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Türkmenje Aýdym Sözleri

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Türkmen Muscical Instruments

Gyjak

Dutar

Gopuz

Vurmalylar

01 02 03 04 05

Üflemeliler

01 02

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1932

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   The Instruments

   These are divided into idiophones (gopuz), aerophones (khyzlavuk, shuishul, dilli-tuyduk) and chordophones (dutar, gidzhak).

   Idiophones
   Gopuz: reed-plucking musical instrument of the Turkmens, widely used by women and children.  The body of the gopuz consists of two parts: a metal bar, bent into a crescent or triangular shape, with two parallel protruding ends, and a reed, the source of the sound, which is manufactured of high alloy spring steel.  The wide end of the reed is fastened inside the arc, and the thin end passes through the two tines of the gopuz.  The thin end is bent by 85-90 degrees forward for easy plucking.

   Unlike those of some Turkic-speaking peoples (Tuva, Khakass, Yakut) which make parallel whistling overtones like a flageolet, this feature is absent among the Turkmen gopuz players.

   Imitating certain natural sounds, the gopuz player often uses the tongue up to make sounds such as the galloping of hooves.

   Of late Turkmen gopuz players have begun to imitate the techniques of northern peoples.  This practice has been initiated by Muhammet Hojayev from Vekilbazar.

  Aerophones
   Khyzlawuk (or syzlavuk) - this is a childrens toy, consisting of rubber disk (it was earlier made of dry pumpkin skin or thick leather) with two holes in the centre through which a string passed.  The strings are
pulled rhythmically producing a humming noise, hence the toy's name, khyzlawuk or hummer.

   Zhulzhul - this is an instrument played by children and is shaped like a mountain goat or bird, usually a
nightingale.  It is similar to the Kazakh tas-tauyk (stone chicken) or uskirik.  The instrument has two finger
holes, a blowing hole (uvlenyenyeri) and a hole for a shistling devise (ses chykyan yeri).  The instrument has
a range of 5th-6th . By direct blowing only three sounds can be made but by blowing harder the range can be
doubled.  It is easy to play and produces a whistling sound.

   Dilli-tuyduk: these come in two kinds.  In one, the reed end of the instrument is closed and in the other it is open.  A reed is cut in the upper part of the pipe and 3 or 4 finger holes are cut on the upper part, at intervals of some 5-6mm.  Its range is a 6thor 7th, from about fa in the first octave to re or mi in the second.  Some sounds have to be made by overblowing or by partly exposing the finger holes.  The dilli-tuyduk makes a penetrating sound and is used to play the tunes of Turkmen folk songs. Versions of song tunes in the form of ditties for the dilli-tuyduk start in a long drawn-out sound going into the main melody.

   Gargy-tuyduk: this is a long reed flute whose origin, according to legend, is connected with Alexander of Macedonia, and a similar instrument existed in ancient Eygpt.  Attention has been drawn to the possible origin of the instrument's name, gargy, from gargysh, gargamak, gargysha galmak and gargysh etmek among the Turkic people meaning "curse".  There is also said to be a connection with Kargyra and Kharkhira, the style of guttural singing for two voices of the northern Turkic-speaking peoples (Khakass, Yakut and Tuva peoples).  The sound of the gargy-tuyduk has much in common with the two-voiced kargyra. During the playing of the gargy-tuyduk the melody is clearly heard, while the lower droning sound is barely audible.  The allay epic songs have been accurately described by the Turkologist N Baskakov who divides them into three main types:

   a) Kutilep kayla, in which the second sound is a light drone.
   b) Sygyrtzip kayla, with a second whistling sound like the sound of a flute.
   c) Kargyrlap kayla, in which the second sound can be defined as hissing. (N Baskakov, Altay folklore and literature.
Gorno-Altaysk, 1948, p.II). The sound of the Turkmen gargy-tuyduk is most like the Altay Kargyrkip kayla.  The garg-tuyduk can have six Finger holes and a length of 780 mm or five finger holes and a length of 550 mm.  The range of the garg-tuyduk includes three registers:
   1) The lowest register - "non-working" - is not used during the playing of a melody.
   2) The same as on the "non-working" register but an octave higher.
   3) High register from mi of the second octave to ti.

   Idiophones
   Gidzhak.  In the contemporary musical practice of the Turkmens the only stringed instrument played with a bow is the gidzhak.  Similar instruments in the CIS are the Uzbek and Tajik gidzhak and the Azerbaijani and Armenian kemancha.

   The word "gidzhate' is found in XIV-X-V centuries in the work "Kanz al-Tuhaf".  In ancient Turkic the word "gipzhale' meant old wood.  This is what is written in the "Oguznama": "While the ancient Turkic people called an old hollow tree a gypchak', they probably also called wooden instruments resembling that tree a 'gypchale too, and later a 'gydzhale."

   According to some musicologists the gidzhak in Turkmenistan started being used only from the beginning of the XIX century.  But the above quotes from the oguznama and also a poem by the poet Seydi where the instrument 'gydzhak' is mentioned may be evidence of an earlier use of this instrument among the Turkmens.

   At the present day the Turkmens use gidzhaks of two types - three-stringed and four-stringed.  The range of the traditional three-stringed gidzhak (i.e. with double first string) is the same as that of the dutar.  The four-stringed gidzbak is mainly used in music schools of Turkmenistan for playing works of Russian and foreign classical composers and is also used in orchestras of folk instruments.  The gidzbak player places importance on the use of melisma, grace notes, mordents and other ornamentation.

   Famous Turkmen gidzbak players of past and present include: Ali Syt, Khanmemmet Allanur ogly, Purli Sary, Oraz Sary, Nury Sary, Orazberdi Gurbanmyrat ogly, Ata Ably, Chary Gurban.  Also well-known today are players of the four-stringed gidzhak A. Dzhulgayev, M Saparova, A Soyunova, G Rakhimova, D Karayeva and others.  Aman Agadzhikov and other contemporary composers are producing new songs for the gidzhak.

 Dutar - the commonest and most popular musical instrument of the Turkmen people.  It appears that the dutar and similar plucked stringed instruments were known in ancient times.  Archaeological finds in Merv such as the "wandering bakhsbi" or the Toprak-kala manuscript with the picture of a girl musician (111-IV century) with two-stringed instruments are confirmation of this.

   In Turkmen destans one finds the word "saz".  This means either a tune or a musical instrument.  The widely-known epic destans such as "G6rogly', "Shasenem - Garyp", "Asly-Kerem", and "Nejhep-Oglan" have been well-known among other peoples of the East as well as the Turkmens.  It can be assumed that the word "saz" as a musical instrument is mostly used in Turkmen in the destans.  And under their influence some classical poets have used the word as a synonym for dutar.

   Yogyndan getirsin, yukadan yonsun
   Sapy menek-menek, her yana donsun
   Chalanda ustune bilbiller gonsun
   Gosha dilli gyz sypatly saz boisun
   (Seyitnazar Seydi)

   Concerning the expression "tamdyrd'by which the dutar is known in some parts ofturkmenistan, according to Sh.Gullyyev "tamdyra" comes from tanbur.  "tanbur-tambur-tambura-tamdyrd'.

   It can be presumed that before the appearance of the word "dutar" in the XV Century in Turkmenistan this instrument was called 11 tanbur", "tambur" or "tamdyra". To quote from the XIV Century Turkmen poet Khusayynguly-murze:

   Perdeter arkaly soz sozleyen tamdyramyn tary
   Gulak sal, ol menin yurek syrymy beyan ediyer.

   The dutar consists basically of three parts: body (kedi), neck (sap) with frets (perde) and lid (gapak).  The body is made of mulberry wood, the neck of apricot wood stuck with 13 frets of metal wire.  In the past the dutar had silk strings and the melodic string (lower first ) consisted of 8 silk strands spun by hand and the second string consisted of I 0. Metal strings came into use in the 1930s with the need to increase the sound of the instrument.

   The republic's educational institutions nowadays use mainly reconstructed dutars which are of imperfect quality and can only with difficulty reproduce the colour of traditional medodies.

   Now more use is being made of traditional dutars however, especially for major instrumental pieces such as "Kyrklar", "Saltyklar" and "Mukamlar".

   Improvised instrumental variations of songs are common in       Mary Oblast. Musicians of this area can play versions in different time and rhythm. This tradition also exists in Akhal.    The song "Satashdym" played by dutarist P Saryyev differs greatly from that played by M Tachmuradov, although the two dutarists are pupils of the same player, Kel-Bakhshi.

   In music the meaning of the term "makam" ("mukam", "makom", "mugam") has many different levels.  The Turkmen mukams have not been given close attention.  On reading the literature on the subject the following questions arise:

   1. Why are particular songs mukams and not others?
   2. Are mukams different in form from other songs? if so, how?  In the Turkmen musical heritage there are 9 songs in whose titles the word mukam is used.  Of these, 5 are in the dutar repertoire and 4 in the tuyduk.  Some say "Ybrayym", "Berkeli Chokai", "Ynzhytma" and "Neler gorundi" should be classed as mukams.  However we have decided to limit ourselves to the above-mentioned 9 mukams:

   For dutar.
   1. "Gonurbash mukamy'; 2. "Gbkdepe mukamy'; 3. "Ayralyk mukamy'; 4. "Mukamiar bashy'; 5. "Erkeklik
mukamy'

   and for tuyduk:

   "Hüwdi mukamy'; "Lotular mukamy'; "Gelin mukamy'; "Toy mukamy'

   It is possible that the word "mukam" came into Turkmen music from Iran or Azerbaijan.  Nowadays the term "mukam" in Turkmen folk music signifies a group of developed instrumental pieces, pieces of music with a similar harmonic structure, or a complete performance of bakhsha and sazandar lasting some 10-12 hours.  There are links between Turkmen music and the music of other peoples.  The "Mukamlar bashy' and "Meshrep" appear in Uighur mukams, and the titles "Koche bagy' and "Torgay-gushiar" turn up in Uzbek music, as do the "Turkman kyuy' among the Kazakhs.  The melody "Garadeli", favoured by the Karakalpaks, is associated with the name of the famous Turkmen musician Garadeli Goklen (I 800-1880).  Some pieces of music bear the names of Turkmen tribes and clans.  These are the "Yylgaylar", "Memish gbkleng", "Bayat iline", Ybrayym-shadilli" and "Saltyklar".

   Yylgaylar.  This is one of the smallyomut-dzhaparbay ethnic groups.  According to People's Artist of turkmenistan A Akhmedov songs beginning with the words "Yylgaylarda bit gozel gordum" used to be sung to this kid of melody.

   "Ybayym shadilli" or "Shadilli" - this is a purely instrumental work for dutar.  The composer is not known for certain. The musician Yu Berdiyev attributes it to A Gonibekov, and the scholar N Khodzhageldiyev and folklorist A Akhmedov believe the melody "Shadilli" was composed by Shukur-bakhshi.  On the other hand the researcher G Dovletov puts forward the hypothesis that there was a musician called "Yybrayym" and "shadilli" was his composition.  In our view, the name is most likely directed lined with the Kurdish tribe Shadulu living in the neighbourhood of the Turkmens in the areas of Gochant and Burdzhurnt.

   "Saltykla?-" is a work existing in several versions, belonging to different musicians.  The famous musician Mylly Tachmuradov enumerates the following five: Dzhepbar-saryk, Shykhy-bakhshi, Gulpak-bashshi and Gulgeldi-ussa.

   Various theories have been put forward concerning the origin of the word "Saltyk".  In the opinion of M Kosayev "Saltyle' comes from the word "Seldzhule', and N Khodzhageldiyev and S Artykov see the name "Saltyle' as denoting dedication to a woman of advanced age or the dedication of a piece of music to one's tribe.  A Durdyyev believes that this work belongs to the Turkmen poet Gurbanaly Magrupy.

   We decided to try to find out what ethnic group the saltyk is associated with.  Literary sources testify that the saltyk belongs to the Ersars.  This is pointed out in the works of G Karpov and S Atanyyazov.  The Turkmen classical poet Mollanepes in one of his poems ennimerates certain tribal groups of Turkmens, among whom he names the Saltyks:

   Mukry, olam, sakar, saltyk, ersary hem garkyny / Garakolde sendey gozel ya-ha bolgay bolmagay. Or indeed - Yuz mun sakar, saltygym / Baryn kylar derbe dep.

   So the "saltyle' melody can be said to be directly connected with the Ersar Saltyks.  Melodies bearing the names of tribes and clans are found not only among the Turkmens but also in the music of the Kazakhs, Uzbeks, and other peoples.  For example, Kurmangaza's "Aday'was dedicated to the Aday Kazakhs.  Taking into account the whole process of formation of instrumental folk music song melodies of the following kinds have become instrumental ones:

   1. Melodies of songs of everyday styles: "Allalar balam", "Hiiwdi mukamy', "Goch egren", "Gyrmyzy kbynekli" etc.
   2. Melodies of destans: "Kerem geldi", "Senem geldi", "Ol daglaryn", "Nezli yar" etc.
   3. Melodies of songs using words by classical poets: "Hatyjd', "Och agach", "atashdym", "Owadan gelin" etc.
   4. Melodies of songs known by the names of Turkmen clans and tribes: "Yylgaylar", "Saityklar", "Bayat iline" etc.

   At the same time there are also purely instrumental melodies: "GonLirbash mukamyu", "BLirnyashak", "Ayralyk mukaniyu", "Toy mukamy', "Gelin mukamy" and others.  Of the same type are melodies bearing the names of author musicians, often of famous bakhshi: "Ybrayym shadillill, "Durdy bakhshi", "Berkeli chokay', "Khazhgolak", "Yusup ovgan".

   All this traditional instrumental music is still widely played in our time by Turkmen instrumentalists.

   The material at our disposal enables us to affirm that pieces for dilli-tuyduk are distinguished by their stylistic unconventionality. In them a central place is occupied by pieces for voice and instrument based often on variations on an initial thematic structure whilst beginning with the drawing out of one sound for several beats.  Most of the pieces tend to be monothematic. Only occasionally does one find pieces with two themes, especially contrasting ones.

   Since the instrument's range is not wide most of the melodies are within the range of a fourth, fifth and sixth, with three-note or four-note scale patterns.

   Pieces for gagry-tuyduk are distinguished for their great variety and can be divided into three groups:
   1. Pieces associated with different kinds of styles of song, according to circumstances or time (working, ritualistic songs etc;
   2. instrumental versions of melodies and unconventional song styles;
   3. pieces composed specially for gagry-tuyduk or often played on it, and therefore having acquired stylistic and other features conditioned by the performance potential of the instrument.

   In all these three types each piece has a characteristic introduction.

   Among pieces for tuyduk, the "Toy mukamy' is particularly well developed and requires a high degree of skill.  In this piece there is wide use of all the technical potential of the instrument, specifically long and short trills, rests, softening and loudening of sounds, frequent drawing-out of sounds from one phrase to another.

   The existence of purely instrumental pieces alternating with variations of song melodies forms the basis of all Turkmen instrumental music.  In this regard pieces for dutar and gidzhak stand out.
     The repertoire of the virtuoso dutar play M Tachmuradov and others convinces us that features of the folk song melody have become part of the works of melody composers.  For instance, the song for dutar, "Yenish" ("Victory'), was created by M Tachmuradov on the basis of the folk song "Ak yuzli maralym".  All the instrumental pieces for gidzhak and dutar start with a kind of introduction of 4-5 or more beats.  This serves as it were to define the basic time and beat of the work.
These introductions also play an important part in the process of the shape the work assumes.  Appearing in various sections throughout the piece, they act as "sound pauses".

     The variety of melodic ornamentation -yanlandyrmak, gapaga syrmak, dyrnachaklamak, sekdirmek, agsakladmak, yabaklamak, shelpe, gyruv, chirtiv, and also trills, turns, grace notes of various kinds, mordents, and pizzicato become important means of expression in dutar and gidzbak music.

     In Turkmen traditional vocal and purely instrumental music, in the process of centuries of its development, certain beats have been worked out.  Here are some examples:

     2 1  1 5 2 3       4 2 2
     - = - + -; - = - + - (or vice-versa)   -=- + -
     8 8 8 8 8 8

     3 1 1 1 6 3 3 7 4 3 3 3 1
     - = - + +-;-    = - + -;          - =- + - or - + - + -;
     8 8 8 8 8 8 3 8 8 8 8 8 8

     2 1    1 3 1 1 1           11 3 4 4
     -=- + -; -=- + - + -;     ___ = - + - + -;
     4 4     4 4 4 4 4              8 8 8 8

     As to rhythm, its complexities have been described by many scientists. In particular, V Belyayev wrote:           the rhythm of their musical works is somehow concealed within the music itself, enlivening it like the beating of an internal life pulse ...
Thanks to this, Turkmen music, with regard to rhythm, is very free and has ample potential to combine within one and the same work various rhythms, sometimes with a capricious and whimsical sequence.  The rhythms of Turkmen music, often very complex in themselves, (never mind the complexity of their combinations) pose a tremendous difficulty for those writing down Turkmen music." In the single dutar piece, "Nagysh" as played by M Tachmurad the rhythm changes 21 times, forming various blocks of rhythm, rhythm bars and semi-bars.

     The most frequently-encountered modes in Turkmen traditional music are:
     1. Mode with augmented second - kyrklar ("Dilim-gyrk", "Selbinyaz-gyrk", "Mendag-gyrk", "Kecheli-gyrk",
"Dovletyar-gyrk", "Garry-Gyrk", "Yandym-gyrk")
     2. Novayv mode, coinciding with scale of the Aeolian mode.
     3. Yrak-novayy mode with scale coinciding with Dorian or Dorian-Mixolydian scale.
     4. Mode with scale coinciding with Dorian-Lokrian scale.
     5. Mode with scale coinciding with Phrygian scale.
     6. Mode with scale coinciding with Phrygian-Lokrian scale.
     7. Shirvan-perde mode, coinciding with incomplete scales of the Dorian, Phrygian and Mixolydian harmonies.

     In the harmonic structure of Turkmen music, as in that of many other oriental peoples, the neutral step - 11 and III - is especially important.  It is slightly higher than respectively the II and III of the basic step.  Also, transposition of theme, i.e. of the initial melodic structure, at various pitches, is common, especially in the repertoires of musicians of Mary velayat.

     An important feature of the structure ofturkmen instrumental folk music is its proliferation of variations within the couplet structure of a piece of music.  The instrumental variations of song melodies tend to have an irregular rhythm.  This is due to the manifold improvisations used in the performance of songs - interjections, words and syllables which serve to extend the melodic structure.  And in instrumental performance these features seem to have been carried over.

Sakhi Djepbarov & A. Chariyev

Purli Sariyev

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BegMurad Halliyof

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Jumamurad Bahşi – Jan Mamet Gyjagçy

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Garli Bahşi Soltanov

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Garli BahşiYolamanov

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Murad Nepesliof

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Nobat Aman Syhat Bahşi

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Oraz Salur , Mati Bahsinin Oglu

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Hajı Çari Muradiyan

Ney Singer (Türkmensahra)

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Amangeldi göni

( 1833- 1879)

Amangeldi göni arapgala(Isbender)obasynda eneden dogulýar.Ol syçmazlaryň neberesinden bolupdyr. Amangeldi meşhur dutarçy bolup ýetişýär.

Onuň men diýip jahil wagty Türkmen topragyna kese ýurtly basybaljylar dürli çozuşlary edipdirler.

Şol döwürde Ahala Nurberdi Han hanlyk edipdir.

Amangeldi göni ussat tamdyraçy,saz dörediji,mergen,söze çeper bolansoň, Nurberdi Han maslahatçy,sazanda hökmünde ony ýanyndan aýyrmandyr.  

Nurberdi Han Amangeldini diýseň gowy görüpdir.Han aga ondan maslahat Soraman,hiç bir işi çözmändir. Nurberdi Amangeldiň sözüne halkyň pikri diýip düşünüpdir.Şoňa göräde, ýaşulular bilen duşuşanda, Amangeldisyz geňeş geçirmändir.Maslahatda Ahal ilinde ýüze çykan her bir narazyçyligy bileligde çözüpdirler. Amangeldi Şükür bahşy bilen deň- düşrakdyr.

Ýöne ýetgijeklig döwrüne ýeten wagtlary Şükür bahşy Gökdepe etrapyndan göçüp,Ürgenje, soňra bolsa, ymykly kaka etrapynyň duşak obasyna barýar.

Olaryň basym-basymdan duşuşmasalar-da, toýlarda, üşmeklerde görüşüpdirler.  

Amangeldiniň kakasynyň ady Orazalydyr.Amangeldi hakda köp rowaýatlar bar.

Amangeldi ýaşka,gözüne ilen zady göterip gidiberipdir, diýýärler.

„ Ogurlyk edeniň eli kesilýärmiş „ diýen gürrüňi eşidip, ol göni ýola gidipdir diýen ýaly gürrüň bar.

Ýenede bir rowaýatda Amangeldi awa gidip,işi paşman aç halda öýe gelýärkä, ýolda molla düşüp, onuň öýünde unaş içip: 

„ Ind-ä bir gönilendim „ diýipdir.Molla bolsa: „ gönilenen bolsaň indiden beýläk seniň adyňa Göni garyn goýýarys „ diýýär.

Haýsysy dogry bolsa-da bü gürrüňlriň Amangeldiniň ussat tamdyraçy bolup ýetişmegine päsgel bermändigi welin çyn.

Amangeldi Nurberdi Hanyň köşgünde bolanda,goşun serkerdeleri hem Amangeldini örän ýagşy görüpdirler. Ylaýtada Berdimyrat Han(Nurberdi haniň ogly),dykma serdar,Öwezmeret serdar,kerimberdi işan, Atalyk Han onuň ussatlyk bilen çalýan sazlaryny höwes bilen diňläpdirler.

Amangeldi göni Gökdepe urşuna gatnaşanlaryň biri.Ol esgerler bilen galanyň bir burçuny gorapdyr dien gürrüň hem bar.Gowga gatnaşýan adamlaryň biri bolan Kepele kör bahşy hem onuň ýanynda bolupdyr.

Kör bahşy Kepele obasyndan bolmaly.Kepele kör (Batyr bahşy)söweş gidip durka, aýdym aýdyp,saz çalyp, söweşjeňleri ruhlandyrypdyr.Ol şol ýerde-de ok degip ölýär.

Amangeldi göni ýeke ussat tamdyraçy bolman, köp aýdym-sazlary hem döredip- dir.muňa mysal edip, „ Saltygy „- „ Gökdepe mukamyny „ -„ Burnaşagy „- „ Alagaýşlyny „we beýlekileri görkezmek bolar.Amangeldiniň döreden „ Heserli „- „ Jeren kyblam „- „ Jelil „„ Haji golak „ ýaly ençeme mukamlary hem Türkmen saz sungatyny müdimlik baýlaşdyrdy.

Amangeldi „ ýeňdik „ diýlende  kybla tarap ýüzüni tutup, namaz okap durka ok degip wepat bolýar.

Amangeldi söweş edip ýörkä, Nurberdi Han Mary etrapynda kesel ýatypdyr.

Ol Gökdepe gelip Amangeldiň guburynyň ýanynda çöke düşüp, bozulypdyr.

Nurberdi Hanyň ogly Berdimyrat Hanam şol söweşde wepat bolýar.

Nurberdi Han oglunyň gahramanlarça ölenine buýsanipdir.Ýöne ol “Indi Amangeldi göni ýaly sazanda bü golaýda döremez.Amangeldini hemişelik ýitirdik”diýipdir.

Gökdepe söwesi: 28 awgust, 1879 – 12nji Januar 1881 bolan. Türkmen aýdym-sazlary görşüňüz ýaly hemmesi dürmüş wakalara degişli.

Kel bagşi  

Annaberdi aýdogdi ogly

(1850-1923)

Meşhur Türkmen dutarçysy,saz dörediji kompozitor,halypa Kel bagşi Gökdepe etrabynda Yzgant obasynda daýhan maşgalasynda doglupdyr.

Kel bagşynyñ atasy Aýdogdy dutar çalyp bilse-de,ussatlyk derejesine ýetip bilmändir.

Kel bagşy öz döwrüniñ meşhur sazandalary bolanGulgeldi ussa,Amangeldi göni,Sary bagşy,we beýleki ussat bagşy-sazandalar bilen duşuşyp,öz ukybini kämilleşdirýär.

Şol döwürlerde ýazgy maşynlary bolman soñ,onuñ öz eli bilen çalan sazlarynyñ ýazgysy biziñ döwürmize gelip ýetmändir.Şeýle bolsa-da,onuñ döreden „Hatija“ „Jerenim“ „ Suwa geledir“ „Kepderi“ „ Ak eşekli“ „ Ýusup owgan“

ýaly sazlary Türkmen Bagşy-sazandalarnyñ çalynmalaryndan düşmän gelýär.Kel bagşy 1923nji ýylda aradan çykýar.

Onuñ şöhraty Türkmen sazynyñ taryhyna ebedilik girdi.

Täçmämmet suhanguly

(1865-1942)

Täçmämmed suhanguly1865nji ýylda Gökdepe etrabynyñ Ýangala obasynda eneden bolýar.Täçmämmet aganyñ 2 ogly saza ukyply bolupdyr.

Ogly Hojamämmet ökde sazanda bolup ýetişse-de keselläp ir aradan çykýar. Hojamämmet ölümi atasyna diýseñ agyr degýär.

Çary Täçmämmet halypa dutarçy bolup ýetişýär.Täçmämmet aga köp ýyllap Türkmenistanyñ radio-synda , döwlet filarmoniýasynda sazanda bolup işleýär. Täçmämmet aga 1932nji ýylda „ Azatlyk“ diýen sazyny döredýär.

Bu saz şü güne çenli özüniñ ýokary çeperçiligi bilen halk saz gurallary ansamblynyñ , Orkestirleriñ ýekeligde tamdyra çalýanlaryñ çalymyndan düşmän gelýär.

Täçmämmet aganyñ „ Bag içinde“ „Türkmenistanim“  ýaly sazlary hem Türkmen sazynyñ altyn hazynasyna girdi. Täçmämmet aga halk saz gurallary Ansamblary,orkestirleri üçün „Gökdepe mukamy“ „Aýralyk mukamy“

„Dag arman“ „ Gyzdurdy“  ýaly sazlaryñ köpçilik bolup ýerine ýetirilýän nusgalaryny döretdi.

Täçmämmet aga 1940nji ýylda Türkmenistaniñ kompozitorlarynyñ birleşik agzalaryna kabul edilýär.Ol tä ömrüniñ ahyryna çenli ýaşlara elinden gelen kömegini gaýgyrmaýar.

Täçmämmet aga 1942nji ýylda Kaka etrabynda tragyk ýagdaýda aradan çykýar.

Şükür bagşy

(1831-1928)

Şükür bagşynyñ ady rowaýata öwrüldi.Ol saz çalyjy – dörediji ussat bolup, Türkmen sazynyñ taryhynda uly yz galdyran adam.

Onuñ Eýran Hanynyñ bagşysy bilen ýaryşyp,agasyny halas edişi dilden-dile geçip,biziñ günlerimize ýetdi.

Şükür bagşynyñ atasy Dowada aga Gökdepe etrabynyñ Hurmantgökje obasynda ýaşapdyr.Şüküriñ atasy daýhançylyk bilen meşgul bolupdyr.

Dowada aganyñ 3 ogly bolýar.Ulysy Hojamämmet daýhançylyk bilen iş salysypdyr.Ortanjy ogly Hojamberdi izçi bolupdyr.Dowada aganyñ kiçi ogly Şükür sazanda bolupdyr. Şükür bagşynyñ saz öwrenmekde ilkinji mugallam bolan Aly bagşydyr.

Ol Şükür sazandanyñ kämilleşmgine degerli ýardym edipdir. Şükür bagşy şol döwrüñ ady belli sazandasy Garadäli gökleñden(sazanda hem dutar ýasaýan belli ussta)hem tälim alypdyr.Garadäli gökleñ Şükür bagşa kümüş çaýylan oñat dutar ýasap beripdir.

Beýik ussat pata alan Şükür bagşyGökdepe,Mary,Hiwa ülkelerinde saz çalyp,halka uly hyzmat edýär. Şükür bagşynyñ köp sazlary entek näbelli bolsa-da onuñ ilki döreden “ Salmadan bökdüreni“ , Söýli halany“  şu güne çenli adamlary biperwaý galdyrmaýar. Şükür bagşy Gökdepe etrabynda dogulanam bolsa,bütün ömrüni Duşak obasynda geçirip, 1928 nji ýylda şol ýerde aradan çykýar.

Türkmenler ýüzlerçe ýyl boýunça özüniň taryhy wakalaryny we isleglerini aýdymdyr ýa-da saz böleg bilen beýan edip, nesilden- nesle geçirip,ýitirmändir.Netije alsak,onda Tamdyrany dogry çalmak we onuň awazyny,manisi

hakynda düşünişmek üçin bolsa, sazlaryň kim we näme waka degişlidigini bilsek has hem gowy bolardi.

Şükür Bahşi

مئللی تأچ مراد

Milli Taçmyrad

( نامی جاویدان در موسیقی ترکمنی )

مئللی تأچ مراد نوازنده و آهنگساز بزرگی است که هنر موسیقی ملی ملت ترکمن را در حد مقدسات خود گرامی داشته و برای کسب اصالت تاریخی و ارائه آن به خلق خود با تمام ظرافت و دلنشینی اش تمامی تجربیات حیات خود را صرف آن نموده است. این شخصیت انسان دوست و انسان پرور، سازهای ترکمنی را خیلی دوست میداشت، وی نه تنها به نواختن استادانه آهنگها بسنده نمیکرد، بلکه انتقال تمامی دانش و تجربیات خود به جوانان و پرورش آنها را وظیفه خود میدانست. او به گروههای بسیاری از جوانان رموز ظریف و سحر آمیز موسیقی ترکمنی را با روحیه ای خستگی ناپذیر آموزش میداد و برای دستیابی آنها به درجات عالی نوازندگی از هیچگونه حمایتی دریغ نمی ورزید.

خود مئللی آقا هم سازهایی را که منطبق با روحیات و روانشناسی دوران معاصر خود بود آفریده است. علاوه بر اینها، وی تمامی تلاش خود را برای آرایش، تکمیل و ترمیم آن و رشد و تکامل صنعت موسیقی ملی ملت ترکمن جهت نائل گردیدن به درجات عالی تر بکار برده است. مطلبی را که هم اکنون می خوانید خاطرات یکی از شاگردان او بنام خدای بردی دردیف و همچنین همکار و مونس مئللی آقا بنام گلدی دولتف است که بمناسبت 100- مین سالگرد وفات این استاد بزرگوار تهیه گردیده است.

ارزش و شخصیت هر خلقی نه بر اساس شمار کمی آن خلق، بلکه بر اساس میزان و قدرت خلاقیت معنوی آن ارزشگذاری میشود. هر خلقی اگر بتواند با بکارگیری نبوغ خود به توشه انسانیت خلق خویش به آن میزان دانش و زیبایی بیافزاید، بهمان میزان خلقیت خلق خویش را اثبات نموده، تاریخ نابود نشدنی آنرا می نگارد تا الگویی بر ای نسلهای آتی باشد. تاریخ، ادبیات، موسیقی و سازهای خلق ما طی سخت ترین دوران حیات خود شکل گرفته و بار سنگین تاریخچه زندگی خلق خویش را در خود جای داده است. بهمین علت، ما نسلهای امروزین به الگوهای میراث گذشتگانمان فخر ورزیده، به شاعر کبیرمان ماغتئم قلی و به اشعار آن افتخار نموده و به انواع صنایع بی همتای ظریفمان که با خلاقیت ذهن بدست آمده احساس غرور میکنیم و همچنین به صنعت ترانه سرایی، به صنعت هنر موسیقی مان، به باغشی ها و آهنگسازان توانمندمان می بالیم.

شخصیتی که در حال حاضر از سوی ایل و تبار خلقمان تجدید خاطره میشود، یکی از استادان گرانقدر و با ارزش ماست. نام او همچون نام عزیزترین عزیزانمان، چون نام پدران و مادرانمان همیشه در قلبمان زنده است. ساز و آهنگ او توسط مهر مادرانمان در احساسات و ذهن ما جای گرفته است. با گذشت هر چه بیشتر زمان، ما بیشتر به اهمیت و سهم او در رشد و تکامل هنر موسیقی ملی مان پی می بریم. جذابیت ما نسبت به سازهای او با رشد و تکامل معنویات خلقمان بیشتر و بیشتر می گردد. با گذشت هر چه بیشتر زمان، « مقامهای » آفریده او نه تنها کهنه نمی شوند، بلکه آنها بیش از پیش در بین شنوندگان و دیگر آهنگسازان ملی خلقمان جایگاه ویژه ای کسب کرده و در قلب آهنگسازان نسلهای امروز به منبع تهیه نتهای موسیقی بدل گردیده اند. ما وقتی در مورد پاکی و مقام والای اخلاق انسانی صحبت میکنیم میگوئیم : همچون سازهای مئللی آقا است. برای اینکه نام او در میان خلقمان بعنوان مظهر پاکی و درستکاری آورده میشود. چنین پاکی و چنین درستکاری در بطن سازهای دست نیافتنی او نهفته است.

راز این نیروی جادوئی وی در کجاست؟ کدام انگیزه ها موجب گرایش وافر ما به مئللی آقا میشود؟ اولین دلیلی که در اینمورد میتوان بدان اشاره نمود، همانا ساختن آهنگهای اوست. در آنها قوانین کامل آهنگهای خلق ما جمع آوری شده اند. همچنین آهنگهای او برآمده از افکار، متدهای متنوع و تجربیات گرانقیمت آموزگاران علم موسیقی ملت ترکمن میباشند. در آهنگهای او، شکل آهنگ متناسب با مضمون تنظیم شده اند. به گفته خود وی، میزان فشار انگشتان بر روی پرده های دوتار حساب شده در نظر گرفته شده است. وقتی به این آهنگها گوش میدهیم، نه تنها احساسات شنونده بلکه ذهن او هم تحریک میشود. با شکل گیری نوین دنیای ساز خلق ترکمن و نواختن آن، انگار تمامی آرزوها و امیال درونی شنونده در مقابل چشمان آنها از صفحه نمایش میگذرند. بهمین جهت، موقع شنیدن آهنگهای او گوشهایمان به تنهایی کفایت نمیکنند.

آهنگهای مئللی آقا هر شنونده ای را به فکر واداشته، به روحیات و اخلاقیات وی معنی تازه ای می بخشند. مقامها و سازهای مئللی آقا نه تنها متناسب با روحیات و ویژگیهای دوران خویش تدوین شده اند، بلکه آنها در عین حال منطبق با نیازمندیهای معنوی عصر کنونی بوده و ویژگیهای دوران معاصر را در خود جای داده اند. بطوریکه آهنگها و سازهای او نه تنها سالمندان، بلکه روشنفکران و نسلهای امروز را نیز بخود جلب مینماید. این ویژگی تنها بخاطر وابستگی ملی آن نبوده، بلکه این امر ناشی از وجود خصایص سینتتیکی ( زیبایی شناسی ) آن، معنا دار بودن هر یک از بندهای ساز او، مهارت و ارائه فرم، سنگینی آواز و بالاخره وجود عنصر متانت در مضامین سازهای او  هستند که که مقامهای مئللی آقا را در جایگاه والایی در صنعت موسیقی ملت ترکمن قرار داده است.

زمانی که ما با خیال فراغت سازهای مئللی آقا را گوش میدهیم، در سازهای او نغمه های غم انگیز و سوزناکی  که حاکی از بیان درد و رنج تاریخی خلق ما همچون گره های قالی مان هستند بر سینه ها نقش می بندند. لذتی را که ما از شنیدن سازهای او می بریم، نمیتوان با آهنگهای کنسرتها و سمفونیهای آهنگسازان بزرگ تشبیه نمود. البته ما در اینجا در صدد تهی کردن دیگر سازهای مردمی نیستیم، بلکه صحبت بر سر قدرت و ارزش سازهای هنری و حرفه ای خلق ماست. این چنین زیبائی و خاصیت مردمی آنرا نمیتوان در دنیای ساز و موسیقی دیگری یافت.

مقامها نیز همچون آدمها با بیان شیرین و خوش آوای خویش تجربه اندوخته، مقتدر و نیرومند میشوند. آوازهای برآمده از چنین مقامها، هم دلنشین و هم آهنگهای آنها پاک و سحر انگیز می باشند. چنین مقامها را هر چقدر گوش کنیم بهمان میزان نیازهای روحیمان بیشتر احساس میشوند. مقامهای مئللی آقا خود تباین دانش و تجربه خلق ما در عرصه موسیقی اصیل مان است. آنها عصاره های هنر خلاقیت و دانش و شعور خلق ماست. طبیعتا چنین مقامهایی در جهت رشد روحیه خلاقیت و تجربه اندوزی در میان دوستداران هنر موسیقی اصیل خلق ما تأثیر بسزایی خواهد داشت. بر این اساس است که اگر نویسنده ای از فیض چنین مقامهایی بهره مند شود قلمهای او خود بخود بحرکت درآمده و اگر شاعری گوش فرا دهد، فی البداعه بیتهای نوینی از یک شعر در ذهن او نقش می بندد و........

دلیل چنین امری صرفا در خوش نوازی مئللی آقا نیست، بلکه وی در مقامهای خود هنگامه های سخت تاریخی خلق خویش را نگاشته است. در سازهای او میتوان از یکسو پاکترین وابستگی احساسات ملت خویش و از سوی دیگر درد و رنجی را که خلقش سالیان سال جبرا متحمل شده است احساس نمود. مئللی آقا در شرایط کنونی نیز مظهر استاد آهنگسازان توانمند دوران معاصر است. ارج و جایگاه مئللی آقا در میان آهنگسازان دوران معاصر ما صرفا بخاطر نمونه برداری از آهنگها و سازهای او نبوده، بلکه ناشی از درجه تعلیم و تأثیر پذیری آفریده های او در روحیه خلاقیت آهنگها و سازهای هنرمندان معاصر ماست. هنگامیکه ما سمفونیهای ولی مخاوف را گوش می کنیم، پیانوهای نمایشنامه ای نوری حال محمد را میشنویم و یا به اثرات آشئرقلی اوف، چاری نوریمف، آمان آقا جیکیف و همینطور به اثرات دیگر سازندگان و آهنگسازان معاصرمان گوش فرا می دهیم، انگار که صدای دلنواز آهنگهای مئللی آقا را که از دوتار قهوه ای رنگش بر میخیزد می شنویم.

دوران نوازندگی مئللی آقا برای نوازندگان دوران معاصر، حاوی مجموعه ای از درسهای زندگی هنر موسیقی خلق ماست. قدرت و قابلیت ذهن طبیعی هر چقدر هم تیز و قوی باشند، تنها تحت شرایط بهره گیری از قدرت ذهن خلق خویش ارزش و جایگاه واقعی را در میان خلق خود کسب می نماید.

برای رشد و تمدن یک خلق، آموختن میراثهای بجای مانده از گذشتگانمان و بدان خو گرفتن کافی نیست، بلکه بایستی میراثهای گذشتگانمان را از میان توده خلقمان جمع آوری کرده، آنها را صیقل داد و تا آنجا که متناسب با نیازمندیهای روح و عقایدمان باشند در ادامه بتوان آنها را به نسلهای بعدی منتقل نمود. چنین است وظایف آنانی که مبارزه و تلاش برای رشد و تمدن خلق خویش را پیشه گرفته اند. برای دستیابی به درجه استادی بایستی درد و رنج راه رسیدن را تحمل کرد. چنین کاری را باید بدون هیچ چشم داشتی از نتیجه کار به سرانجام رساند. بایستی آنچه را که آموختیم و آنچه را که در راه رسیدن بدان تحمل کردیم، بدون هیچگونه انتظار و چشم داشتی به خلق خویش بخشید. آنکس که بتواند چنین کاری را انجام داده، از هر گونه خصایل مخرب از جمله خسیس بودن، حسودی نسبت به دیگران پرهیز نموده و آنچه را که به تجربه و با تحمل درد و رنج فرا گرفته و به شاگردان خود بدون هیچگونه احساس حسادت نسبت به آنان منتقل کند، از سوی خلق خویش مورد ستایش واقع میگردد و لیاقت استاد بودن را کسب می نماید. ملت تنها چنین استادانی را بخاطر مهارتشان در کار، داشتن خصلت انسان دوستانه و نوع پرورانه شان مطلوب و لایق دانسته و ارزش والایی برای آنها قائل میشود. باید هنر زیبای موسیقی هر سازنده ای با زیبایی و پاکیزگی اخلاق آن درهم آمیزد، و نباید زیبایی هنر موسیقی را با حرص جاه طلبی و مقام پرستی در آمیخت.

چنین است درس آموزگاران هنر موسیقی خلق ما. بایستی همه ما تحت هر شرایطی بر این درسهای گرانقیمت زندگی هنر موسیقی مراجعه کرده و مراجعه کنیم. مئللی آقا با تمام سادگی خود انسانی دانا بود. همچنین وی با سادگی خود سخنان قصاری را ادا نموده است. او میگفت، انسان از دومنبع تغذیه میکند که هر دو در قلب ملت ریشه دارند، یکی از آنان نان و نمک و دیگری ساز آن خلق است. هر انسانی اگر بتواند از این دو عنصر خود را سیراب کند، بدانید که هیچ لطمه ای از جانب او به خلق وارد نخواهد آمد.

آری: در دوران معاصر ما، این سخنان او بعنوان سوگند حیات وی بود. او در مدت حیات خویش نه تنها هیچ لطمه ای به خلق خود وارد نیاورد، بلکه با هنر زیبای خویش زینت و آلایش تازه ای به خلق خود بخشید. امروز ما بهمراه ملت خویش بار دیگر قدرت هنر موسیقی آن و خاطره تابناک او را یاد میکنیم. هنر او بحق هم قدرتمند و هم توانمند میباشد. در آن درجه بالای مهارت و تبحر در هنر موسیقی و پاکی خلوص نسبت به خلق خویش جای گرفته و موجودیت ابدی حیطه حیات ملت مان نقش بسته است.

احمد مرادی

تورکمن صحرا مدیا

a member of

Founded And Designed By: Dr. Farzad MARJANI, Civil Engineer, Ph.D. Ankara - TURKEY

EMAIL : farzad@turkmens.com