Classical Kemençe, a Turkish instrument, is performed as a string instrument used in Turkish Music.

“Kemançe-i guz” that was given to this instrument in the old centuries; Oguz Kemençesi, ” Kemençe-i Rumi ”; Names such as ‘’Anatolian Kemençe’’ show this. XVII. In the mid-century, there were 80 professional musicians performing Kemençe in Istanbul, and the following lines are understood from the master ‘Sazende’’ of the era while he was talking about the ‘’Kemençecileri’’ in the ‘’Seyehatnamesinde’’ of Evliya Çelebi. “The leading ones are Kemani Mustafa, Kemani Aşur Ağa, Mahmud Çelebi, Kurşuncu-zade, Mesarıf Ali, Kemani Ahmet Çelebi, Kemani Hüseyin Çelebi, Ahmet Çelebi.” Mustafa Aga is a joke. Musra: The Kaabil-i Tahsil-is, the Master-would-be from Ustad, ” This Ahmet Çelebi is such a violin when he is a priest that ‘’Adem’’ who listens to ‘’Taksim’’ is fascinated.

XIX. At the end of the century, the demand for ‘’classical Kemençe’’ increased suddenly. Because the biggest ‘’Kemençe’’ virtuoso Tanburi Cemil Bey and the second biggest venous ‘’Kemençeci Vasilaki’’ grew up in these years. The third and fourth major virtuosos who grew up after these viruses are ‘’Ruşen Ferit Kam’’ and ‘’Cüneyd Orhon’’. Apart from these performers, ‘’Gevherin Sultan’’, ‘’Mesud Cemil’’, ‘’Hadiye Ötüken’’, ‘’Kanuni Nazım bey’’, ‘’Haldun Menemencioğlu (Haluk Recai)’’, ‘’Ekrem Erdoğru’’ can be mentioned. Before ‘’Classical Kemençe’’ before ‘’Tanburi Cemil Bey’’, it was an instrument that was performed together with Lavta in the performance of ‘’Köçekçe’’ teams. He would not attend the fine instrument.

For Example, In Kemençe-i Rumi, there were 4 or 6 pairs of wires, in ‘’Tanburi Cemil Bey’’, he used 4-string in Hüseyni makam, and “Kaba Kemençe” in the makings of Suzinak and Zavil. ‘’Classical Kemençe’’, which has been subjected to many changes throughout the centuries, is a form developed in its present form. As ‘’Sedefhane Art Workshop’’, 3-wire plain and hand-crafted ‘’Classical Kemençe’’ construction continues.