of bass guitar can be found in fretless varieties. Fretless Electric Bass is particularly popular among Jazz, Funk and R&B players due to the similarity in feel and sound to the acoustic double bass.
Advantages and disadvantages
Fretless guitars are not constrained with particular musical tunings, tuning systems or temperaments, as is the case with fretted instruments. This facilitates the playing of music in other than 12-tone scales; these scales are typically found in non-Western or experimental music. Fretless guitars produce a different sound than their fretted counterparts as well, because the fingertip is relatively soft (compared to a fret) and absorbs energy from the vibrating string much more quickly. The result is that the pizzicato on a fretless guitar has a more dampened sound. One can finger notes with one's nail like an Indian sarod player. This will sustain and brighten the sound. One can also combine bottleneck slide guitar with fretless fingered guitar playing to add an additional range of tonal possibilities that allows for more melodic and harmonic/chordal possibilities than some of the constraints common to traditional standard and open tuning slide guitar techniques.
Some players seem to choose the fretless guitar mainly for its ability to get in more direct contact with the note played (since finger tip and not the fret decides the string length). However, playing a fretless instrument usually requires much more training of the fretting hand for exact positioning and shifts, and more ear training to discern the minute differences in intonation that fretless instruments permit. To make this easier, many fretless guitars and basses have lines in place of frets and side position markers (dots or lines), indicating half-tone increments.
Acoustic fretless guitars produce less volume than their fretted counterparts, which is usually addressed by the use of pickups and amplification. Fretless bass guitars, which have much heavier strings and a bigger body, are also typically amplified.
On fretless basses the fingerboard is usually made of a hard wood, such as ebony. To reduce fingerboard wear from round-wound strings a coat of epoxy may be applied. Other strings, such as flat-wound, ground wound or nylon tape-wound strings, can also be used to reduce fingerboard wear.
Fretless instruments
Fretless guitars are typically modified versions of factory-made traditionally "fretted" guitars, the frets being removed by the player or a professional luthier. There are also professional builders specialising in custom-made fretless guitars.
Fretless bass guitars are much more common than fretless guitars, and there are many manufacturers offering these as standard models.
Famous users
In no particular order:
Rambo Amadeus Social satirist/Comedian and experimental jazz/rock musician,among other things,he is known for playing fretless guitar in his performances.
Maartin Allcock Multi-stringed intrumentalist with Fairport Convention, Jethro Tull and Bully Wee Band. Session Work with Eddi Reader, Robert Plant & Beverley Craven and many others
Adrian Belew has used fretless guitars on a few recordings in the '80s.
Matt Bellamy of Muse now uses a custom Manson double neck with one neck fretless live for two songs.
John Cale used a fretless guitar on the 1965 album Stainless Gamelan - a very early recording of fretless guitar.
Ned Evett plays a variety of fretless guitars, typically with a glass fingerboard.
David Fiuczynski plays fretless guitar extensively in his instrumental project KiF.
John Frusciante used a fretless Stratocaster on the recording of Blood Sugar Sex Magik (most notably on the guitar solo of Mellowship Slinky in B major); he now uses custom made fretless guitars with glass fingerboards.
Nigel Gavin regularly uses a Godin Glissentar in live performance and for several pieces on his albums Thrum and Visitation.
Guthrie Govan plays a Vigier fretless guitar.
Aziz Ibrahim plays Godin and Vigier fretless guitars.
Benn Jordan, a.k.a. The Flashbulb, plays a fretless guitar on the track Steel for Pappa from the album Soundtrack to a Vacant Life.
Pat Metheny plays a fretless classical guitar on the title track of the album Imaginary Day.
Issei Noro has used fretless guitar from professional debut year in 1979, the user of the most famous Japanese guitarist, and most user are using.
Erkan Oğur (Turkish pioneer of the fretless guitar) makes nearly all his music with self-made fretless guitars.
Hasan Cihat Örter composer and instrument is playing more than twenty.
Yannick Robert plays his Ibanez signature model on "Vaci Utca" and "Dix cordes de nuit".
Karl Sanders plays a double necked guitar which has an 11-string fretless setup on the top neck, which he used on many of the tracks on Nile's album Ithyphallic.
Elliott Sharp has occasionally used fretless guitars, such as on his 1996 album Sferics.
Ron Thal (also known as Bumblefoot) has used fretless guitars extensively.
Steve Vai played a triple neck (12-string, 6-string and 6-string fretless) guitar during live shows many years ago.
Franck Vigroux plays fretless guitar on Push the triangle's album "repush" and live acts.
Vindsval of Blut Aus Nord used fretless guitars on the microtonal MoRT album and other albums.
Frank Zappa used fretless guitars on a few albums in the early and mid 1970s.
Fretless bass
Jaco Pastorius (bassist for Weather Report, considered by many to be the most influential bass player of all time[original research?]) used a customized fretless Fender Jazz Bass that he modified himself.
Dann Glenn (solo bassist/composer) has a signature model fretless bass by Hotwire Basses, and also plays Fender Jazz and LightWave fretless basses.
Juan Alderete (bassist for The Mars Volta, and previously Racer X) has constantly used fretless basses over his career including using a custom fretless Fender Jazz Bass as his main bass of the album Frances the Mute.
Bill Wyman, (former bassist of The Rolling Stones), was the first bass player to use a self-made fretless Fender/electric bass that he created after stripping down a standard bass. He removed the frets from his second-hand bass because they were rattling.[1] This can be heard on many of the early Rolling Stones records.
Rick Danko (of The Band and later, Danko/Fjeld/Andersen) used a fretless bass starting around 1970, heard on the 1971 Cahoots studio album and the Rock of Ages album recorded live in 1971.
Freebo (session musician known mostly for his work with Bonnie Raitt) has used a fretless bass live and on many recordings.
Brent Liles (bassist for Social Distortion and Agent Orange)
Jonas Hellborg (solo bassist) extensively used fretless bass both on his solo bass recordings and with other projects, currently has a signature bass co designed by him from Warwick.
Pedro Aznar, bassist and composer who has played with Serú Girán and The Pat Metheny Group
Laurence Cottle British session fretless/fretted bass player who has worked with such diverse artist as Sting, Cher, Eno, Eric Clapton and Black Sabbath
John Myung of Dream Theater can be seen performing on a fretless six string in Metropolis 2000: Scenes from New York during the song Through Her Eyes.
Steve Bailey, a session bassist, performs on the six string fretless bass guitar.
Jack Bruce (of Cream) uses a fretless Warwick bass guitar.
Sean Malone (of Cynic, et al.), wrote an analytical teaching book on Jaco Pastorius' playing and also plays the Chapman Stick
Gary Willis (of Tribal Tech), has a signature model fretless bass by Ibanez.
Marnie Jaffe (of Live Skull) played a fretless bass in the band Live Skull.
Steve DiGiorgio (one of the few fretless bassists in the metal scene) usually plays a five string fretless bass.
John Paul Jones (bassist for Led Zeppelin) plays fretless bass on several Led Zeppelin songs, most notably on "In My Time of Dying".
Colin Edwin (of British progressive rock band Porcupine Tree).
John Deacon (bassist of Queen) plays fretless bass on several Queen songs.
Mick Karn (former bassist of Japan and avantgarde musician) has used fretless bass guitar since the late 1970s. Karn has mainly used Travis Bean during his early Japan years and Wal (bass) since 1981.
Tony Levin was made famous because of the fretless bass parts on Peter Gabriel's "Sledgehammer" and on a large amount of his solo album work. Like Sean Malone, Levin also plays the Chapman Stick.
Tony Franklin has been instrumental in bringing the fretless bass to heavy music recordings. Franklin is generally associated with the fretless Fender Precision Bass; he has a signature model. During the 80's he was also seen with Jaydee basses.
Pino Palladino, a session bassist, has developed a fretless bass method. The bulk of Pino's fretless work was played with a pre Ernie Ball Music Man StingRay.
Percy Jones bass player with Brand X and Tunnels. Percy initially played a fretless Fender Precision Bass then a Wal (bass) and finally an Ibanez EDA905. Jones started playing fretless bass in 1971
Bunny Brunel had used a fretless bass on many recordings since the 1970s, usually a signature Carvin BB75 (bass).
Victor Wooten uses a custom five-string fretless bass on several of his own songs as well as several Bela Fleck and the Flecktones songs.
Sting (bassist and leader of The Police) used a variety of fretless basses with The Police
Jeroen Paul Thesseling, fretless bassist, currently plays progressive/technical death metal for the band Obscura, as well as microtonal world music. He uses six-string fretless Warwick basses.
Jandek, outsider musician, has recorded entire albums of only vocals and fretless electric bass.
Jeff Ament, (bassist of Pearl Jam) uses fretless basses on some Pearl Jam songs as well his other projects. Jeff is normally seen play Wal (bass) basses when using a fretless.
Paul Simonon from The Clash used a fretless Fender Precision Bass in 1981, during the period of their Sandinista! album.
Mo Foster is a highly regarded UK session bassist whose 'voice' is a fretless Fender Jazz bass.
Stomu Takeishi is a Japanese jazz bassist.
Geddy Lee, of the Canadian rock trio Rush has played fretless bass on and off since the 1970s. He used a Fender Jaco Pastorius tribute bass to play the bass line for the instrumental Malignant Narcissism from 2007's Snakes & Arrows.
Les Claypool (of Primus and his many other side projects) uses a variety of fretless basses, most commonly an upright 5 string, and more famously his Carl Thompson (luthier) 4 string fretlesses and 6 string fretless Rainbow Bass.
Colin Moulding, bass player with XTC uses fretless bass to achieve their distinctive sound. Almost all songs on the XTC album English Settlement use fretless bass.
Martin Mendez, bassist for Opeth used a fretless bass on Still Life.
David Gilmour, Pink Floyd guitarist, plays a fretless bass on Hey You. And their bassist and songwriter Roger Waters plays fretless bass on the track "A Pillow of Winds" from the 1971 Meddle album.
Michel Hatzigeorgiou, Aka Moon is a Belgian bassist.
Michael Manring, solo bassist, plays Zon Hyperbass (TM) fretless basses for his experimental virtuoso music.
Stu Hamm, studio/solo bassist, can be seen playing a fretless on the song Rubina on Joe Satriani's Live in San Francisco DVD.
Tom Jenkinson, also known as Squarepusher, sometimes performs using fretless bass.
Morty Black, former bass player for TNT has used fretless bass on songs such as Forever Shine On and Without Your Love.
Kristoffer Gildenlöw, former bass player for Pain of Salvation has extensively used fretless bass by ESP in many album recordings, such as BE and One Hour by the Concrete Lake.
John Taylor, bass player with Duran Duran occasionally uses fretless bass, having used one notably on the Duran Duran song "Lonely In Your Nightmare" from their hit album "Rio" and also on the song "Tiger Tiger" from their third album "Seven And The Ragged Tiger". Events
Festivals featuring live fretless guitar music have been held for several years both in the US and in Europe. In New York, the first NYC Fretless Guitar Festival was held in 2005. In Holland, the Dutch Fretless Guitar Festival has taken place since 2008.

Fret
A fret is a raised portion on the neck of a stringed instrument, that extends generally across the full width of the neck. On most modern western instruments, frets are metal strips inserted into the fingerboard. On historical instruments and some non-European instruments, pieces of string tied around the neck serve as frets.
Frets divide the neck into fixed segments at intervals related to a musical framework. On instruments such as guitars, each fret represents one semitone in the standard western system where one octave is divided into twelve semitones.
"To fret" is often used as a verb, meaning simply "to press down the string behind a fret." Fretting often refers to the frets and/or their system of placement.The neck of a guitar showing the nut
(in the background, coloured white)
and first four metal frets. Explanation
Pressing the string against the fret reduces the vibrating length of the string to that between the bridge and the next fret between the fretting finger and the bridge. This is damped if the string were stopped with the soft fingertip on a fretless fingerboard.
An advantage of frets is that they make it much easier to achieve an acceptable standard of intonation since the positions for the correct notes are given by the frets. Furthermore, playing chords are much easier on a fretted fingerboard.
A disadvantage of using frets is that the player is restricted by the temperament given by the position of the frets. Some influence on the intonation is still possible, however. The string can be pulled to the side to increase the string tension and the pitch. This technique (commonly called 'bending') is often used by electric guitarists of all genres and is a very important part of sitar playing. On instruments with thicker frets, the string tension and pitch will vary with the pressure of the finger behind the fret. Sometimes it is also possible to pull the string toward the bridge or nut, thus lowering or raising the string tension and pitch, respectively. However, with the exception of instruments like the sitar, where extensive pulling of the string is possible, much less influence on the intonation is possible than on unfretted instruments.
Since the intonation of most modern western fretted instruments is equal tempered, the ratio of the distances of two consecutive frets to the bridge is
, or approximately 1.059463. Theoretically, the twelfth fret should divide the string in two exact halves. To compensate for the increase in string tension when the string is pressed against the frets, the bridge position can be adjusted slightly so that the 12th fret plays exactly in tune.Frets tied on to the neck of a saz;
note microtonal frets between semitones. Many instruments' frets are not spaced according to the semitones of equal temperament, including the Appalachian dulcimer (with frets in a diatonic scale), the Turkish Saz (with frets spaced according to the Makam system of Turkish folk music), the Arabic Buzuq (with frets spaced according to the Arabic maqam system), and the Persian setar and tar (with frets spaced according to the Persian Dastgah system), and the Turkish tanbur (with as many as 5 frets per semitone, to cover all of the commas of the Turkish Makam system).
Variations
Fan frets (or fanned frets, or slanted frets): Most frets are perpendicular to the instrument's neck centerline and parallel to each other. On a fanned fret board the frets are spread out like a fan - with only one center fret perpendicular to the necks centerline and the rest angled - in order to give the lowest strings more length and the higher strings shorter length (comparable to a piano or a harp where the different strings also have different lengths). The idea is to give more accurate tuning and deeper bass. And some think that fanned frets might be more ergonomic. Fanned frets first appeared on the 16th century Orpharion, a variant of the cittern, tuned like a lute. Rickenbacker offered them in the late 60's, and Novax Guitars among others offers such guitars today. The appearance of angled frets on these modern instruments belies the antiquity of this technique.
Scalloped fretboard: Scalloping involves the wood between some or all of the frets being scooped out. This allows a lighter touch for a more precise playing while executing bends or vibratos (since there's no contact between the fingertips and the wooden part of the fingerboard). It has some popularity with musicians playing heavy metal music, although the concept can also be seen in ancient instruments such as the sitar.
Semi-fretted instruments
It is also possible to find semi-fretted instruments; examples include the Malagasy kabosy and the Afghan Rubab. Semi-fretted versions of guitars and other fretted string instruments, however, are usually one-off, custom adaptations made for players who want to combine elements of both types of sound. One arrangement is for the frets to extend only part of the way along the neck so that the higher notes can be played with the smooth expression possible with a fretless fingerboard. Another approach is the use of frets that extend only partway across the fretboard so that some courses of strings are fretted and others fretless, for example Ryszard Latecki's Latar.
Fret intonation
Instruments with straight frets like guitars require a special compensation on the saddle and nut. Every time a string is fretted it is also stretched, and as it stretches the string rises in pitch, making all fretted tones sound sharp. When the saddle is positioned properly, however, the fretted tones all sound sharp to the same degree as long as the distances between the frets are correct. With the right nut compensation, the pitch of the unfretted string can be raised by the same amount. As a result, when the tension of the strings is lowered, the pitches of all notes, both fretted and unfretted, becomes correct.
Fret wear
On instruments equipped with steel strings, such as folk guitars and electric guitars, frets are eventually bound to wear down as the strings cut grooves into them. When this happens, the instrument may need refretting (the frets are removed and replaced) or, in less severe cases, "fret dressing" (the frets are leveled, polished, and possibly recrowned). Often, a few fret dressings can be performed on a guitar before it requires complete refretting.
Fret buzz
Fret buzz is one of the many undesirable phenomena that can occur on a guitar or similar stringed instrument. Fret buzz occurs when the vibrating part of one or more strings physically strikes the frets that are higher than the fretted note (or open note). This causes a "buzzing" sound on the guitar that can range from a small annoyance, to severe enough to dampen the note and greatly reduce sustain. Sometimes, fret buzz can be so minute that there is only a small change in the tone (timbre) of the note, without any noticeable buzzing. Fret buzz can be caused by different things:
Low action
Improperly installed frets (some frets are higher than others)
Strings too loose
Improper relief of guitar neck
Fret buzz is evident in some famous recordings; an example is "Friends" by Led Zeppelin (although this example is undoubtedly caused by alternate open tunings that reduce string tension). In some core songs, such as "My Last Serenade" by Killswitch Engage, the guitars are tuned to Dropped C and the low tension of the strings are used to create fret buzz by the bass player, to create a dirty sound.
Tied gut frets, used on instruments such as the lute or viol, wear quickly, and must be replaced regularly.