"Bağlama, with its different names, types, and derivatives, has shown multiple developments in Anatolia, with its feature of being performed both with and without taupe in a wide geography stretching from Asia to Europe. In addition to this multiple developments in performance styles, it is called "order". The fact that it contains different tuning forms, which is called the so-called, has given this instrument a different identity. This originality of baglama, which was shaped within the traditional music culture of Anatolia, has been transferred to the present day, especially with the master-apprentice training in its elegant music; In time, with the urbanization process, it has also taken its place in the field of academic education. However, the thought that the multi-development feature of baglama could not be adequately reflected in the field of academic education led us to prepare such a method. In this context, the studies that we continued with individual efforts in different periods were combined since 2000 and turned into the act of writing "Bağlama Method". The idea that the elements constituting the originality of baglama should be preserved has also been the basic principle of this unity. However, it should be noted here that it is impossible to present all the originality of this instrument in a comprehensive book. As a matter of fact, besides the different performance styles in baglama, the existence of many order practices and the fact that these orders are performed with a separate instrument logic supports this idea.