There has been a prevailing perception in the classical Turkish music's tradition of instrument playing that performing an instrumental piece is more restrictive than a taqsim (improvisation), and that such notions as creativity, liberty, and spontaneity are more suited to the performance of taqsims. Archive records show us, however, that a number of master performers could not, by their nature, help but try to avoid being limited by the binds of written notes in order to feel, and help their audience feel, a greater sense of freedom and dynamism during the performance of a written instrumental piece, as would be the case during a taqsim. This article presents the annotated differentiations in Niyazi Sayın's seven different performances of Neyzen Salih Dede's peshrev in maqam acemaşîran. The recordings were obtained from the personal achives of Niyazi Sayın fans. However, in order to make it possible for those interested in reading the article to have easy access to the recordings, performances were uploaded to web and web addresses are given by us. Considering that a detailed comparison between all of the performances would exceed the scope of an article, we thought it more appropriate to present every performance separately with its descriptive information. This work will provide access to the annotated differences between the performances of a single instrumental work by a single performer while, hopefully, allowing the reader to appreciate the hints and signposts that Niyazi Sayın has left for us to explore the possibilities to "cloth", as it were, an instrumental piece with a new vigor, spirit, and emotion at every new performance.