Stringed - bowed musical instruments

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Stringed - bowed musical instruments

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1. Information about stringed musical instruments.

2. History of the origin of the Gijjak instrument.

3. Sato, Qobuz about musical instruments.

4. About famous pranksters

5. Conclusion.

                                               Gijjak

Gijjak musical instrument is a very old musical instrument among other instruments. It is a stringed instrument played with a bow, which has been widely used by the peoples of Central Asia, especially the Uzbeks. In the past, the bowl of the gourd was made of pumpkin, coconut (coconut) and hollowed out inside. The kosasin is covered with fish skin and bubble. The handle is made of mulberry or walnut and apricot wood.

    In the early period, the gizjak was tuned in the interval of two narrow fourths, sometimes adjusted to suit the voice of the singers. A stick is attached to the bottom of the bowl, placed on the performer's lap and played while sitting.

   The handle is round and widened as it gets closer to the bowl. At that time, gijjak was performed in unison, individually, and accompanied by an ensemble. The strings of the bow (made from a horse's tail) were played by pulling the fingers of the right hand while playing.

Eastern scholars who lived and worked in the Middle Ages in their musical treatises gave a lot of valuable information about the gizjak instrument. Al Farabi's (873-950) "Big book on music", ibn Sina's (980-1037) "Book of Healing" in the music section, Al-Khwarazmi's (X acp) "Key of Knowledge", Safiuddin Urmawi (1216-1294 ), Abdurrahman Jami (1414-1492) gave important information about playing musical instruments and instruments in the books "Treatise on Music".

Abduqadir Maroghiy (Ghoyibi XV century) in his treatise "Collection of melodies in the science of music" enriched with information about the existence of a kind of musical instruments such as a bow, a seven-stringed gijjak.

      Darvish Ali's musical treatise (XVI-XVII centuries) is a valuable resource for the study of Central Asian music. This work describes the creative biographies of famous singers and instrumentalists, composers. The fifth and sixth chapters of the treatise provide detailed information about folk instruments used in many Eastern countries at that time. Seven of the instruments described by Darwish Ali were common at that time. They are tanbur, chang, law, oud, rubob, qobiz and gijjaks.

Ustoz Zaytuni-Gijjaki, Sheikh Ahmadiy Qabizi, Amir Mastiy Hiroti (Qabiz), who were the most accomplished performers at that time, played an important role in the performance of folk instruments.

Zahiriddin Muhammad Babir (1483-1530) admitted that Alisher Navoi helped many performers in his time, including oud players, flute players, and bagpipe players, to show their talents. According to Babir, Shah Quli Gijjaki, a skilled gijjak player, was in a special place at that time.

At the beginning of the 1948th century, the art of playing a musical instrument became much higher. Musical schools and the Tashkent State Conservatory were established, and the playing of musical instruments advanced considerably. New words began to appear. In XNUMX, an orchestra class was opened at the Tashkent State Conservatory, where several specialists began to teach all kinds of musical instruments.

Adjustment of the trigger.

 

The stringed instrument belongs to the perfect string-bow family. The wheel has been reworked and four strings (previously three) have been introduced. The fourth thickest string is in the minor octave Salt ga, the third string is in the first octave re ga, the second string is in the first octave lya to and the last first chord in the second octave mi is set to . Its total volume is in a small octave Saltin the fourth octave from lya until

 

The making of gizhjak.

 

The handle of the guitar is not round, but rather flat, like the handle of a violin. The leg is made to play sitting on a chair. For playing in an orchestra, there are major and minor types of dulcimer (dulcet alto, dulcet bass, dulcet contra bass). Gijjak is mainly made from the wood of mulberry and walnut trees, and its bowl is covered with the skin of fish or calf's heart. The string instrument plays the main, leading role in orchestras, and is popular as a soloist. Its sheet music is written until it is heard in the treble clef.

Imomjon Ikramov, Ganijon Toshmatov, Shuhrat Yoldoshev, Mukhtorjon Murtazoyev, Kommunar Komilov and others are among the famous entertainers who lived in Uzbekistan.

Presently serving cheerleaders: Abduhoshim Ismailov, Olmas Rasulov, Salahiddin Azizboyev, Tursunboy Jorayev, Kahramon Komilov, Murad Toshmukhammedov, Akhmadjon Dadayev, Husan Faizullayev, Erkin Khudoiberdiyev and others.

Gijjak alt.

 

The bell alt is a slightly larger version of the basic bell. Gzhijjak alto instrument has been widely used since the 50s of the XNUMXth century.

RIFelisant taught first from G'ijjak alt class (founded in 1949). A. Kholmukhamedov until 1954, G'. Kochkarov until 1961, from the following years this class was headed by Murad Ibragimovich Toshmuhamedov. The famous violinists Kahramon Nazirov (winner of the competition), Joraboy Saidov (winner of the competition), Jasur Ergashev (winner of the competition), Husan Fayzullayev and others are currently working tirelessly as teachers in higher and secondary specialized educational institutions.

Due to the construction of the alt, the gizzard is slightly larger than the gizzard. The strings are tuned in fifth intervals. 4th string in minor octave do ga, 3rd in minor octave Salt ga, 2nd string in the first octave re ga and 1st string in the first octave lya adjusts to the sound. The overall volume is in a small octave do in the third octave lya to the sound. Notes are written in the treble clef, (high notes) in the treble clef.

Ghijjak bass (Qobiz bass).

 

The G'ijjak bass (Qobiz bass) class was established in 1949 at the Tashkent State Conservatory. GNIvanov's student Kh. Tursunov was the first graduate of this class.

The dulcimer bass is an enlarged version of the basic dulcimer, acting as a cello. The strings of the bass are tuned in fifths. The 4th lowest string is a major octave do to the note, in the 3rd narrow-major octave Salt 2nd string in minor octave re to the note and the 1st string in the minor octave lya is tuned to the note. The overall sound volume of Gijjak bass (Qobiz bass) is a large octave do from the note in the third octave re up to the note. Notes are written in bass clef, high notes are written in treble clef.

Since 1966, since XNUMX, the experienced teacher cellist IIShelpuk has been leading the Qobiz bass class. Among the students of IIShelpukni, the winner of the competition Shahid Karaboyev (first prize) and Yoldosh Tolaganov were especially noted.

           Gzhizhak double bass (Kobiz double bass)

The guizhak contrabass (kobiz kontrabass) is the largest version of the main guizhak, which acts as a contrabass. The strings are arranged in quarta intervals. The 4th lowest string is in the contra octave mi to the sound, and the 3rd string is in the counter octave lya 2nd string in the big octave re and the 1st string in the big octave Salt adjusts to sounds. The overall sound volume of the double-bass is in the contra octave mi in the first octave of the sound Salt to the sound. Notes are written in the bass clef, an octave higher than they are heard. The double bass is played standing up, just like a violin double bass. It acts as the main foundation in the orchestra.

      The Gijjak double bass class was opened at the Tashkent State Conservatory in 1949, and began to demonstrate its activity in a practical way in 1953. S. Sayfiddinov, who graduated from this class, worked actively until 1960, and from 1962 to 1974, VISerdyukov's student BXAbdurakhmonov started teaching. Since 1974, IUSulaimonov continues to lead this class. Syed Makhmud Khoja Akbarkhojayev (first prize in 1974), Bakhtiyor Otayev (second prize in 1974) won the competition from this double bass class. Another talented girl graduated from the double bass class.

We can't.

Kobyz-kavuz is a string-bowed musical instrument. There are various legends about the appearance of the Kobyz instrument. According to Professor Fitrat, Qobiz is the oldest Turkish musical instrument. The net of Qabuz is two pieces. Each strand consists of a bundle of hair, taken from the horse's tail. The strings of the first string are smaller than the second string. The instruments of the Bakhsh-Uzons, who were the poets of the Turkic era, were in decline.

of Mahmud Kashgari "Devon dictionary of Turkish" as in the old Turkish dictionary "Qubiz", "to rush" as there are words such as Navoi, Lutfiy Mirhaydar Manzhzub in the works of many Chigatai poets "Qubiz" you can meet the name. According to Fitrat, in the XNUMXth century, Darvish Ali's second treatise, the famous musicologists from the time of Abdullah Khan to the time of Imam Quli Khan: Bukhara dutor player Mahmud Ishok Ogle, Amir Fathi from Tashkent, Mavlano Baqi Zarduz from Samarkand, Hajagi Ja'far Legit, Qubiz player Hafiz Poyanda, Qubizchi Sheikh Ahmed, Qubizchi Mirmasti, Ustad Abdullah piper from Balkh, Khoja Navroz, tanbur player, Husayn Uddi, Gijjakchi Ustad Uzbek and others are incomparable in the Uzbek musical world.

Kobyz musical instrument is also widely used in Kazakhstan and is still being played. According to the type of instrument made in Kazakhstan, the bowl is carved, the neck and handle are made of one piece of wood, and the bottom of the bowl is covered with camel skin. Two strings are worn around the ponytail. These strings are tuned between fourths and sometimes fifths. Since the handle and bowl of the Qobiz are made bent, when the strings are pressed with the fingers during playing, it does not touch the handle. As a result, a grunting sound is heard in the bag. The volume of the voice of Kobiz is about two octaves. The total length is 700 mm. In order to expand and improve the composition of the orchestra of folk instruments named after Kormongozi, prima, alto, bass and contrabass types of kobiz have been developed. Reworked types of kobiz became three- and four-stringed. Kobyz is played individually, as well as in an ensemble and an orchestra. Qobiz is widely used in Uzbekistan, the Autonomous Republic of Karakalpakstan and Kazakhstan.

In 1934, the Kazakh composer, instrumentalist scientist AKJubanov created a family of musical instruments, kobiz. The types of alto, bass and contrabass of Qobiz were created. He created an orchestra of reconstructed instruments composed of chromatic dumbra, daupaz, snare drum and triangle series. Kobyz's alto, bass, and contrabass plays an important role in the orchestra. Bakhtiyor Otayev and Syed Mahmudkhozha Akbarkhozhayev won the competition in the performance of Qobyz double bass.

Sato.

 

There are speculations that the Sato instrument, along with other instruments, appeared several centuries ago. One of the distinctive features of medieval music performance culture was that musicians could not only play several types of musical instruments, but also composed music themselves. Musicians were also accomplished musicians and poets of their time.

Musical specialization in medieval conditions led to the emergence of special musical workshops. Here the tradition of master-disciple developed. At the same time, the performance of the ensemble improved, the main forms of musical art were formed, and new models of musical instruments were discovered.

         The theoretical views of Eastern scientists were formed on the basis of the existing experience of performing arts, and in their treatises they gave detailed information about the role and importance of music in society.

         Qutb al-Din al-Sherazi (1236-1310) was known as an Iranian music theorist, who in his treatise made instructive comments about the bowed tanbur-sato, and considered the human voice to be the most beautiful of all musical instruments.

Structure of Sato

 

The Sato musical instrument looks like a tanbur. Saton's bowl is made of finely carved birch, apricot or walnut wood. It is possible to play the Sato instrument with a bow, but for this, it is necessary to use a flat head instead of a special head in the bowl, because the sound of the strings during playing and the negative effect on the high playability can show.

The sound of Sato's instrument is a bit shrill and painful. During the performance, the sound from the sato instrument takes a person into a trance. The radiating melody affects the listener in such a way that even the listener sometimes does not notice that the part of his body is vibrating. The tunes played by Turgun Alimatov can be an example of this. Turgun Alimatov (People's Artist of Uzbekistan) is a master tanbur player, dutor player and the most prominent musician who plays the sato instrument with heart and charm.

 We know that Sato improved his instrument mainly in Uzbekistan and Tajikistan. A sato is basically a bowed instrument, played while sitting down, like a jijika. On the handle of sato, curtains (lads) are wrapped from the intestine, and on gijjak, the handle is smooth. Sato's thinly carved bowl is slightly larger in shape than a tambourine, with a matching lid. Sato's handle is as long as a tambourine, and it is tied in three coils of colonic string, with curtains, as well as special curtains attached to the lid of the bowl. Haspardas consist of wooden sticks that are attached to the lid of the bowl of the tanbur and sato instruments. The volume of the sound forms a diatonic sound range in a wider range than two and a half octaves.

The number of main strings is three and sometimes four, and these strings are made of metal, copper. (the one in the middle) is sometimes tuned down a second by the fourth and fifth compared to the two outer ones. The resonating strings placed under the main notes and pulled to the side ears are tuned in seconds, just like the Afghan rubi.

But there is no such echo in the sato copies used in Uzbekistan now. The satos created by master Usman Zufarov have a unique sweet and juicy sound. Sato is played with a bow while sitting on the left knee. With the right hand, they pull the bow to the left and right and perform it in their own ways and styles.

                          References:

 

1. Akbarov Il. Dictionary of music T., Art 1990.

2. Vizgo T. Central Asian musical instruments. Moscow., 1980.

3. Karomatov F. Uzbek folk music. Moscow., Music 1980.

4. Odilov A. History of performance on Uzbek folk musical instruments.

     Tashkent., Teacher 1995.

5. Fitrat A. Uzbek classical music and its history.

       Tashkent., Science, 1993.

     6. Petrosyants AI Musical Instruments T., Art 1990.

7. Nurmatov H. Rubob textbook T., Teacher 2004.

8. Tashmukhammedov .M. Gijjak. T., Teacher. 2002.