The role of the percussion instruments in Shirvan ashug songs

Abstract

Azerbaijani ashq art has an ancient history and rich traditions, and differs in different regions by different features. In Shirvan ashug art, melodies are played with the accompaniment of several instruments, unlike in other regions. They included two balabans, a percussion instrument (double drum) and an ashug’s singer in the group. The performance of melody is divided among the members of the group, and each instrument has an important function. While in other spheres the performance is observed by solo or accompanied by balaban, in Shirvan ashug art, percussion instruments also have an important position. As a result of the interaction of the saz and percussion instruments, new performing features arose, creating the basis for each other’s development. On the one hand, the drum and goshanagara influenced the style of performance of melodies and the name came directly from them. The appearance of such melodies as “Yekba shikaste”, “Doyme shikaste”, “Doyme karemi”, as well as the rhythmic formulas and performance style manifested in their performance, were associated with the tradition of playing the drum and goshanagar - percussion instruments. On the other hand, the performance of the percussion instrument in a group has led to the creation of rich rhythmic formulas in Shirvan ashug songs. Shirvan ashug songs include rich rhythmic formulas with bahrli and mixed-bahrli from a metro-rhythmic point of view. Bahrli based on 6/8, some-4/4, mixed-bahr based on 4/4, and sometimes 2/4 metric size. The examples performed with mostly observed 6/8 metric size differ from each other, this aspect also allows them to be grouped by series. The main rhythmic formula is also manifested in the accompaniment of the percussion instrument included in the ensemble. Playing the standard rhythmic formula typical of the vocal sequence, the double-drummer demonstrates variations on the basic pattern in the instrumental section, demonstrating both the instrument's capabilities and his playing skills. Since the vocal part is free improvisation in the mixed bahr melodies, the rhythmic formula of the melo lines is not based on a specific pattern as in the bahrli songs. However, it does not deviate from the rules of the basic formula. The rhythmic formula characteristic of the sequence reveals itself with the accompaniment of drum instruments.