VARIATION OF TASNIF AND TIMBRES IN “CHAHARGAH” MUGHAM DASTGAH

Abstract

In the article “Variation of tasnif and timbres in “Chahargah” mugham dastgah”, attention is paid to the issue of the variation of timbres and tasnifs related to the “Chahargah” mugham dastgah, which has a unique place in Azerbaijani music. Examining the vocal-instrumental variants of the “Chahargah” mugham dastgah on the basis of recordings reveals a variety of timbres and tasnifs. In performance practice, we often find repetition of the same timbres in mugham variants, however, the playing of different timbres in a series of performances opens the way for the emergence of a new version of the mugham dastgah. In the “Chahargah” mugham performance, “Chahargah” tasnifs and timbres with different content were used. An analysis of most notated music samples shows that tasnif and timbres are closely related to mugham divisions, reflecting their reference scales and melodic characteristics. As it became clear from the research carried out, the fact that it sometimes has common reference scales makes it possible to use tasnif and timbres with different names. The study of these reveals variance in both note writing and performance practice.