Following tradition

Saadat ABDULLAYEVA Doctor of Arts, Professor RHYTHMS OF THE NAGARA, GAVAL AND GOSHA NAGARA

Doubled nagara with a metal contour ACCORDING TO WRITTEN SOURCES, WEBBED PERCUSSION MUSICAL IN- STRUMENTS, WHICH HAVE LONG BEEN POPULAR IN AZERBAIJAN (IN SCIENTIF- IC LITERATURE – MEMBRANOPHONES), DIFFERED IN DESIGN, SHAPE, SIZE, MA- TERIAL AND SOUND. THEY WERE ONE- AND TWO-SIDED, I.E. THE SOUNDING MEMBRANE STRETCHED OVER ONE OR BOTH OF THE OPEN SIDES OF THE BODY, AS WELL AS BINARY - CONSIST- ING OF TWO BODIES. THEY PRODUCED DRY, LOW, HIGH, DEAF OR CRACKLING SOUNDS WITH THE HELP OF STICKS, MALLETS, HANDS OR FINGERS.

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Heritage_1_(12)_2013_last.indd 38 1/29/13 3:42 PM Gaval lined with mother-of-pearl Girl playing the gaval, Abu Gasim Tabrizi, 1816

embranophones were widespread in Azerbaijan Min ancient and medieval times. The number of one-sided percussion instruments reached 11 (gaval, gosha-nagara, dair, daf, tabil, dumbak, tabil bas, kus, jift-kos, mazhar and nagarazan) and two-sided - 5 (nagara, davul, duhul, dumbul and tabira). They were used as signaling instruments in battles to raise the morale of soldiers, during folk performances and festi- vals, Meykhana performances (folk music - a kind of recitative improvisa- ness of 5-6 mm or take a board with they sew it with a double stitch seam tion), religious rituals, funeral proces- a thickness of 4-5 mm, soak and then on a steel rim (chenbere), which has sions, parades, weddings, dances and bend it. Across the body, 1-3 sound 6-12 copper tension loops (garmag, sports games. They were played solo holes (oyug) with a diameter of 10 uzuk, khalga) placed at an equal dis- and in ensembles with other instru- mm are drilled in the middle - oth- tance from each other. Rims with the ments. This tradition continues today. erwise the body, unable to bear the membrane are fi xed on the open Among webbed instruments, the load, may crack. Sometimes, a ver- sides of the body with the help of nagara - a kind of drum - is the most tical bar is fi xed inside the body to plaited ropes (kandir, jiya) pass- common among Azerbaijanis (from provide rigidity for the rib. ing through the loops and twisted the Arabic word “naqr” - “tapping”). Goat skin is mainly used for the with wooden pegs - “thumbscrews” The body (saganag, gobul) of the membrane (uz) of the instrument. and are tightly pulled on the body nagara has a cylindrical shape and Gazelle or deer skins were used pre- of the instrument. The loop of one is made of apricot, walnut, mulberry viously. The skin is slightly damped, rim should be on the axis of sym- and lime trees. To this end, they hol- and pulling pile over its top (in this metry between the loops of the low out a piece of wood to a thick- case, the instrument sounds better), opposite rim. This way of fastening

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Heritage_1_(12)_2013_last.indd 39 1/29/13 3:42 PM Following tradition Laguutu

through which a narrow belt made of cowhides is inserted and the ends are sewn. While playing, the belt loop of the sticks is worn on the index fi n- gers of both hands, while the sticks themselves rest on the thumbs, and the remaining fi ngers freely lie on the membrane makes it possible to 330x260 mm), orta (medium-sized, the sticks. The big nagara is made adjust the tension of the membrane, 340x290 mm) and iri (large, 350- individually. and therefore, its relative height. To 360x310-300 mm) nagara. These The small nagara (jura, kichik, facilitate the movements of the per- types of the nagara are usually bala) with a body diameter of 240- former, the instrument is equipped played with both hands or with two 300 mm and a height of 235-295 mm with a tether strap. Sometimes a bell sticks (large and small) with straight is made by the same master as the (zingirov) is hung from the body. or hooked ends. In the latter case, the big nagara. It is played with two mal- The body of the nagara has a lets with a length of 270 and 295 mm different diameter. Depending and a diameter of 11-13 mm, and on this, the instrument is called always with the big nagara. Gener- diff erently: large ones - kos (koos, ally, because of its strong sound, it kus), dumbul (in Shabran and Guba is played outdoors in a standing or districts), middle-sized ones – orta, sitting position. In the former posi- goltug (axillary), al (manual) nagara or tion, the instrument is held under the simply nagara, toy (in the Nakhchivan arm and its body is clasped with the AR), and smaller ones – jura, kichik or shoulder and held up with the left bala nagara. Structurally, all varieties forearm. Given this position of the of the nagara are identical. instrument, it is usually called the The diameter and height of the goltug nagara. In the latter position, rib of the big nagara – the kos - is the nagara is usually put on the left Def lined with bones 400-450 and 500-550 mm respec- knee, while the left hand holds the tively. A sound hole is cut out in the instrument is called the chilik (chil- tether strap whose belt is attached shape of a square, or small circles are ing, chubuk) nagara. The thick stick to the waist of the performer. drilled on the body. The instrument has a length of 350-360 mm and a The nagara is played with hands is provided with a strap for carrying thin one - 230-235 mm. In the up- and sticks. In the former case, they and with two mallets (chilik, chil- per part of the sticks, a hole is made beat it with the phalanges of the ing) bent in the form of a hook with spherical ends and belt loops with a length of 395-405 and 280-285 mm respectively and with a diameter of 13-15 and 9-10 mm. The kos is always “accompanied” by its small variety, whose body has a height of 340-360 mm and a diameter of 300-320 mm. Accordingly, this binary instrument is called kos-nagara. A large nagara is called ana kos and small one – bala kos. Medium-sized nagaras have a diameter of 330-360 and a height of 260-310 mm. Depending on their size, they are called: kichik (small,

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Heritage_1_(12)_2013_last.indd 40 1/29/13 3:42 PM Dancer. Wooden dumbak Mirza Gadim Erivani. 19th century and masterfully varied rhythm. The choice of the method of playing the nagara – with hands or sticks - depends on the number of performers in ensembles and the place of performance - indoors or out on the square. Ensembles of ashugs, balabanists, folk instruments and orchestras play with hands, and ensembles of damburists, zurnachis and tulumists – with sticks. The binary instrument kos- nagara is held in the front and is hung over the shoulder on a belt. The instrument is played with one (on the ana kos) or two mallets (on the bala kos) put on the hands with the help index, middle, ring and little fi ngers of loops and is hit against one or both focusing on their ends, and with the (at least on the bala kos) membranes palms of both hands or by clicking of the instrument. Strong parts of the and sliding the fi ngers across one tact are produced on the ana kos, membrane, as well as with various while the bala kos emphasizes the combinations of fi ngers. Thus, we get rhythmic basis of tunes. a variety of rhythmic patterns of vari- The big nagara – the kos - is used ous timbre shades and dynamics. The only in an ensemble of zurnachis. It instrument produces a clean, clear, also involves a bala kos performer. often played by groups of dancers. strong and sharp sound. Rhythms of the kos nagara accom- The distribution area of another In Nakhchivan, while performing pany the beginning of a wedding, popular instrument – the gaval, the Yalli dance, the nagarist (toychu), ceremonies to welcome the groom which is similar to the tambourine, who participates in the ensemble of and see the bride off , various dances, in eastern countries is wider than zurnachis, slings the instrument over sporting events and games. that of the nagara. There are several the neck and hits the top and bottom The medium-sized nagara – the versions about the meaning of the of the membrane with sticks (the goltug nagara - is used in orchestras word “gaval”, but the most plausible thick one is called “shalban”). and ensembles of folk instruments, as of them is from the famous decora- When the chilik nagara is played, well as during solo performances on tor and great connoisseur of oriental it is hung from the belt slung over stage. It is part of small ensembles of music Latif Karimov (1906-1991). Ac- the shoulder, or is under the arm of sazandas, balabanists and zurnachis. cording to his conclusion, a “gaval” the performer who clasps the body Small varieties of the nagara or “gavval” is a singer performing with his left hand. The sticks hit one – the jura or the bala nagara - are a “goul” - rhythmic music based on and sometimes two membranes. mostly used in ensembles of bala- Arabic texts - to the accompani- While the chilik nagara is played, the banists and accordion players, as well ment of the percussive instrument rhythmic foundation of the accom- as while accompanying a clarinetist. daf, which was widespread in the paniment is produced with a thick There are ensembles of nagarists, East in the Middle Ages. stick held in the lower position with which include up to 30-40 perform- The gaval, also known in many the right wrist bent, thus emphasiz- ers. Tuning the nagara to diff erent parts of Azerbaijan as the daf (in ing the strong shares of time. At the tones in advance, they simultane- Guba - daft, in Gazakh - damdira), is same time, the thin stick, held in the ously beat out rhythms in separate a bent narrow rib (saganag) with a upper position with the axial rotation groups according to a pre-planned diameter of 310-320 mm, on one side of the left hand, produces a smaller metro-rhythmic scheme. Nagaras are of which fi sh (sturgeon and beluga)

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skin is pulled. There are gavals with a scenes connected with the life- and dumbalak, consists of two bodies membrane made of goat skin. Typi- style, customs and traditions of the (goz) of the same height, but diff er- cally, the rib is made of thin plywood Azerbaijani people. It sounds in dif- ent sizes - one is smaller than the oth- with a length of 1,400 mm from mul- ferent musical genres and during er one almost by half. In appearance, berry or walnut. They spread joining popular games (like the “jut gaval”) they resemble a bowl or a cup. The cement on it and turn it three times and performances. It is used in solo instrument is made individually. The in the form of a cylinder. The surface performances for rhythmic accom- height of the instrument is 300 mm of the rib is smooth on the outside, paniment to dances, singing, and for and the maximum diameter of the but a little convex on the inside. accompanying string and wind instru- large body is 200-280 mm and the Along the perimeter of the rib, from ments. In an ensemble of sazandas, small body - 110-180 mm. From the its inner side, rattle rings (over 60) of the gaval sounds in the hands of a sides and at the top and bottom, the copper or brass are hung with the khananda (singer), who accompa- bodies are fastened together with help of rods at a distance of 18-20 nies the rhythmic episodes of mu- straps or fi xed with a metal tube on a mm. The outside of the rib is often gam dastgahs and zarbi (percussive) common wooden base. In old times, decorated with mother of pearl. Ga- mugams by playing it. In this case, the a bell was fi xed between them on a vals have diff erent sizes - with a di- gaval plays an independent role. And special leg or a metal plate was hung. ameter of 340-450 mm and a width while singing, depending on the me- Both bodies are made of walnut, of 40-60 mm. lodic line of mugam, the singer keeps mulberry trees, metal, and in the Before playing, the membrane past - of fi red clay. To ensure that the of the gaval is heated in the sun, instrument does not sound hollow, over a fi re or with an electric lamp. small holes are made in the bot- Well-stretched and heated leather tom of the bodies. Goat, bull, camel produces a clean, clear and power- or horse (from the thin thorax) skin ful sound. You hold the gaval with is pulled over the open side of the both hands, turning its internal side body with interlocking narrow straps towards yourself. At this time, the (kosha) or a special screw mechanism edge of the rib rests on the thumbs. (like in timpani). Sounds are produced as both hands Two wooden (cornel), thin, round and fi ngers (index, middle, ring and sectional rods (chubug, agach) with little fi nger) softly strike the edge or a length of 280-335 mm, the diam- the center of the membrane, as well Goltug (axillary) nagara eter of which is 12 mm in the head as by shaking the instrument. The and 7 mm in the lower part, are used gaval is normally played indoors. In the instrument in diff erent positions for playing. Recently, an instrument this case, a variety of ways are used: trying to change the direction and consisting of three bodies - large, hitting the edge and the middle of tone of the sound. At the culmina- medium-sized and small one – has the membrane with an open palm tion of the mugam, the singer keeps been used under the name of “uch and fi ngers of one or both hands; the gaval at the mouth level closer to nagara” (three nagaras). hitting the edge of the membrane the ear on the left side. At this mo- Typically, the gosha-nagara is not by sliding the little fi nger on the ring ment, the instrument serves as a kind a solo instrument. To extract pure fi nger; shaking the instrument with of resonator. While performing tasnifs and ringing sounds, the membrane both hands; turning the instrument and folk songs, the performer accom- of the instrument is gently heated after single beats. In addition, as an panies only the introductory part and over a fi re before playing. The gosha- orchestra of folk instruments plays interludes with the gaval. nagara is put on a special wooden various works, the performer hits Playing the gaval is improvisation- stand (the big body is usually on the the center of the membrane, press- al in nature. The gaval is also used in right of the performer), slightly tilting ing the rim of the gaval to his knees orchestras of folk instruments and as toward the performer, or is held un- and chest. an attribute by dancers. der the arm while escorting a bride The gaval is an instrument that The gosha-nagara (i.e. double or during sporting events (zorkhana, is commonly used when showing nagara), also known as the dumbul tightrope walkers, etc.). Previously, it

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Heritage_1_(12)_2013_last.indd 42 1/29/13 3:43 PM was placed on the ground or hung fi gurations – with sticks. from the neck of the performer. The gosha nagara is part of or- Due to diff erences in the diam- chestras and ensembles of folk in- eters of the circles of the upper body struments, and ashug ensembles parts of the gosha-nagara, one of the (in the Shirvan area). It is widely used bodies sounds around a fourth high- during folk games and performances er in relation to the other. The sound (“zorkhana”, “mil”, “sino”). It is also used of the instrument is a bit dry, ringing by a women’s instrumental ensem- and has a unique color. ble consisting of the accordion, ga- When it is played, different val and gosha nagara. A trio of two sounds are obtained by hitting sticks balabanists and one gosha nagarachi separately against the two mem- is very popular. branes, one membrane (in the cen- Above we described the three ter or edges), against each other or most popular webbed musical in- on the rib (saganag), and by hitting struments. In Azerbaijan, a dumbak the membrane with the hand. Often, with a goblet-shaped body (usually strikes are produced with the thick- wood) with a length of 350-400 mm ened ends of the sticks or both hands and a diameter of 250-260 mm, on 2. Vertkov K., Blagodatov G., E. on the membrane, and they play which goat skin is stretched, is also Yazovitskaya. Atlas of Musical by sliding sticks on the membrane, widely used. It is played with fi ngers Instruments of the USSR. Mos- pressing one of the sticks against and the palms of both hands in the cow, Music, 1975. the membrane of the big body or a center or edge of the membrane. 3. Karimov L. Azerbaijani Musical combination of these techniques. As Instruments. Baku, Yeni Nasil, you can see, diff erent strikes are used, References 2003. and based on this, complex rhythmic 4. Azimli F. Percussive instruments sounds are produced. Usually, strong 1. Abdullayeva S. National musical in Azerbaijan. Baku, R. Novruz-94, parts of the rhythm are produced by instruments of Azerbaijan. Baku, 2008. hitting the membrane and rhythmic Elm, 2000.

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