Musical analysis of the ashik melodies performed by Bayram Hüseynli with piano and vocals

Abstract

In Azerbaijani music folklore, ashik melodies hold an important place. Bayram Hüseynli has works in the fields of authentic folklore, ashik music, and mugham creativity. Here, particular attention is drawn to the tonic, subdominant, and dominant function of the shah-pardeh chord. The demonstration of this chord is crucial, especially when studying the phenomenon of ashik polyphony within the framework of harmony. In this study, five ashik melodies by Bayram Hüseynli – Gödek Donu, Mirzecanı, Göyçe Gözellemesi, Kahramanı, and Şahseveni – are analyzed. This research is a document analysis within qualitative research methods. The reason these five ashik melodies were chosen for the research is their popularity. These ashik melodies were transcribed by Ashik Teymur Hüseynov (Shamkor) and published in 1960. The significance of arranging ashik music for piano and vocals is that it has allowed this unique genre of ashik vocal music, with its own traditions, to reach a broader audience. In this case, the piano has almost replaced the saz, and therefore, the sounds of the classic bowed string structure of the saz have been played in the accompaniment. In this way, Azerbaijani musicologist, scientist, and composer Bayram Hüseynli laid the foundations of ashik accompaniment on the piano by imitating the characteristic chords of the saz. The examination of this chord reveals that it bears similarities with various tunings of the saz.