Abstract

Extended Abstract


Folk songs, representing the rich genre of folk music, are a unique examples of art. They reflect a great history, the daily life, lifestyle, customs and traditions of the people, philosophical-psychological, social, domestic, religious and secular perceptions, joy and sorrow, heroic chronicles. Folk songs are as old as the history of the people. U. Hajibeyli emphasized the importance of collecting folk songs and of composing them to eternalize and of working with them in scientific researches. He has repeatedly used this genre in his works.


The popularity of folk songs in composers’ work has led to the creation of new methods of use. It manifests their creativity. In the work of R. Mustafayev there are several styles of performance of folk song for choir. Among them, the accompaniment choir is of great importance. Eight pieces of choreography are written in piano accompaniment. Among them are “Yaylıq” (accompaniment, 4 part chorus), “Ey, gözel” (accompaniment, 4 voice choral, soloist), “Sevgilim” (accompaniment, 4 part choir, soloist), “Ay gözel” (accompaniment, 4 voice choir) ), “Qara Gile” (accompaniment, 4 choir chorus), “Qara Teller” (accompaniment, 4 voice choral, soloist), “Aman Ovçu” (accompaniment, 4 voice choral, soloist), “Leylam” (accompaniment, 3 voice chorus), “Sevgilim” (accompanied by 4 voice choir) are choral works composed on the basis of folk songs. Apparently, these jobs are grouped according to certain criteria. Their accompaniment and choir, accompaniment choir and soloist are remarkable. Only one of these exercises is designed for 3 voice choirs, each with a 4-voice chorus party.


The soloist party has also been involved in four chorus work, and chorus functioning is based on solo, chorus and piano partrs based on the the folk song “Qara Teller”. The piece starts from instrumental five cycles introduction. Its theme does not imply any fraud of the main melody, but is characteristic of the passage and arpeggio, which demonstrates the technical capabilities of the instrument. Arpeggio chords form the based on the instrumental accompany. The chorus party is homophone-harmonic and it acts as a support for the piano party. The composer was able to accompany an ensemble through the tempo of human voices.


The chorus of the “Ay gözel” begins with the introduction of the eight-instrumental entry, which is based on the motives of the song, the first two digits are then expanded in the upper register, down through the sequences, with the passage up to the last two digits ending with the cadence motif. This melody is then played in the second sentence of the choir party, Soprano.
During the performance of the second and the sentence, the main melody of the piano accompanied the song, while the third sentence is played by the entrance. It also brings a fullness and ensemble of work. In the work of R. Mustafayev’s accompaniment chorus, the piano party has a position of special importance in shaping the bright and image-emotional world. From this point of view, the “Ay gözel” can serve as a good example.

“Qara Gile” “was recorded in 1981. One of the interesting aspects of this work, which has a large volume of instrumental access, is the formation of the chorus partition. Thus, the composer has given harmonic background elements from the beginning to the end in the party of other voices accompanying the main melody. This creates a mood of solo and ensemble accompaniment. The next example we draw on is based on the song “Sevgilim”. This work, written in 1999, is very popular in the khananda (solist) repertoire. The “Sevgilim” chorus is one of the most extensive instrumental examples. The introduction is based on the leitmotiv of the song with a 12-digit (cycles) volume. Another noteworthy aspect of the operation is the use of the principle of distribution of notes we have encountered in the previous examples. Thus, the first two lines of the main melody are played in the case of Unison in the Tenor and Bass party. In the continuation, the whole chorus is played. But here the melodic line of voices differs.


Tenor and soprano sounds are given in the octave unison, with the lower Soprano parallel to the melody in the quartz unit. Although the press party is independent, its rhythmic shape is similar to the main ringtones. “Leylam” attracts attention with the interesting part of the chorus of folk song. At the entrance to the 10-piano piano, the composer presents original music tracks using the motives of the song. His character sounds with the general mood of the song. In particular, repeating the 16ths on the “d” sound in the last two digits slightly strengthens the hilarious character. There is an interesting structure in the chorus. The melody was traditionally assigned to Soprano’s voice.


As a result, the composer’s interest in the folk song can be easily seen in his works. In the accompaniment of R. Mustafayev’s chorus, first of all the vocal voice capabilities match the basic style of folk song performances. The composer, who is well aware of the details of choral music, not only unveils the singers’ vocal talents, but also pays special attention to the song’s emotional content. It is necessary to mention the role of the piano in the chorus’ performance. The composer used this instrument not only as a companion, but also with skillfulness.


Keywords
composer, choir, instrumental accompaniment, work, folk song, style