Turkish folk music has been formed by the transfer of traditional music culture from generation to generation. Turkish folk music products have different local and authentic characteristics. When these differences are analysed, it is seen that various ornamentation elements are used intensively from region to region. For example, while vibrato and trill ornaments are generally used in Konya folk songs, glissando ornamentation is more common in the expatriate airs of Teke region. Among the ornaments used in Turkish folk music vocal performance, vibrato and trill ornaments were chosen to be analysed in this study. Vibrato is a regular vibration of the pitch. This vibration is performed with correct breath control in a position where the neck, jaw and tongue muscles are relaxed, without any change in the intensity and colour of the sound. Vibrato is measured by two basic parameters, rate and extent. Rate refers to the number of oscillations of the vibrato per second and is measured as frequency. The extent refers to the amount of pitch change above and below the target pitch and is measured in cent. These two parameters determine the nature and character of the vibrato. In this study, for the classification of vibrato and trill ornaments, sources in the literature were analysed and the range of 58 Hz for vibrato and 812 Hz for trill were determined as criteria.

The selected ornaments were performed on a total of six pieces performed by Rıza Konyalı and Davut Sulari. Vibrato and trill ornaments are frequently seen in the performances of the two artists subject to the study. Rıza Konyalı, an important representative of Konya culture, was born in Konya in 1933. It is known that Konyalı, who bought his first baglama at the age of fifteen, was influenced by “Silleli İbrahim Usta” in his performance style. At the age of twenty f ive, he travelled to Izmir, where he played the baglama, sang folk songs and worked as a soloist. After releasing a record in Istanbul, he lived in Istanbul for a while. He participated in Ankara Radio as a guest and sang two folk songs. Konyalı participated in the Barana’s performed in Konya region and took part in the seventh Barana. Our other artist is Davut Sulari, whose real name is Davut Ağbaba. He was born in 1925 in Erzincan. Sulari started to play the baglama with the encouragement of his grandfather. Sulari, known as “Gezici Âşık”, travelled around most of Turkey except for a few cities with his horse named “Leyla”. In 1948, he met Muzaffer Sarısözen and started working as a local artist at Ankara Radio. One year later, he started to work in the “Istanbul Radyosu Yurttan Sesler Korosu”. While in the tradition of minstrelsy, the spoken word was at the forefront, Sulari emphasised musicality by producing original melodies on the baglama and in his voice, both preserving and enriching the tradition.

Each folk song selected from the aforementioned informants was analysed in itself and the highest vibrato rate and vibrato extent values were shown in tables. While creating the tables with the data obtained, the time interval, word and vocal in which the value was obtained were included. Acoustic values were ignored in all analyses. Before the analyses were performed, noises other than the target voice and instruments other than vocals were removed from the selected recordings by means of various applications. For noise removal, a 7 dB noise suppression, 12 units sensitivity and 0 units frequency correction filter were applied in Audacity. Afterwards, the instruments and vocals in the recording were separated from each other with the artificial intelligencesupported plug in called OpenVINO AI added to the Audacity application. After the vocal and instrument sounds were separated from each other, ornamentation analysis was performed with the application named VoceVista.

As a result of the analyses, 21 vibrato and 10 trill ornaments were identified. While only vibrato ornamentation was detected in the piece titled "Yüksek Odalarda Mangal Kömürü", vibrato and trill ornamentation were seen in all other pieces. In addition, the highest value was found in the piece “Haydan mı Olur Huydan mı Olur” performed by Rıza Konyalı with 11.7 Hz mean vibrato rate and 185 ct mean vibrato extent values. The analyses revealed that twenty one of the vibrato and trill ornaments were found at the end of the words. Five ornaments were not included in this group because they were found in monosyllabic words. These data show that ornaments such as vibrato and trill are mostly used at the end of words in Turkish Folk Music. As a result, this study aims to contribute to the researches to be conducted in the field by revealing the use of vibrato and trill ornaments used in Turkish folk music with concrete data.