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Türkmenje Aıdym Sözleri
1932 To save the music record to your harddisk: The Instruments These are divided into
idiophones (gopuz), aerophones (khyzlavuk, shuishul, dilli-tuyduk) and
chordophones (dutar, gidzhak). Idiophones Unlike those of some
Turkic-speaking peoples (Tuva, Khakass, Yakut) which make parallel whistling
overtones like a flageolet, this feature is absent among the Turkmen gopuz
players. Imitating certain
natural sounds, the gopuz player often uses the tongue up to make sounds such
as the galloping of hooves. Of late Turkmen gopuz
players have begun to imitate the techniques of northern peoples. This
practice has been initiated by Muhammet Hojayev from Vekilbazar.
Aerophones
Zhulzhul - this is an
instrument played by children and is shaped like a mountain goat or bird,
usually a Dilli-tuyduk: these
come in two kinds. In one, the reed end of the instrument is closed and
in the other it is open. A reed is cut in the upper part of the pipe
and 3 or 4 finger holes are cut on the upper part, at intervals of some
5-6mm. Its range is a 6thor 7th, from about fa in the first octave to
re or mi in the second. Some sounds have to be made by overblowing or
by partly exposing the finger holes. The dilli-tuyduk makes a
penetrating sound and is used to play the tunes of Turkmen folk songs.
Versions of song tunes in the form of ditties for the dilli-tuyduk start in a
long drawn-out sound going into the main melody. Gargy-tuyduk: this is
a long reed flute whose origin, according to legend, is connected with
Alexander of Macedonia, and a similar instrument existed in ancient
Eygpt. Attention has been drawn to the possible origin of the
instrument's name, gargy, from gargysh, gargamak, gargysha galmak and gargysh
etmek among the Turkic people meaning "curse". There is also
said to be a connection with Kargyra and Kharkhira, the style of guttural
singing for two voices of the northern Turkic-speaking peoples (Khakass,
Yakut and Tuva peoples). The sound of the gargy-tuyduk has much in
common with the two-voiced kargyra. During the playing of the gargy-tuyduk
the melody is clearly heard, while the lower droning sound is barely
audible. The allay epic songs have been accurately described by the
Turkologist N Baskakov who divides them into three main types: a) Kutilep kayla, in
which the second sound is a light drone.
Idiophones The word
"gidzhate' is found in XIV-X-V centuries in the work "Kanz
al-Tuhaf". In ancient Turkic the word "gipzhale' meant old
wood. This is what is written in the "Oguznama": "While
the ancient Turkic people called an old hollow tree a gypchak', they probably
also called wooden instruments resembling that tree a 'gypchale too, and
later a 'gydzhale." According to some
musicologists the gidzhak in Turkmenistan started being used only from the
beginning of the XIX century. But the above quotes from the oguznama
and also a poem by the poet Seydi where the instrument 'gydzhak' is mentioned
may be evidence of an earlier use of this instrument among the Turkmens. At the present day the
Turkmens use gidzhaks of two types - three-stringed and four-stringed.
The range of the traditional three-stringed gidzhak (i.e. with double first
string) is the same as that of the dutar. The four-stringed gidzbak is
mainly used in music schools of Turkmenistan for playing works of Russian and
foreign classical composers and is also used in orchestras of folk
instruments. The gidzbak player places importance on the use of
melisma, grace notes, mordents and other ornamentation. Famous Turkmen gidzbak
players of past and present include: Ali Syt, Khanmemmet Allanur ogly, Purli
Sary, Oraz Sary, Nury Sary, Orazberdi Gurbanmyrat ogly, Ata Ably, Chary
Gurban. Also well-known today are players of the four-stringed gidzhak
A. Dzhulgayev, M Saparova, A Soyunova, G Rakhimova, D Karayeva and
others. Aman Agadzhikov and other contemporary composers are producing
new songs for the gidzhak. In Turkmen destans one
finds the word "saz". This means either a tune or a musical
instrument. The widely-known epic destans such as "G6rogly',
"Shasenem - Garyp", "Asly-Kerem", and
"Nejhep-Oglan" have been well-known among other peoples of the East
as well as the Turkmens. It can be assumed that the word
"saz" as a musical instrument is mostly used in Turkmen in the
destans. And under their influence some classical poets have used the
word as a synonym for dutar. Yogyndan getirsin,
yukadan yonsun Concerning the
expression "tamdyrd'by which the dutar is known in some parts
ofturkmenistan, according to Sh.Gullyyev "tamdyra" comes from
tanbur. "tanbur-tambur-tambura-tamdyrd'. It can be presumed
that before the appearance of the word "dutar" in the XV Century in
Turkmenistan this instrument was called 11 tanbur", "tambur"
or "tamdyra". To quote from the XIV Century Turkmen poet Khusayynguly-murze: Perdeter arkaly soz
sozleyen tamdyramyn tary The dutar consists
basically of three parts: body (kedi), neck (sap) with frets (perde) and lid
(gapak). The body is made of mulberry wood, the neck of apricot wood
stuck with 13 frets of metal wire. In the past the dutar had silk
strings and the melodic string (lower first ) consisted of 8 silk strands
spun by hand and the second string consisted of I 0. Metal strings came into
use in the 1930s with the need to increase the sound of the instrument. The republic's
educational institutions nowadays use mainly reconstructed dutars which are
of imperfect quality and can only with difficulty reproduce the colour of
traditional medodies. Now more use is being
made of traditional dutars however, especially for major instrumental pieces
such as "Kyrklar", "Saltyklar" and "Mukamlar". Improvised
instrumental variations of songs are common
in Mary Oblast. Musicians of this area
can play versions in different time and rhythm. This tradition also exists in
Akhal. The song "Satashdym" played by dutarist P
Saryyev differs greatly from that played by M Tachmuradov, although the two
dutarists are pupils of the same player, Kel-Bakhshi. In music the meaning
of the term "makam" ("mukam", "makom",
"mugam") has many different levels. The Turkmen mukams have
not been given close attention. On reading the literature on the
subject the following questions arise:
1. Why are particular
songs mukams and not others? For dutar. and for tuyduk: "Hüwdi mukamy';
"Lotular mukamy'; "Gelin mukamy'; "Toy mukamy' It is possible that
the word "mukam" came into Turkmen music from Iran or
Azerbaijan. Nowadays the term "mukam" in Turkmen folk music signifies
a group of developed instrumental pieces, pieces of music with a similar
harmonic structure, or a complete performance of bakhsha and sazandar lasting
some 10-12 hours. There are links between Turkmen music and the music
of other peoples. The "Mukamlar bashy' and "Meshrep"
appear in Uighur mukams, and the titles "Koche bagy' and
"Torgay-gushiar" turn up in Uzbek music, as do the "Turkman
kyuy' among the Kazakhs. The melody "Garadeli", favoured by the
Karakalpaks, is associated with the name of the famous Turkmen musician
Garadeli Goklen (I 800-1880). Some pieces of music bear the names of
Turkmen tribes and clans. These are the "Yylgaylar",
"Memish gbkleng", "Bayat iline", Ybrayym-shadilli"
and "Saltyklar". Yylgaylar. This
is one of the smallyomut-dzhaparbay ethnic groups. According to
People's Artist of turkmenistan A Akhmedov songs beginning with the words
"Yylgaylarda bit gozel gordum" used to be sung to this kid of
melody. "Ybayym
shadilli" or "Shadilli" - this is a purely instrumental work
for dutar. The composer is not known for certain. The musician Yu
Berdiyev attributes it to A Gonibekov, and the scholar N Khodzhageldiyev and
folklorist A Akhmedov believe the melody "Shadilli" was composed by
Shukur-bakhshi. On the other hand the researcher G Dovletov puts
forward the hypothesis that there was a musician called "Yybrayym"
and "shadilli" was his composition. In our view, the name is
most likely directed lined with the Kurdish tribe Shadulu living in the
neighbourhood of the Turkmens in the areas of Gochant and Burdzhurnt. "Saltykla?-"
is a work existing in several versions, belonging to different
musicians. The famous musician Mylly Tachmuradov enumerates the
following five: Dzhepbar-saryk, Shykhy-bakhshi, Gulpak-bashshi and
Gulgeldi-ussa. Various theories have
been put forward concerning the origin of the word "Saltyk".
In the opinion of M Kosayev "Saltyle' comes from the word
"Seldzhule', and N Khodzhageldiyev and S Artykov see the name
"Saltyle' as denoting dedication to a woman of advanced age or the
dedication of a piece of music to one's tribe. A Durdyyev believes that
this work belongs to the Turkmen poet Gurbanaly Magrupy. We decided to try to
find out what ethnic group the saltyk is associated with. Literary
sources testify that the saltyk belongs to the Ersars. This is pointed
out in the works of G Karpov and S Atanyyazov. The Turkmen classical
poet Mollanepes in one of his poems ennimerates certain tribal groups of
Turkmens, among whom he names the Saltyks:
Mukry, olam, sakar,
saltyk, ersary hem garkyny / Garakolde sendey gozel ya-ha bolgay bolmagay. Or
indeed - Yuz mun sakar, saltygym / Baryn kylar derbe dep. So the "saltyle'
melody can be said to be directly connected with the Ersar Saltyks.
Melodies bearing the names of tribes and clans are found not only among the
Turkmens but also in the music of the Kazakhs, Uzbeks, and other
peoples. For example, Kurmangaza's "Aday'was dedicated to the Aday
Kazakhs. Taking into account the whole process of formation of
instrumental folk music song melodies of the following kinds have become
instrumental ones: 1. Melodies of songs
of everyday styles: "Allalar balam", "Hiiwdi mukamy',
"Goch egren", "Gyrmyzy kbynekli" etc. At the same time there
are also purely instrumental melodies: "GonLirbash mukamyu",
"BLirnyashak", "Ayralyk mukaniyu", "Toy mukamy',
"Gelin mukamy" and others. Of the same type are melodies bearing
the names of author musicians, often of famous bakhshi: "Ybrayym
shadillill, "Durdy bakhshi", "Berkeli chokay',
"Khazhgolak", "Yusup ovgan". All this traditional
instrumental music is still widely played in our time by Turkmen
instrumentalists. The material at our disposal
enables us to affirm that pieces for dilli-tuyduk are distinguished by their
stylistic unconventionality. In them a central place is occupied by pieces
for voice and instrument based often on variations on an initial thematic
structure whilst beginning with the drawing out of one sound for several
beats. Most of the pieces tend to be monothematic. Only occasionally
does one find pieces with two themes, especially contrasting ones. Since the instrument's
range is not wide most of the melodies are within the range of a fourth,
fifth and sixth, with three-note or four-note scale patterns. Pieces for
gagry-tuyduk are distinguished for their great variety and can be divided
into three groups: In all these three
types each piece has a characteristic introduction. Among pieces for
tuyduk, the "Toy mukamy' is particularly well developed and requires a high
degree of skill. In this piece there is wide use of all the technical
potential of the instrument, specifically long and short trills, rests,
softening and loudening of sounds, frequent drawing-out of sounds from one
phrase to another. The existence of
purely instrumental pieces alternating with variations of song melodies forms
the basis of all Turkmen instrumental music. In this regard pieces for
dutar and gidzhak stand out. The
variety of melodic ornamentation -yanlandyrmak, gapaga syrmak,
dyrnachaklamak, sekdirmek, agsakladmak, yabaklamak, shelpe, gyruv, chirtiv,
and also trills, turns, grace notes of various kinds, mordents, and pizzicato
become important means of expression in dutar and gidzbak music. In Turkmen
traditional vocal and purely instrumental music, in the process of centuries
of its development, certain beats have been worked out. Here are some
examples: 2 1
1 5 2 3 4 2 2 3 1 1 1 6
3 3 7 4 3 3 3 1 2
1 1 3 1 1
1 11 3 4 4 As to
rhythm, its complexities have been described by many scientists. In
particular, V Belyayev wrote:
the rhythm of their musical works is somehow concealed within the music
itself, enlivening it like the beating of an internal life pulse ... The most
frequently-encountered modes in Turkmen traditional music are: In the
harmonic structure of Turkmen music, as in that of many other oriental
peoples, the neutral step - 11 and III - is especially important. It is
slightly higher than respectively the II and III of the basic step.
Also, transposition of theme, i.e. of the initial melodic structure, at
various pitches, is common, especially in the repertoires of musicians of
Mary velayat. An important feature of the
structure ofturkmen instrumental folk music is its proliferation of
variations within the couplet structure of a piece of music. The
instrumental variations of song melodies tend to have an irregular
rhythm. This is due to the manifold improvisations used in the
performance of songs - interjections, words and syllables which serve to
extend the melodic structure. And in instrumental performance these
features seem to have been carried over.
BegMurad Halliyof
Jumamurad Bahºi – Jan Mamet Gyjagçy
Garli Bahºi Soltanov
Garli BahºiYolamanov
Murad Nepesliof
Nobat Aman Syhat Bahºi
Oraz Salur , Mati Bahsinin Oglu
Hajı Çari Muradiyan Ney Singer (Türkmensahra) ªükür Bahºi a member of
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