Following tradition

Shepherd’s pipe sounds in orchestras

Saadat ABDULLAYEVA Doctor of Arts, Professor

THE AND THE TUTAK, WIND MUSICAL INSTRUMENTS THAT REPRESENT THE EASTERN FORM OF THE AND PIPE [1, 2], HAVE LONG BEEN WIDESPREAD IN . THE FIRST EXAMPLES OF SIMPLE AND PIPES WITHOUT PLAYING OPENINGS WERE DISCOVERED BY ARCHAEOLOGISTS IN PALEOLITHIC MONUMENTS. MULTIBARRELLED AND TRANSVERSAL FLUTES AND PIPES, AC- CORDING TO RESEARCHERS, APPEARED RELATIVELY LATE – IN THE EARLY AND LATE NEOLITHIC PERIOD.

nstruments of the same type as ban-, in Ossetia - uadynz, in the ney are common in many Adygea - kamyl, in Kabarda-Balkaria Iparts of the world under diff er- - bzhami, in Karachay-Cherkessia – ent names. For example, in Ukraine, sibizga and kamyl, in - ueno- similar instrument is called fl oyara, saamuri, avili, kavili, nay or nestvi, in in Moldova – fl uer and , in Ab- - , in - ksyul khazia - acharpyn, in Ajaria – cho- (Lezgins), shatakhyi (Dargins), zybyz-

50 Girl playing the ney,www.irs-az.com 17th century

Heritage_4_(11)_2012_last.indd 50 11/23/12 10:04 PM In orchestras of Azerbaijani folk instruments, a kind of tutak called small tutak (kichik tutak, ) is used gy (Kumyks), in Chechnya - dutra, in Bashkortostan - kuray, in Kazakhstan - sybyzgy , in Turkmenistan - kargy tuyduk, in Kyrgyzstan - sarbasnay [3], in the Arab world - mizmar, in Greece – tzamara, etc. In Egypt, and Tur- key numerous varieties of the ney, diff ering in the length of the barrel, are known. For example, in , depending the mugams performed, 12 types of the ney are used: bola- heng nisfi ye, bolaheng-supurde ma- beyni, supurde, mustahsen, yildiz, kiz, kiz-mansur mabeyni, mansur, mansur shah mabeyni, shah, davud, davud-bolaheng mabeyni and bo- laheng. [4] Mentions of the ney and other wind instruments are common in the works of prominent Azerbai- jani poets of the Middle Ages. For example, ’s poem “Iskandar-nameh” tells a story about the birth of the ney. According to , the ney sounds good with the percussion instru- ment – the . At feasts convened by Safavid Shah Ismayil Khatai at his Tabriz palace, singers often per- formed accompanying themselves with the ud and the ney. Muham- two contemporary types of the mad Fizuli’s poem “Haft Jam” (“Seven ney - white and black. An image of Cups”) presents an allegorical con- the ney can be found in medieval versation between the poet and the miniatures of Azerbaijani artists ney. The poet asks about the reason Sultan , Mirza Ali Ta- for grief in the sound of the ney and brizi, Mir Ali and others. receives the answer: fi rst, when the In these works, the ney is portrayed ney was a cane, it did not know grief in the shape of a long tube with a – it grew up on land, fed on water, small diameter. The length of the warmed itself from the sun, swayed instrument reached 700-800 mm. in the wind and got along with fi re, Of course, it is impossible to draw but then they turn their back on it playing openings on a miniature, and its heart could not bear these but from the position of musicians’ troubles. fi ngers, it can be seen that there In Azerbaijan, several varieties of were several of them and they were the ney were widespread in diff er- located at the bottom of the instru- ent historical periods. Thus, the sci- ment. Both shepherds and profes- entist and musicologist Abdulqadir sional musicians played the ney. Maraghi (1353-1434/35) reports Vintage neys are exhibited in

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museums of Azerbaijan. The reed sound. The range of the ney is from Mirzayev wrote “Mystic Symphony” stem of the ney from the Rustam “E” in the fi rst octave to “D” in the sec- for the ney and symphony orchestra. Mustafayev Azerbaijan State Mu- ond octave. Sounds from a higher Today, Ilham Najafov is known as an seum of Fine Arts is decorated with octave are extracted through blow- acclaimed master of the ney. engraved ornaments and wrapped ing. By partially covering the holes The tutak is known in as in leather in six places. The length of with your fi ngers, you get chromatic sopel, in Georgia - salamuri, in Ajaria the instrument is 453 mm, the outer sounds. In the lower register, the - kavali, in Armenia - tutak, tutuk and diameter of the trunk in the blow- tone of the ney is delicate, velvety , in Dagestan - kshul (Lezgins), ing place is 21 mm, internal diam- and slightly muffl ed, and in the top shuvshuv (Kumyks), shetakhi eter - 16 mm, and at the other end - strong and light. (Dargins), shutikhi (Laks), shvultram - 16 and 13 mm respectively, i.e. the The ney is mainly a solo in- (Tabasarans), in - nay chu- barrel narrows down. At the bottom strument and is common mostly poni or tutak, in Ukraine - , in of the barrel, there are fi ve playing among shepherds. They use the Belarus - dudka, in Estonia - vilepilli, openings drilled, and on the back, ney to play simple, melodically in Latvia – stabule and in Lithuania - above the face - one. The blowing restricted instrumental pieces, lumzdyalis. [3] place is slightly pointed. and special tunes and melodies The Caucasian varieties of the The ney of the well-known per- of lyrical content, so-called “Cho- tutak have 5-8 playing openings, one former of wind instruments Has- ban Bayati” and dance tunes. Often of which is located on the back side. rat Huseynov from the collection while playing, the performer himself Based on archaeological fi nds, of the Azerbaijani of- the Azerbaijani tutak has a very an- fi ce at the Uzeyir Hajibayov Clay (burbugs) cient history. For example, the silver Music Academy with a length of ring with an engraved fi gure of a 495 mm and a diameter of 16 mm man playing the tutak found in is made of copper. The thickness of the town of Garatepe in Ujar Dis- the wall of the trunk is 1.1 mm. The trict is more than two thousand number of front playing openings is years old. [5] 7. One rear opening is located closer The ethnographic fund of the to the blowing place. Museum of History of Azerbaijan The modern ney, as before, rep- keeps a tutak made in the 19th cen- resents a straight cylindrical hol- tury. The instrument has a length of low tube with a length of 345-600 390 mm and a maximum diameter mm and a diameter of 20 mm. It is of 30 mm in the middle, while the mainly made of cane, apricot wood diameter of the sound channel is or copper. For better sound, the up- 20 mm. Its upper part is made from per end of the instrument is slightly produces lower sounds, reaching mulberry wood and the bottom pointed. 5-7 playing openings are two-voice polyphony, and at times from cane. The blowing hole has a usually drilled on the lower front its deep voice has a certain melodic size of 11x3.5 mm and is located at side of the trunk and one - on the pattern. a distance of 50 mm from the upper back closer to the head of the instru- The ney is also used in orches- end of the barrel, where the blowing ment. While playing, the instrument tras and ensembles of folk instru- hole is (11x3 mm). There are seven is held with its end downward and ments. In the practice of Azerbai- playing openings with a diameter of the head closer to the left corner of jani symphonic music, the ney was 7.5-8 mm, including one rear open- the mouth. The stream of the air is fi rst included in the score of Agshin ing, and they are located at a dis- directed towards the sharp edge of Alizadeh’s “Fifth Symphony”. This in- tance of 25-29 mm from each other. the trunk. strument has been heard in famous The same museum exhibits a It should be noted that with all concert halls of the world and used tutak owned by Mirza Fatali Ak- the simplicity of its structure, the to perform works of Firangiz Aliza- hundov (1812-1878) - the founder ney is quite a complex instrument deh “” and “Umpromto-Cross- of Azerbaijani drama, a scientist for its methods of extracting the ing” (crossroads). Composer Ilyas and philosopher. The instrument

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Heritage_4_(11)_2012_last.indd 52 11/23/12 10:04 PM Clay whistles (burbugs) made of cane has a length of 230 mm; the outer diameter of the - rel is 17 mm and the inner diameter is 13 mm. At the top of the barrel, there are six playing openings with a diameter of 7.5 mm every 18-20 mm. Another opening of a slightly pointed shape is drilled at the bot- tom of the barrel. At the top of the barrel, there is a 7x5 mm blowing hole. The blowing place forms a 9x2 mm semi-circle. The Nizami Museum of Azerbai- jani Literature demonstrates a cane tutak owned by the prominent Azerbaijani writer, journalist and public fi gure Jalil Mammadguli- zadeh (1866-1932). The tutak has a length of 330 mm and a barrel with a diameter of 17 mm, while the thick- ness of the trunk is 2.5 mm, and it is equipped with seven front (the distance between them is 22-24 mm) and one rear playing opening. The lower end of the instrument is pointed. In the department of Azerbai- jani national musical instruments at the State Museum of Musical Culture of Azerbaijan, in the rich collection of instruments collect- ed by the prominent musician and teacher Ahmad Bakikhanov The Azerbaijan State Museum of its predecessors. As before, the in- (1892-1973), there is a 322-mm-long the Jafar Jabbarli Theater presents a strument is a cylindrical tube with tutak with a sound channel with a copper tutak with a total length of a length of 280-350 mm made of diameter of 10 mm. The tutak has 380 mm. The bottom half has eight reeds or wood (apricot, walnut, eight playing openings (seven on playing openings (one rear) with a mulberry). In the center of the tree, the front and one on the back side). diameter of 5.5 mm. The blowing a sound channel with a diameter of On the upper part of the trunk there hole is shaped as a triangle with a 18-20 mm is drilled (in old times, it is a ring. base of 8 mm and height of 10 mm. was burned out with a hot metal The collection of the Regional The three tutaks on display at an rod). The upper end of the barrel has Museum of Ganja has a tutak with a exhibition of musical instruments in an oblique cut and a 30-35-mm-long length of 352 mm and a trunk diam- St. Petersburg have trunks of various willow plug with a removable upper eter of 23 mm equipped with eight forms. On the front side of the trunks part is inserted in it; thus between playing openings (one on the back) there are 6-7 playing holes and on the barrel and the plug there is a with a diameter of 8-9 mm. The di- the back - one [3]. One of them is gap in the form of a segment. On ameter of the sound channel is 10 equipped with a control valve. the front side of the barrel, a square mm. The distance between the play- Structurally, the modern tutak hole is opened at the level of the end ing openings is 23-24 mm. is not signifi cantly diff erent from of the plug. Thus, the plug and holes

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and the thumb of the left hand, and the four lower front openings – by the index, middle, ring fi ngers and the little fi nger of the right hand. The timbre of the tutak if you blow normally is soft and gentle, and loud and hissing if you blow strongly. The range of the tutak is from “” in the lower octave to “” in the third octave. With the help of overblowing based on the use of overtone regis-

Firdovsi. “”. Tabriz. 1520 Firdovsi. “Shahnameh”. Tabriz. ters, you can extract the sounds “D fl at” and “D” in the third octave. The diatonic scale of the tutak is divided into low (bam), medium (orta) and high (zil) registers. The low register is matt and hoarse and is rarely used because of the diffi culty of intonation; the medium register is velvet (makhmari), juicy and quite resonant; the high register is from delicate, transparent to the sharp shrill tone. Double fl at and double sharp tonalities are comfortable for the tutak. Melodic phrases, tremolo and legato come out very easiliy. Jumps, especially octave jumps are possible, while staccato comes out with diffi culty. Like the ney, the tutak is used by shepherds while playing tunes associated with diff erent episodes of a shepherd’s job (putting cattle out to pasture, taking cattle to the form a kind of a whistling device. removable. pond, etc). Some of these tunes (e.., Seven holes are drilled on the front While playing, you need to hold “choban bayatisi”) acquire an inde- side of the barrel, and one is drilled the tutak slightly slanted right in pendent nature and are performed on the back side - at the point corre- front of you and blow the air into outside the context of work. In the sponding to the middle of the inter- the upper end of the instrument past, the tutak accompanied many val between the fi rst and second top through a narrow gap, which directs spectacles - snake charming, per- holes. A metal ring is placed on the the air fl ow to the brink of the cross formances of acrobats, tightrope upper part of the barrel to adjust the section of the barrel. This signifi cant- walkers and the beginning of circus registry of the instrument. Moving ly facilitates the extraction of sound shows. The tutak is also one of the the ring down and partially cover- and reduced air consumption, which instruments that accompanied the ing the blowing hole, you get lower expands the technical and expres- performances of professional danc- sounds. Sounds are also regulated sive possibilities of the instrument. ers. by changing the length of the bar- The three front and rear openings In some regions of Azerbaijan, rel of the instrument, which is why are closed and opened, respective- the tutak is also known as “”, in most cases the top of the tutak is ly, by the index, middle, ring fi ngers “sumsu” and “blul” and in the Or-

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Heritage_4_(11)_2012_last.indd 54 11/23/12 10:04 PM dubad region of the AR ters are Hasan Maharramov (Baku), octave to in the third octave. – as “shuva”. The Heydar Mammadov (Salyan), Sharbat In the orchestra, the ney and yan-tutak (yan - side) is common in Ahmadov () and Bayram tutak, including its smaller type, Jabrayil, , Tovuz and Shahbuz Mammadov (Ganja). [6] The tutak, serve primarily as solo instru- districts of Azerbaijan. It is made of often accompanied by small instru- ments and form a single group apricot or walnut, has a length of mental ensembles, is used to play with another wind instrument – 540-600 mm and an outer diameter lyrical melodies (usually in the up- the . of 20-22 mm. There are also copper per register) – mugams, rangi, folk Azerbaijani composers widely and brass yan-tutaks. On the front , dances and tunes. It is also used the technical, artistic and ex- side, near the bottom, there are used in orchestras and ensembles pressive possibilities of the tutak. seven playing openings and one on of folk instruments. The peculiar sound of the tutak is the back. At the bottom of the barrel, In orchestras of Azerbaijani very pronounced (especially in the two more holes designed to stream- folk instruments, a kind of tutak nuance forte) in the “Bulgarian Suite” line the sound are cut on the sides called small tutak (kichik tutak, pic- by Sultan Hajibayov, “Egyptian Pic- at a distance of 40-50 mm from each colo) is used. It diff ers from the con- tures” by Jahangir Jahangirov, “Spring other. Annular grooves are made ventional tutak for its slightly smaller Melodies” by Suleyman Alasgarov, on the barrel of the instrument. size (length of up to 265 mm, the di- “Dance Suite” by Khalil Jafarov, “Sym- Two of them are wider and divide phonette” by Haji Khanmammadov the body into three approximately andan “Shepherd Gara” by Agabaji equal-length bends. On the upper Rzayev.Rza Coupled with other instru- and lower ends of the barrel, grooves ments,m the tutak creates a rich sound are made for the cord with which the palette.pa instrument is worn on the shoulder. Thus, both the ney and the tutak While playing, the instrument is area popular not only among folk mu- held in the transverse position, in- sicians,s but also professionals. serting the opening in the right cor- ner of the mouth, lightly touching it References: with the lips, and directing the air fl ow toward the sharp edge of the 1. Abdullayeva Saadat. Azer- barrel. Matt and dull sounds are ex- baijani national musical instru- tracted in the low register, warm, ments. Baku, Elm, 2000. “velvet” sounds in the middle reg- 2. Karimov Majnun. Musical In- ister, and loud, whistling, but fuzzy struments. Baku, Yeni Nesil, 2003. sounds in the middle register. The 3. Vertkov K., Blagodatov G., height of intonation is adjusted by Yazovitskaya E. Atlas of Musi- covering three quarters or half of the cal Instruments of the USSR. playing openings with fi ngers and , Music, 1975. by tensing lips. 4. Öztuna Y. The Great Encyclope- The yan-tutak is also a strictly dia of Turkish Music, Second vol- shepherd’s instrument. Melodies Bamboo and wooden tutaks ume. Ankara, Ministry of Culture, played on it consist of shepherds’ 1990. signals and tunes (“Goyun hangi” or ameter of the barrel - 18 mm). In the 5. Bunyadov Teymur. Sounds com- “Goyun ovsharisi”, “Gaya bashi”, “Cho- absence of the adjustment ring, an ing from centuries. Baku, Azer- ban bayatisi”, “Arkaji”, “Gurrey”, etc.) additional hole is drilled on the front nashr, 1993. closely related with grazing sheep, of the barrel. For its fi ngering and 6. Najafzadeh Abbasgulu. Glossary shepherd’s rest, hail of wolfhounds method of playing, the small tutak of Azerbaijani Instruments. Baku, and people when predators attack is analogous to the usual tutak, but A Thousand and One Songs, the fl ock, etc. sounds a fourth higher. The range of 2004. Among the current tutak mas- the instrument is from E in the fi rst

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