![]() Short sectioned melodies with C or D cadence (ex.6a, №27-29). Most of these tunes move on the E-D-C-B tetrachord, the note F rarely occurring.ġ.2.5b. They are ranged here on account of their similarity with the Bekbekey tunes, although they could be categorized with two-lined melodies as well. Two groups of mostly two-lined tunes are to be discussed here, which are performed giusto and moving on Phrygian scale. (Sipos 2004)Įxample 5 Single-line twin-bar tunes rotating on the middle note of the B-C-D trichord 4 Let me note here that although the most important trichord of Azeri folk music is this one, the Azeri musical lines are not rotating but descending or hill-shaped. The importance of this tune scheme in Kyrgyz folk music is proven by its frequency among the lullabies, as seen earlier (№21-22). 4b, №18-24), which also displays links with the twin-bar tunes rotating round the central note of the B-C-D trichord (ex.5, №25-26). The two-lined B ekbekey tune has a Phrygian version closing on the note B (ex. The Phrygian Bekbekey tune and twin-bar tunes rotating on the B-C-D trichord (ex.4b, ex.5, №18-26). This explains why it is ranged with the motivic tunes.ġ.2.5a. The basic form of the Bekbekey tune still of great popularity in Kyrgyzstan moves on the B-C-D trichord, and since its two melody lines can be retraced to the a=B-C D | B C basic motif, its pattern is: a a c || a a c (ex. Two-lined Bekbekey tunes (ex.4a, №12-17). This was the only example found of this type.Įxample 3 Twin-bar tunes rotating on the C-D-E trichord 2ġ.2.4. Twin-bar tunes rotating on the D-A-C trichord (№8). The separate motifs descending on G-E-D-C-G, are to be presented later.ġ.2.2. The lines spinning on the D-B-C core often end with a line descending on the E-D-G, or D-B-G, trichord (ex.2b, №5-7). Though with a smaller weight, this motif can be found in the music of other Turkic peoples, too, e.g. ![]() This kernel is frequent in the recitation of the Manas epic it is one of the basic motifs of Kyrgyz folk music (ex.2a). The most frequent rotation occurs on the notes of the D-B-C trichord. Twin-bar tunes rotating on D-B-C trichord (ex.2a-b, №4-7). The intonation of the notes is often uncertain and changes during a performance, thus rotating on Minor thirds may alternate with twirling on Major thirds or with recitation on two notes.ġ.2.1. Compared to the previous group, this form is essentially different from pentatonic music. The genres of these tunes are often archaic: in Anatolia or in Hungarian areas the songs of children’s games, rain-making songs, etc. ![]() Rotating tunes around the middle notes of tri- and tetrachords are also relatively frequent in the music of several Turkic and non-Turkic peoples. Twin-bar tunes based on rotating motifs (ex.2-6, №4-33) ![]()
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