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The dutar cup lid is the most important resonator part that determines the sound quality of the instrument. It is made of yellow mulberry wood, and it is desirable to have a broad-leaved, eyeless, smooth fruit with no branches. The raw material selected by the composer is shaped into one or two pieces 4-5 mm thick, depending on the specific mulberry navigation, and glued to the bowl.
The strings of the instrument are made of silkworm silk, which is mainly fed from mulberry trees, and is flattened to a uniform diameter. Because the main parts of the dutar are made of smoke and the strings are made of the same body, its delicate, melancholy, melodious voice evokes calmness and serenity. The curtains of the national dutar are tied to the pole with a diatonic sound made of sheep's gut or kapron thread. Torgir is made of solid wood, bone and metal, hardened at the bottom of the skull ribs. As with all mezrabic instruments, the dutar is made of maple and apricot wood, the main means of playing the strings. The unison, the pure quartet, and the quintet are sometimes adjusted in octave intervals as the two strings are tied together.
References / Список литературы
1. Darvesh Ali Changiy. "Risolai Musiqiy". Manuscript. Institute of Oriental Studies at the Academy of Sciences Republic of Uzbekistan. Inv.468.
INTERPRETATION OF SULTAN KHAITBAYEV'S PRELUDE
FOR PIANO
Hayitbaeva D.S. Email: [email protected]
Hayitbaeva Dilbar Sultanova - Associate Professor, DEPARTMENT OF GENERAL PIANO, STATE CONSERVATORY OF UZBEKISTAN, TASHKENT, REPUBLIC OF UZBEKISTAN
Abstract: the article is devoted to the interpretation of the piano prelude in C-minor by the famous composer of Uzbekistan - Sultan Khayitbaev. It examines creative work methods with students and how it can be used to help in the formation of their musical thinking based on figurative and emotional perception.
This work also discusses how composer in his work had turned to different musical genres and successfully enriched them with national characteristics.
The work of the Honored Art Worker of Uzbekistan, professor, and composer Sultan Khayitbayev is distinguished by melodious, diversity with proximity to Uzbek folk music in its intonations. Keywords: prelude, melody, texture, piece, cadence, cantilena, register, performance, form.
ИНТЕРПРЕТАЦИЯ ПРЕЛЮДИИ ДЛЯ ФОРТЕПИАНО СУЛТАНА
ХАЙИТБАЕВА Хайитбаева Д.С.
Хайитбаева Дилбар Султановна — доцент, кафедра общего фортепиано, Государственная консерватория Узбекистана, г. Ташкент, Республика Узбекистан
Аннотация: татья посвящена интерпретации фортепианной прелюдии до минор известного композитора Узбекистана - Султана Хайитбаева. В ней рассматриваются методы творческой работы со студентами и то, как их можно использовать для формирования музыкального мышления, основанного на образном и эмоциональном восприятии. В данной работе также рассказывается о том, как композитор в своем творчестве обращался к разным музыкальным жанрам и успешно обогащал их узбекским национальным колоритом.
Творчество заслуженного деятеля искусств Узбекистана, профессора, композитора Султана Хайитбаева отличается мелодичностью, разнообразием, схожестью с узбекской народной музыкой в ее интонациях.
Ключевые слова: прелюдия, мелодия, фактура, пьеса, каденция, кантилена, регистр, исполнение, форма.
UDC 078.8
Our pride is the enduring cultural values created by composers in various genres of musical art. The works of art by the masters of the Uzbek school of composition are rooted in centuries-old spiritual traditions and bring people aesthetic pleasure. These feelings are experienced by everyone who becomes acquainted with the incredible works of Sultan Khayitbaev.
First of all, the music of this composer touches performers and listeners because of its inner nobility, balance, and spiritual purity. It is filled with a sense of beauty and the warmth of human poetry. The composer turned to various musical genres and forms and enriched them with a national content.
Describing the work of S. Khayitbaev, musicologists A. Jabbarov and N. Solomonova say: "His best works are distinguished by simplicity and melodiousness, proximity in intonation to Uzbek folklore music, a variety of musical images, feelings, and moods."
The multifaceted content of the work of S. Khayitbaev makes the work of this artist significant in the system of musical perception of future musicians. It should be highlighted that S. Khayitbaev's piano works, such as variations, canons, preludes, have become part of the educational and pedagogical repertoire of the music education system of culture and art.
Speaking about S. Khayitbaev's piano compositions, we should note the next features:
1. Conciseness and simplicity of the language,
2. Classicism of the form,
3. Clear phrasing.
The figurative and emotionally rich music of S. Khayitbaev is filled with peculiar folk melodies, harmonic and polyphonic techniques, which are characteristic of Uzbek songs, imitations of the timbres of folk instruments.
The composer uses figurative decorations inherent to Uzbek folklore, usuls rhythmic pattern/formulas, parallel chords, quarter complexes, lively and energetic ostinato formations.
S. Khayitbaev's melody is always flexible and colorful. It can be short, assembled from separate motives when it serves purely impressionistic effects, but it can also be wide, melodious, delivering an emotional state.
S. Khayitbaev's melodies are characterized by logical completeness and the logic of the development of musical thought. There are some dissonances in the music of the Uzbek composer, which are associated with frequent modulation deviations, non-chord sounds that as a result create some kind of melodic line. Along with this, the composer makes diverse use of the resources of the natural-mode diatonic that is common to Uzbek folk music.
The texture of writing in S. Khayitbaev's piano compositions is mostly clear, airy, and the style of his musical language mainly depends on the specific images, on the sound tasks that the composer sets for himself. It can be said, that impressionistic colors and emotional efficacy are manifested here. Often, S. Khayitbaev's music is inspired by poetry, lyricism, especially in highly artistic sketches of nature.
The simple texture of the piano, the wide use of the middle register possibilities, the uniformity of technique within each piece, the simple and understandable form make the works of S. Khayitbaev accessible for the listeners' perception and performance.
To a certain extent, S. Khayitbaev's piano works are universal: they are suitable for work with students of varying degrees of preparation. The dignity of S. Khayitbaev's piano works is not only in that they are colorful and figurative - but the composer also solves certain pedagogical issues in them:
1. Development of a melodious sound;
2. Strokes contrasts - legato and non-legato;
3. The basic parameters of small techniques are laid;
4. Techniques of double notes.
We bring to your attention the composer's Prelude in c-moll, in which you can learn some of the methods of creative work with a student. The main pedagogical tasks in this work are:
1. Formation of musical thinking based on figurative and emotional perception;
2. Consistent understanding of the elements of the musical language,
3. Education of hearing, attention, memory, intelligence.
The prelude is illustrative as a piece of small form that is extremely useful for artistic and pianistic development.
The student should be told about the work of S. Khayitbaev, about the peculiarities of his musical language, the national originality of his compositions. The prelude has a very harmonious and logical musical structure. It is written in three parts. The figurative content of the work is associated with a
range of lyrical emotions and feelings. In the first part of the play, the romantic image of lyrical and philosophical reflections is embodied, contemplating the pictures of nature. Talking about the music of the prelude, it is important to emphasize the psychology of feelings and experiences inherent in this work. The richness of psychological nuances inherent in the musical thinking of S. Khayitbaev is unfolded, above all things, by the composer's favorite expressive means - melody, harmony, structure, methods of thematic development.
In the prelude, the Uzbek national principle is clearly expressed, which is manifested in the meditative nature of the melody, in the diatonic nature of the lado-harmonic language. The melody is presented in the middle register. Its contours are strict and graphic. The predominance of the downward movement, the gradualness, and humming of tones, and strict diatonicism contribute to the creation of the lyrical-contemplative mood of the play.
In the music of the prelude, there is a hidden excitement, it potentially contains a deep emotional beginning, which in the process of development receives disclosure. This is evidenced by the wide undulating harmonic figurations of the accompaniment in the left-hand part. These expressive figurations reinforce the psychological subtext of the melody, therefore teacher should draw student's attention to the nature of the accompaniment. The composer uses a very colorful harmony here. The use of the plagal cadence enhances the expressive features of the piece. The constant flow of harmony, softened by the right pedal, which envelops and unites functionally different harmonies, evokes associations with impressionistic musical colors. In the performance of the accompaniment, it is necessary to feel, hear well and show the nuances of harmonious development. In particular, the parallel modal coloring in C minor - flat major, and starting from the ninth bar, the movement to the second low degree and the deviation into the key of the fifth scale of the scale - in A flat major, replaced by F minor. A good footing of deep bass, supported by a pedal, is essential. In the prelude of S. Khayitbaev, the methods of texture development from the first to the middle part are subtly used, creating a feeling of a broad space. The middle section covers a very large range of the instrument. The music here acquires a passionate character, becomes very rich, majestic, and dramatic. The execution of the middle part requires an epic scope, breadth, freedom of movement, and the scale of expression of the emotional pathos of feelings. The student's attention should be paid to the complication of the texture, to the appearance of the octave and chords in the right-hand part, where it is necessary to hear middle voices that contribute to the fullness of chords, the fullness of the texture. Due to these expressive means, music is enriched with courageous, strong-willed traits and it can be said that because it acquires a heroic character. It is recommended to emphasize the ascending nature of the movement of melodic development, gradually rushing to the culminate climax in the 28th bar.
The main performing task of the middle part is to convey the sense of space and breadth of the emotional image, the creation of a powerful accumulation of energy leading to a culminating point in the harmony of sol minor, the natural dominance of the main tonality. The harmonious development in the middle part of the piece is quite dynamic and purposeful. Attention should be paid to the interesting tonal plan that prepares the culmination. The appearance of each harmonic color must be felt and subtly conveyed, especially the second low - Neapolitan harmony in relation to the main key of the piece in C minor.
The cadence requires special attention. It is built on the descending openwork passages of thirty-second notes. The cadence must be worked out very carefully, choosing a comfortable fingering, and gradual weakening of the strength of the sonorities f and p, with a corresponding deceleration in tempo. Attention should be paid to the fermatas that end the cadence passages. They are perceived as sounding moments of silence. The task of the cadence is to ease the emotional tension of the climax and prepare the beginning of the reprise.
The reprise exactly repeats the musical text of the first part of the prelude. In the performance of it, it is necessary to find new colors of sound, more subtle and refined, such as transparent watercolors. In the reprise, you need to achieve a feeling of complete spiritual peace and tranquility.
The ending should sound very thoughtful. Here it is necessary to convey the diversity and richness of the different registers of the piano. In the last two segments, the attention should be concentrated on the beautiful milling of the sound, the feeling of peace and silence, which concludes this composition.
The Prelude by S. Khayitbaev is very useful for the development of cantilena, a deep feeling of the timbre colors of the piano and the sound richness of its registers. What are the performing tasks that arise in the play in connection with the disclosure of its image? From the very beginning, attention should be drawn to the development of the melodic line. Already in the first bars, one should feel the inner aspiration of the music, which can be caused by the combination of individual motives into large melodic lines - four bars. The melody should, as by itself, softly shine through the "light fabric" of harmonic figurations. All the while feeling the movement of the melody forward, it is necessary to
emphasize the elements of speech expressiveness in it and therefore give it a special sincerity, the character of a speaking melody.
It is also significant to work on part of the left hand, which plays with solid eighths: its line should sound very even and completely continuous. The delicate performance of the accompaniment presents a great artistic difficulty for the performer; one should specifically work on the leisurely and smooth movements of the left hand.
In conclusion, reviewed by us S. Khayitbaev's prelude provides teachers a wide range of opportunities for work with students. The work on the piece should be seen as an introduction of young musicians to the world of beauty, as another step towards the discovery of their personality. At the same time, the corresponding pianistic problems will be solved. The goal of working on a specific composition is a meaningful, vivid, technically perfect performance. All the diversity of forms of work on a piece of music should in nature be subordinated to the implementation of this goal.
References / Список литературы
1. Zhabborov A.Kh. "Uzbekistan bastakorlari va musiqashunoslari". Toshkent. "Yangi asr avlodi", 2004. Р. 433.
2. Zhabborov A.Kh., Solomonova Т. Composers and musicisans of Uzbekistan. Т., 1975, Р. 200.
