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Section 4. Study of art
Muradzadeh Leyla Rauf, doctoral candidate Azerbaijan National Conservatory E-mail: mouradzadeah@gmail.com Aliyeva Ulkar Sabir, doctor of sciences on art, professor Azerbaijan National Conservatory E-mail: ula-music@rambler.ru
USE OF "SEGAH" MUGHAM ON FAIG NAGHIYEV'S "ASHIGAM" CHORAL MINIATURE
Abstract: The article gives a detailed analysis of modern Azerbaijani composer Faig Nagiyev's "Açiqam" ("I am in love") a capella choir. The Mughams, used in the work -mainly the sequence of segah and its varieties, have been demonstrated by the help of musical note examples. Moreover, the harmony of used piece of Bayati (The prevalent poetry genre ofAzerbaijani folklore) with music and its influence on the development of musical line is also mentioned. Keywords: a capella choir, mugham, Faig Naghiyev, Azerbaijani folklore, bayati.
chorus a cappella (words: A. Khagani) can be particularly noted.
The mixed chorus a cappella we will study in the article, is "Ashiqam" miniature written to folk bayaties in January 1979. The inspiration of Segah mugham is clearly visible in the miniature written in a simple 3-part, reprise form.
A significant part of outstanding composer Faiq Naghiev's creative career, representing some of the most important contributions to Azerbaijani music, is composed of choral works. He also explored the genre of requiem, having written "Kho-jaly haray" (Khojaly cry), a musical composition for a grand orchestra and mixed chorus.
In addition, musical works such as "Ana Torpag" (Motherland) cantata (words: Khalil Rza) for mezzo-soprano, narrators, mixed choir and grand orchestra dedicated to the memory of Great Patriotic War victims; "Layla" (Berceuse ) (words: folk bayaties) for a capella Female Chorus, azanchi (muezzin) to the words of Hasan Merach; "Azadlig" (Freedom) and "Sumgayit" odes (words: Alakbar Salahzade) for chorus and symphonic orchestra; "Shamin nalesi" (Candle cry) and "Ashigam" (I'm in love) miniatures for mixed chorus a cappella and symphonic orchestra, as well as songs such as "Al uste kimin eli" (Whose hand is on hand) (words: Khalil Rza), "Nargizin mahnisi" (Song of narcissus) (words Mirvarid Dilbazi); "Khatirlayarsan meni" (Will remember me) (words: Mir Mehdi Seyidzadeh) for children's choir; "Benovshayam" (I'm a viola), "Geder" (Will leave), and "Toy gunu" (Wedding day) cycle for mixed chorus a cappella dedicated to Leman Atakishiyeva (words: folk bayaties); "O sary yarpag" (Thatyellow leaf) for tenor and mixed a capella chorus dedicated to Yusif Habibov (words: Balash Azeroglu); and finally the three-part Concert for mixed
Generally, the lyrical base of the work is closer to the perception of Azerbaijani people, so the mugham is one of the most sung pieces in Azerbaij an. Even Iranian musician Ruhullah Al-Khaligi confirms, "Although "Segah" expression is found in ancient Iranian music books, most Iranian musicians attribute Segah mugham only to Azerbaijanis, because Segah mugham had become more and more popular among Azerbaijanis and Azerbaijani singers masterfully perform the mugham" [1].
This mugham is classified in five tones by M. Ismayilov, a well-known Azerbaijani musicologist who was a student of U. Hajibeyli, due to different phases it's being played on:
1) B key-note in small octave ("Kharij segah");
2) E key-note in the first octave ("Orta segah");
3) A key-note in the first octave ("Mirza-Huseyn segah");
4) D key-note in the first octave ("Yalkhin segah");
5) G key-note in the first octave ("Hashim segah") [2, 61].
In the "Ashiqam" miniature, composed by F. Naghiyev to
folk bayati words, from the beginning of the first bars it is clear that the song belongs to Segah mugham with the 6th degree B note. Most of songs which are based on Segah the starting sen-
tence, as usual, is generated around 6th phase of maqam - keynote quint. Such an intonation circle reveals that it belongs to "Shikesteyi-Fars" part of Segah, whereas the complementary second sentence gets lower and is completed at key-note of maqam at cadence typical for Segah, which shows that it belongs to "Mayeyi-segah" [...].
Most of songs composed over Segah maqam are based mainly on the stated rule. The first sentence of the first part leads it to "Shikesteyi-Fars", whereas the second, complementary sentence to the key-note phase and further, is completed [3, 27].
In this work we have studied, various types of Segah mu-gham, including Kharij Segah, Hashim segah, Yalkhin segah, as well as others. Furthermore, several types of structures that are required to accent choral music have been studied in this work: monodic or melodic, subsonic, polyphonic and homophonic-harmonic [4, 186].
The general character of the work, composed to the folk-bayati words, is lyric and amorous as can be seen from
its name. In some parts the elements reminding ashug music tunes it even more up to a positive mood.
Ashigam gule bakhdi, (I'm in love, looked at flower) Bulbullar gule bakhdi, (Nightingales looked at flower) Bir gozel gulumsedi, (A beauty smiled) Aghzindan gulab akhdi. (Rose water flowed form her mouth) Ashigam daghi gezem, (I'm in love, walking in the mountains) Sinemde sazi gezem, (Walking with saz on my chest) Metlebim yari gormek, (Hope to see my beloved) Ishim ne daghi gezem. (Why else would I need mountains) The part that studied the stunning impressions of the era, when the first signs of love and instant meetings give such a great gladness and emotion, was described with specific artistic poetic expressionism by the composer. It may be thought that such a shifting and contrasting composition line is exactly related with its text. Here both volume and structure, and tonality-maqam changes is implied.
Sample № 1
Sample № 2
In describing the structure of the work, we have defined as a simple 3-part, reprise formed of A+A1+B+C+A symbols. A theme is given in the first bar - B key-note (i.e., on Shikesteyi-Fars part of Kharij Segah). Only soprano and alto are included in the section which are temporarily subdivided into two sounds - S(I + II) + A.
Most likely, the composer intended to use volume of sound and timbre tones of female voices. Female voices that continue the sentence in the form of a 3-voice chorus pedal are answered in the 6th bar by the tenors in the form of divisi. Onwards, the phrase end is shifted to mayeyi-segah at 7th bar -S (I+II)+A-T (I+II)-B (I+II). Meantime, the word "bakhdi" (looked) is repeated by bassists in a tertia form, and thereby once again accents segah.
The first theme we defined as A1, which starts from (figure 1), is repeated in a slightly modified form. The
middle section starts from the (figure 2). In the soprano part where divisi is visible the left note of (I) sopranos shows Mukhalif part. The theme of the sopranos at bar no. 19 is repeated by tenors at the next bar. However, the imitative polyphony does not last long. The next episode starts from (figure 3). Simultaneous sounds of C-natural in soprano section over exclamations of "hey" and C-dieze once again accents segah mode. This is still the Shikesteyi-Fars section.
Episode B begins from (figure 4). The syllables "Dzin-dzin" used in the composition reminds the sounds of saz, which plays an accompanying role. It should be noted that this small theme, which is sounded only by tenor and subgroups, also appears in tones typical to ashug music due to parallel quarte it sounds throughout.
Sample № 3
Sample № 4:
While tenor and alto continue to sing under the structure, bassists j oin the rendition with a new theme on another rhythmic line which is on a shur mode. The F-sharp sound here is the most obvious element in the identification of mayeyi-shur cadence. Bassists complete the theme by keeping sound a "la" sound on the "hey" exclamation are responded to by the same sopranos with the words "Sinemde daghi gezem". Meanwhile, in the 33rd bar background melody of sub-section, sounds in the bardasht part of Shur mugham, and more clearly reflects the tones of mekan it belongs to.
It should be noted that, despite the composer refers to the theme of love with whimsical mood, the musical language is rich in moments and strokes which are far from primitive and, on the contrary, demonstrative of the complex polyphonic writing style.
Figure 5 is a small episode composed of 4 bars. Here, a fuller version is sounded due to versatile the version of the vocalized execution in the figure 4, as well as addition of the theme other than that of the tenor and alto.
From (figure 6), we see one more structure change. The main theme is also shifted in section, which we defined as C conditionally. Interestingly, the author has incorporated 6/8 + 2/8 grouping within the 4/4 dimension.
Let's also mention that Soprano, Alto, Tenor and Bassist parties individually have a different rhythmic shape.
Accompanying sopranos who act in the form of divisi (tertia) are joined, over the "dzin-dzin" syllable, by altos in another rhythmic form. The phases under these two voices show Hashim segah with a left chord. At the same time, an
interesting theme sounds in tenors over the syllable. Although the section plays the role of accompaniment, it can be regarded as melody with an individual theme.
Finally, in the bassists section, a new theme begins with "Metlebim yari gormek" (Hope to see my beloved) words which are followed by a short vocalizations of "hoy-hoy" and, at the same time, "dzin-dzin" syllables. "Hey" and "hoy-hoy" exclamations used in this piece, illustrates some kind of village life, imitating the shepherd's call of sheeps and cattle.
Due to both used syllables and performance structure this short part reminds instrumental sound (more precisely stringed instrument played with mizrab). This section may also be called pre-repetition preparation.
Finally, reprise, and, at the same time, the culmination point of the work starts at (figure 9). It should be noted that this experience has been apparent in the works of many composers.
This part, we defined as A, is almost the same as the beginning, with the addition of a small coda. At figure 12, the composer gives, in an unexpected form and time, C-shape key-note to tenors and bassists in unison.
At the 76th bar, the sopranos and altos conclude the final bar with the same sound with entire chorus in unison by forming cadenza over the keynote tertia - in E keynote with the "hey" exclamation.
The works of, talented, hardworking composer, educator, and active public personality, Faig Naghiyev, are the objects of research of many scholars. He continues his creative endeavors and pursuits well into the present day.
References:
1. Ruhullah Xaliqi. "Nazari be musiqi", Tehran, 1313(1938), sah. 190. Ruhullah Khaligi. "Nazari be musigi",- Tehran, 1313. 1938.- 190 p.
2. ismayilov M. S. "Azarbaycan xalq musiqisinin janrlari",- Baki. l§iq-1984. sah. 61. M. S. Ismailov. "Genres of folk music of Azerbaijan",- Baku. Ishiq-1984.- 61 p.
3. ismayilov M. S. "Azarbaycan xalq musiqisinin janrlari".- Baki. i§iq-1984. sah. 27. M. S. Ismailov. "Genres of folk music of Azerbaijan",- Baku. Ishiq -1984.- 27 p.
4. Ушкарев А. «Основы хорового письма».- М.,1982.- 186 c. A. Ushkarev "The Principles of Choral Writing".- M., 1982.186 p.
