duduk method
DESCRIPTION
DUDUK FLUTE ARMENIAN METHODTRANSCRIPT
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r. B. Mr{HA CflII (MI{HACO B)
G.V. MINASYAN (MINAS OV)
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ruKOJIA I4IPbr HA AyAlrKEMANUAL FOR DUDUK
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G.V.MTNASYAN (MTNASOV)
MANUAL FOR DUDUK(2nd, revised and expanded edition)
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I am deeply grateful to everybody who helped mein publishing the book
I dedicate this book to my grandson Georgy
Editor The Honored Artist of RA,tlre laureate of State Prize, professor R.Altunian
The text-book for the studcnts of musical schools atld collcges, thc strLdents of
and also the co posiLions of Rttssian atld Westcrtl Europeatl authors.
It is thc tl i t irr.rc tvhcn thc pearls of Eastcrn cullulc - mughams, arc rcllrcsented in
thc givcn text-book.
ISMN M 801600-15-8rsBN 99930-979-5-0
O Q.LllrtruLrl Lutr / [.MnuacrtH / G.Minasyan / 2004
O \purq. nttnr.ibqrtuuo / 14rA. "l(orrrt.tac" / Publ "Komitas" / 2004
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PREFACE
The second edition of the "school-book of the duduk', by G.Minasyan is remade andenriched and lets the performer-beginner as well as the performer having some skills of playinglearn deeply this wonderful folk instrument, its features, rich performing possibilities, help toovercome technical difficulties. The deeply thought over idea of the book which enters the studentinto the world of music, leads him from simple to the complicated, from exercises to theperformance of highly artistic pattems of folk and authentic music, makes it indispensable andvaluable guide to the achievement of the professionalism.
The music material is rich and selected with a good taste and makes the basis of therepertoire of duduk. There are the pattems of country and city folk-lore used here such as folkinstrumental melodies, songs and dances, pattems of gussan music, medieval secular and spirinralmonody. You can also meet the pieces of Armenian as well as westem-European professionalmusic as the author believes that it enlarges musician's horizons, raises his cultural level, helps todevelop a sense ofstyle and the skill ofusing all the rich sound palette of this wonderful instrument.
The particular value to this book, to our mind, brings the insertion of the eastem mughamsin the note-writing of G.Minasyan himself, who is one of the acknowledged experts of the art ofmughamat in the Transcaucasus today, into the second edition of the book.
He was born in Baku in 1933. His first teacher was his uncle, his father's brother, AgalarMinasov, a well-known duduk player of that time. The formation of the individuality of themusician was going on under the influence of the performing art of such great masters of duduk asKaro Charchoglyan and Levon Madoyan.
Spread in the East, mughamat existed in Armenia yet from Middle Ages simultaneouslywith the Armenian city secular instrumental art. The penetration of the mughamat to Armenia andits rvide spreading are mainly conditioned by the existence of the certain similarity and commonfeatures lying on the basis of Armenian mode systems and the models of mughamat and it isobviously connected with the regional closeness. During the process of its development mughamatin Annenia having separated from common Eastem culture gained certain national feahlresconditioned by Amenian national musical thinking. It was reflected, in particular, in other degreeof concentration ofthe musical idea in the time and this fact in its tum conditioned the peculiaritiesof the fonnation. Having inserted into all the spheres of the musical culture mughamat took aconsiderable place both in the perfonning aft and in the field of theory and also in the professionalcolnposrng art. It is enough to remember the adaptations of mughams of N.Tigranian, ..yerevanian
etudes" by A.Spendiarian, etc.
Developing in the conditions of city culture as a professional art of oral tradition mughamatadvanced such remarkable Armenian performer-virtuosos whose names were well-known all overthe world' Among them are such famous musicians of the XIX-th cenfury as tambur players Alexan
t 0
and Harr-rtin, khamancha player Achazurk sepukh, tar player Agar-nal Melik-Agamalian. The
greatest mughamat players of the XIX-th century were Sasha oganezashvili (Alexandel oganian),
Bala Melikov (Melikian), Levon Karakhan, Sogornon Seytanian, Levon Madoyan and others.
The purpose of the including of the pattems of nughams into the given edition is to
introduce the students to this art, to bring r.rp them to be able to feel deeply the style of mugham and
to interpret it correctly, to overcome the difficulties of the fon-nation, to develop the technical skills
and to perfect the perfonning culture. At the same timc teaching the notes doesn't exclude the
development of the student's abilities and skills to ilnprovise. All this in the end serves to keep the
stab le Armenian perfomring traditions.
Such is the custom that Annenia being a country of the developed instrlmental cr.rlture at all
tinres also advanced wonderful masters who rnade the instrulnents and made a valuable contribution
to irnprovement of their construction. In XX-th century the nat.ne of vatdan Buni became famons
a'd hi! interesting work at the creation of the er]tile farnilies of the inshuments r'vith the different
ranges (for.example, a quartet of tars-piccolo, traditional, baritone and contrabass) rvas reflected not
only by a well-spread and enthusiastic response frorn the scientific musical-theoretical idea but also
practical use in the countries of the Soviet East - in Tadjikistan, Kazakhstan, Dagestan and
Uzbekistan wher-e his work was continued by Ashot Petrosian. Buni is famous for being a creator of
bas-duduk which is called "buniphone".
Remarkable improvement was made by Sasha oganezashvili r.vho had added the fourth
string to khamancha by weans of which he enlarged the technical possibilities of the instru[rent' We
can rightfully add Georgy Minasyan to these names and thus we shall open one rlore side of his
versatile activities: besides being a perfect performer, he is also an experienced teacher, as well as a
tireless investigator of the instrument, an inventor. Together rvith master Sergey Avanesov he rnade
the reconstruction of duduk applying it with the system of metal levers. That made it possible to
enlarge essentially the range of the instnrment, thus enlarging its perfonning possibilities' More
over, the whole quartet of duduks is created on the same principle. This fact allor'vs to expand the
repertoire and to perform the adaptations of the patterns of Annenian tnedieval, gussan and folk
tlusic in polyphonic sounding as well as tlre best g'ork of the rvorld professional t.t.tu sic St-tch
aclaptations can be found in the Ensemble section ofthe given book'
. .Schoo l -booko fdud r rk , ' i sa r .esu l to fmanyyca ts ,pc r fo r rn ingand teach ingcxper ienceo f
the autltor in whose "artistic laboratory" the beating of searcliing and inqr'risitive rnind does not stop
cven for a mintlte.
ALINA PAHLEVANYANDoctor of Arts, Profcssor of Yerevan
Komitas Slate Co nscrvatorY
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rnul hqbq0urqftqlr2lr tnhqn 2ntpphplr tlpru, [02qhu 0rul, dru.;0fr urprnurphp ur0 202 ruO tr rupmru202 ruOdtrhpp: U0hprudh2ur t 2nrlpbpml pn0h1 h4Lq0uqfqf2p, phptrtulllr nrnhg0hl u1nhpO ru10qbu, n1r
2nrppbp[r 0bppf 0 qrunhpp prudu0rlh0 104hplrg tr rumuf 0Lpfg, uLnb4dbln{ o4ur1f 0 urupru}nrp.;nr0:{tu4puhrupblnrl dru;0fr 6ft2tn ruJrurupbltltu0 4d{urpnrp1nr00b[[, quphltt t urp4hO ru0g0h1
u\qr0ru\ul0 {rupdmp1nr00hpf0: {rup\ t 02h; np qnqnrq0 nr0fr hpllnL uqflr\urmmpur: Unuglr0rurqfirlluurnrpur0 pbpLu-rg{u-rb t, nrlurnh4 lh oqrnuqnn0qnLri drufu dhnpf d\m1p umg: U10qnpdur d{nL t 0ru}u OurtluG nrunrg rhu 0 p0ptu gpmrl:
bn\nnp+ uqfirluLnnrpu-r0 purp4rugrlrub t L qnnbudqm t u\uru] 2-p4 4u:uu,rpu0irg,pruq[u02u.t0 qud ru0bp[r l, q[huObp]r urn\tu1mp1ru0 qrumdunn{, npurb4 qrur4rlurd h0 dhnphpf pnlnprltuur0hpl:
U2u-rlhpurfr qb4urq[uru\ru0 6ru2u[p qugqtug0blm t, qurpurqrlm0p0hplr hu:O4huihhurruppppmplnr0 umugug0hlnt Gqunuln{ gurotlrufir t hrudtufutul4]r puprlugohl 0pur hptlurgur0llpOnl b[tud2LnuUu:O 0lmphpn{: Orunrtl0ur\rl0 unu2lr0 Lnup{u: p0prugpm tu2ru[hpurp qburp tlmprugG[ rpr4nr\ 0r[uqhlnL h0rupp0h11 L dhnp phpfr \tuurupnqu\uG 0tu]u0ru[u0 m0ur[nrp3m0Ohp:
<!Q 3nF1'1,bf'h LnSUqOnI.fd3nFl,e
402.1nt0ft purpdpnrp.ym0p qprunhlnt huliup qnplulmrl b0 hlr0q hnpfrqn0ur\ru0 qbhp, npn0prllnuu[0 r.lhpg{urb l;n2{nr h0 h6quq[b: th0q qdhfl]rg 0hppl,]rfip hrurlup{mrl t runrugfr0, rlhpL}r0p'hfOqhpnp4: lnurur0bpp qp{mrl h0 qdhpfr rlpu.r L uJnu0g rilrgL, }rO2qbu 0tut, runur2fr0 q}b nurq Lhfi0qhpnp qbfg r{bp:
€uOf np h0quqdfr fuu rmuppbp prupdpnLplur0 h02.ym00bp lurphflr t qpunbl ]ufruLnuu:hrlu.r0ur{ru.rl1 pruOtu\nrplurlp, muurlr qnpbu.r}nLrJ h0 0utr odru04ru! qbhp: Odru04ru[ qbhpp q1n{nulh0 h0quqbfg 0hppl, L {hpL:
tttnpp oQnu(u unuplt0 oQnutlut httQpnF4 oQutu(u
r1n nti lr l lrtu un1 ;.yu ulr rln nb ,flt
{0gnr0lr pLugrupdru! pLlldpntplnr0p qprunhpr hrurlup qnpdru}nrrl h0 hrunnr! 02ur0, npn!n2{nui t purOurfir: r]nt4nr\lr hurrlu.rp h0qruqdfr ul4qpmrl 4p{mri t unflr \url 2mpulfr pu0ru[r'{ :
bprud2LnulLu0 hutltulrupqmrl u: b0 rifr unu.r0dlr0 h05nr0 hru&4frqnL t fr pu0f u0qrurlurulphp 6ru.;0ruuruh ru00hpm (nhqfrunp): U10 hurur{ubg, npuhq 0bpqpu{rlurd h0 h0gnr0u2u:pfrhful0u-r\u-r 0 7 ruurn[rdru0Obpp, ln2rlnLrl t o\rnullur: (fuiOru\ru0 h021m0u2unh0 urlhSug0hln{ hurgnp4
f i u?', ui" .,1'
t 4
oqmuqluJb runlu?h0 h01nL0p, l+uqrlLlmri t 4llunn0[\ qur rltu: .lnLqrLtllr hfr;nL0u1lr0 otutlLup
p04qp[{rub t tlbpp 02Llrud ollmurlu.r0bpfr uruhrlr.u00hpm :
Sb.lOrUlFfd3nI'L
{01nL00hp! hupruphpu\ru0 url,.n4nrp.lnL0p 02ru0tu\b1nr hur rup [pptr hfrilp p0$Ltitlu]] t ilhtl
ullpn{g urhr4nrplur0 0nmru0 (o): urlpnng 0nuru1[.r mt nryrtpjru0 prudu0nr p uubFh Llumulqnl t
hplnLuf prudru0hlnr. u\q:nL0pnL{, rululr0po. rlh! Lu pn49 0nurullr rnLlqnLpjnr0p prudtu0LlnL[ t bp\nL
!hu[r, \hu 0r.ruru.r.;[r rnl,nrlnrplnr.0p hp\nr purnnp4h, punnn4 0nrnu1l.r url''nr1nrp.;nr'0p' bpl-1trL
nLphpnp4ru\tu 0lr l-L tu110:Sl-,nr1nqr1nt0 obplr r.u.l4qlrufr pur du-r 0mrlp hpl,m t hbutl-.1 u 1 q]uqph g.
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(bpr.ud2urur\ru0 4ru4urp): alLumqu:0bp6 nL0h0 0nr30 ul,nr1mp1nt0p, fr02 np 0ntnur0hpp !,1 02md h0 urluqbu.
Su:\ur, ururlgrlr 2ullrhp: 'unurLu0hp! qrup4rulnL hu tup tiprud2urnrpruo qpu-rnntrip prudru0{nrrl t
hurlruuruJr huur{rubohpf' rnuruulhfF: 1,'pru0p ptudruorlnt h0 lrnLulhg urr-uLlLnlr qbhpn{: I;pud2utt-ultu0
unhqdu,rqnphmplLuo ulqgmri' pru0rufirfrg hbnn 021{nLt 2u-rr.lrp: ?rurirp ( 214,314' 4/4) qp{nLLl t
llnmnpul\lr 6Lnri, nprnb4 hrurlLupfr2p gnLlg t rnulfru, Ph nurqm[ pruGlr rlurufr t pruduOtlud' [ul'1
hru1u.[uprupg' rurib 0 rlfr riruufr url,nrlmplnr0p:
ULSbOUShUSh \,cu\,\'bn
{01nL0obpp!huurn0nripup6ptug0blnrlrurl|rghgObprlrrurlurpqnllrr.p.;nr0nL0h0rulurhpurg|u1|tG2Lu00hp: SLu\ur[r rthg hu04frulnq ulSnhpurg]lu.;lr 02u00hpp \n2{nL h0 u1u-rnr-uhuL1u0: Lpr-u[p
qruhqur0nr h0 hpb0g 02u0u\ntp1nL0p rlfurl0 mtlru1 ultullurlr rlb2: bptud2rnu\ru0
umh4druqnplmplu-r0 ulq:nr 4pL{u-rd 4[rbqg \u-r pbrlnp \n2{nrr-i t plu0u] rh 02r'u0 I-' qnpdntrl t urlpnrlg
urnhrlbruqnpdnrpluO P0PurgPnL :
u) rltrhqp ( I ) g"r:S t utrulru ulLful tuumlr6ur0[r luli h05nL0lr pur|dpugnL p \hu mn0n{:
p) Fhilnp ( b ) SnUg t tntuflru urr'L;rul ruuurlrdu 0[ lull h01nL0lr [2hgnulp \hu un0n{:
q) eh\upp ( | ) thqrlpug0nLrI t rillhq| \ull pb nlr 02ru0ru\ntp.1nr0p:
4) bpphil0 h0lnL00hpp purpdpufinL \u-rrl [90nnl h0 rlb\ urtpnrlg urn0nr{ (!p\0tu\[ \lruu-
urn0hlnq ) : {05nr 0lr u j4ul l rulr t r t r \orulh pu|dpugnL p 02ur0ur\{rnr l L ryrrpl r l f t q 02u0nq ( }3 ) :
tIntr0urhh hghqnr n 0rru0uU{nr t rFtpt pbdnt 0,7uond ( bz ):
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FAMILY OF DUDUKS
Fu'tu r1m4nt\Bac AyAyKBass duduk
Furpfrtnn0 rlnt4ntl-lEaplrroH 4yayxBariton duduk
I ?
rlnr4nrLl
AyayxDuduk
ShOnp 4nr4nLt1Tenop 4y4yrTenor duduk
Ulu 4nqnr[Allr 4ygyxAIt duduk
turffr2 - Uqhq0uqhqhf.1) qul4url2) {up4ur-\u:pqurqnph2
Tpocrr - MyHlrrrryt(I ) xolnavox,2) perynarop
Cane - reedl) cap2) regulator
I 8
KPATKI{E CBEAEIIUq O AYAYKE
Ayayx pacllpocrpal{eHunfi y uapogor; 3axalxa':uq ayxoBoii Hltc'tPyMCllr'
cocrasHlre qacTr{ ayayKa cneayrou\rre: cTBox, NryHArxTyK) perynrTop rr KojrTrarroK.
V rp lar tuHorrr rbtx AynyKoB no AJI I I r r r ' c r nora I IMetoTcq AecqTb n: l - lb l lcablx ornepc ' t : t i i -
Boceiub !r3 rioropbrx paclronoxeHbl Ha rnqeBol"I, Il rBa tte rst,r.sHoii cropolle.
Crao,r (a , r r r r ro i i 350-450 t r rvr ) n : lor i tn . r r rBl rercq B oct toBHol l l l t l t6purocoaoLo JcpcBir .
B r.o;roony crBona ixapoBr1auori (ropir.ru Bcrill l,ruercx rpocruurconttir rlyl{.q rryK (Ka\1bIUI).
nepxrruii KoHeq r(Oroporo SIIJIIOUILIBaeTcI, oSpa3yq ABol."tFlylo TpocTb IUIocKOli rfoprlu Ha
ero cepeAl.tHy HaAeBaercq xouyr (napla), T, e. pefylltrop' nepe/IBrtxeHI'IeM Koroporo
r13N{er{qeTgq crpori r,rrlcrpyuertra. Teu6p AyAyKa ttal'xui-r, nenyutri'. rlaqe ncero ott
rrcnorb3yercq B ay3Tc IiaK aKKolvlnaHupyloulttit nlt4epltauHbIMI4 3By(zr\{lr (AaM)'
Y yconepureucTBoBaHHofo ayayria no AnuHc cTBoJIa pacno;lor(eHbl 14 nalluenr,tx
oruepcrrtil, 8 lts xoropux Ha nlrqeBoi;i, a 6 Ila .rlr,trsoi;i cropolle.
,[uana:oH Tpa,4ltIrHoHHoro AynyKa 6lt.n palculltpell aBTopo\1 .4aHIIoro noco6ltq tt
\{y3brKttJIbH!,IM Macrcporl C.AsaHecoutri\{ uyret,r aodaB,rettttq KjlattattoB lI y.4JMHelII' lt crBo-la
(450-460 rrlu). B pe3y-rrlrare 6r,nu 4o6ae;renr,r cirellloluuc- Horbr: i\111. Llrlr. iJu altc:, coJIL, coill '
4nes lra:roii oKTaBLl Il pe, pe Aue3 Ml'r BTOpOH Ot(TaBbI.
,IIo6aereHue KJIaIIaHoB aaer Bo3MoxHocr6 HcnorHqrb Bce raNII{bI
f.MnHacoe r.r C.Asauecoe He ro.rlbKo ynyqullnll Tparllullol{Ht'li i 4y4yx, Ho l't
cosMecrHo co3aaru HeoI(oJIbKo HoBblx llrtcrpyMeHToB: 6ac, reuop u 6apllrou - ay.qyKll'
HcnoIr,3osaufie 3THX I,IHCTpyMeHToB AeIaeT BO3I'IOXItL'INI I{CnOJr}leHIte npoI',r3Be,4eH Ht"t S
npeaenax Tpex oKTaB. 3ru uncrpyueHT6r Mofyr 6rrrr, rrcno:rrsoBar rbl B KBapTOTaX. a Ill l i)Ke
Lrapoarlr,IX altcaM6rqx H opKecrpax.
cenaei icr to IynyKoB cocTol . lT rz : pat r rocrpoi rHl , rx 14HctpyMett tou. crpol i a l l ) r . i r l
C. in B, in A, in G, in Es, in D, in F.
METOAHqECKI,IE YKA3AFIT{fl
3angrrlq c HarrrrgaroulrM yqeHnKoM oqeHb orBercrsettttbiil nepttoA. flosrolry or
HaqanbgOti fiocTaHOBKI{ LIrpOBOfo annapaTa yqel{uKa 3aBHcuT ero 6y.UyUee KaK My3EIKaI{Ta-
!ICIIOJIHHTEJIfl.
Ha.{r.rFrarb 3aHrlMaTbct Ha AyAyKe peKor'IeHAyeTcg c I 2- 14-lersero Bo3pacTa
(yxa:aHuuil Bo3pacT, yrlr{TbIBar o6rqee dln:HuecKoe pa3Br{Tr.re yt{cllIlKa, MOXeT OTKnOHtTCt B
ry nnl r uHyto cropoHY).
llpl,r o16ope yqeHfiKOB neo6xoarrvo o6petTrlTb BHl4\,Iiulue Ha ux (pH3UrIeCKOe
cocTorHue. Yqenux Aon)KeH IIIueTb XOpoUlli.i ctlyx. uynCrno pI'ITN'ti] I{ My3LIKanbHyIo naNIqTb'
Vcncxn yqeHr.tKoB s 6o.nsrueii creleHu 3aBr.rcqr or rexHlrtlccKoro cocrorlll l.s I{HcrpyMeHTa' rla
KoropoNr orr r . r r r fparor . f leaaror , pa6ora loul r ' r r ' i c r {aqr4r la toul l rNrr l y t ter I I tKaMlt . o6t3aH cner l l r l
3a TeM, qTo6r)l tit{cTpyi\' leHTbI yqeHI,IKOB LIaxOAI{nlICb B noJIFIO\'1 TeXHII{ecKOtr'l nOpt.qKe'
Pagurrtlle yqeltt111z1 IO.IXHO UATII KOMnr'Iel(CIIO. T. e. nO JIltHt'Il l O.4llOBpeMeHlIOfO OBJIIIACFIIIt
.1cxtptrOii t{C;1Oj I ltel Irl.g nO BCeNI pir3Acnalvl, pa3BI'lTltq N{y3},1liiIJIbHOfO ivlbll IeHlIq u
t:tOclg.lTlrrHt XyAO)t(ecTIteHrIOf O BKyca. BC:rC4C'retle STOrO IleAltfOr O6l:aH npn pa6OTe FIaA
.rcN.t tIJIrr tItl,tNI ynpux(l tcH I leNf, ?TIOAOI\t tt,rtt ttsecoit CJICAIITb 3a BCCI'M 3JIoN{e}lTaN{lt TeXtIIIKI'l
l rc l ror r reHlsr rJ 3 Lr p i l y r leJr I )Hocru yqel r r r l l . O ' r - ror-o. I {ncKoJt t ) t (o l tp l lL l l lJ lb l { ( ) 6y, lcr ycnoct ta
t 9
yqeHHKoN{ nocraHoBKa urpbl Ha LrHcrpyMeHTe Ha HaqnbHofi craAI,Iu o6yr{eHl'It, 3aBHcl{T ero
pa3Bnrue B AanbHefiueM. fleAaror o6alan rrqarerr,uo pa:o6parbc.n Bo Bcex yKa3aHlrtx,
J.aBaer{brx B HacToslr1eM noco6nu no BonpocaM rrocTaHoBKIr 4brxanur, arta6yultoplt, Kopnyca,
fo-'roBbr, pyK, naflblreB H HacrofiquBo ao6[Barbct ycBoeHl{t x yrIeHnKoM. OAnuNr lrs
saxHefiurux 3JreMeHToB ycneurHoii pa6orrt yr{eHI4KoB tBJlterct I'Ix yMeHHe pa6orarr
calrocrotreJl6Ho. 3ro o6cro.flTerr,crBo o6r3l,rBaer neaarora c caMoro Ha'ra:ra o6yueul.rr
NOMOIIb YqEHI{KY NPABI,INbHO OPTAHI43OBATb KAK KJIACCHbIC, TAK I,I AOMAI]IHUC 3AH,{TI{'{.
IIOJIOXEHI{E NPI{ I{TPE HA AYAKE
Bo npevx zausrui,t Ha ayAyKe, yqeHuKy Heo6xoanuo coxpaHtrb ecrecrBeHHoe
noroxeHrze Kopnyca r{ He[prrHyxAeHHocrr. 3asuvarrc.s MoxHo crot trJrr cr4rr.. flpu urpe
Kopnyc AolxeH 6r,rrr npnruu rl cso6oaHrrM. .{y4yx no BpeMt Irrpbl AoJIxeH HaxoAuTbcc rro,q
yfnoM no orHorrreHHro K Kopnycy a npe4ene 40-45' (cv. crp. t2).
Jloxru .qo.nxnr,r 6urr, cnelra npufloaHsrrr, vro6rr 4r,rxanue 6ruro cso6oaHrrM.
fonony cneAyer aepxarr nprMo, crruHa He AonxHa crra6arrcq. flpu unpe crot npaBat Hora
BbrABr{faerct crefKa B[epsA. flpn Hrpe cI{At HeJIb3t KJIacrE Hory Ha Hory. 3ro lreruaer
pa6ore 6prcumoro npecca n 4rla$parurr, a BMecre c reM BpeAHo orpaxaercq Ha AbIxaHI{Ir.
.IIbIXAHIIE
Heo6xoaurvro c caMoro Har{ara npuBrlrb yqeHVKy HaBbrKI{ I4cnonHI{TeJIbcKof o
.lErxaHur. Baox aorxen 6urr 6ucrpr,ru u rny6or<nM, a Bblxoa - MeAJTeHHIIM n
paBHoMepHbtM. C1'urecrayer rpu TI,rna AblxaHut:a) rpy4uoe urn pe6epuoe;
6) 6prouruoe u,ru 4uaQparrrlaJrbHoe;s) cveruaFrHoe rnN rpyno6prou:uoe.
Vuenllxy uyxuo nrrpa6orarb cMeruaHHrrfi (rpyao6ppurroii) run ,qblxaHnt. Sror run
Al,rxaHrrfl oqeHb BbrroAHo orrnrraerct or Apyrux reM, qro [o3BoJL[er 6parr 6onrue Bo3Ayxa,
H cneaoBareJrbHo aaer Bo3MoxHocrb ao6lrsarrcq nyqruero 3Byr{aHufl u cso6oAHofi nrpsr. Bo
nper,rr rny6oxoro BAoxa rpyaHar KnerKa pacrrrnprercr Bo Bcex HanpaBJreHucx, a guaQparua
onycKaercr anu:. flpu cnoxoftnou BbrAoxe pe6pa rpyauofi rcnerxa ra 4uaQparrvra nJIaBHo
AonxHbr BepHyrbcq B nepBoHaqanbHoe' nofioxeHr4e. lny6nHa BAoxa AonxHacoorBercrBoBarb AnrrHe vyssrralruofi Qpa:u. 9acro npolt3BoAr4Tr, cMeHy AblxaHut He
peKoMeHAyerc.r. 3ro yrourrer abrxareJrbHbre Mbnxqbr H orpaxaercr Ha 3AopoBbe.
IIPOBEAEHI4E IIEPBLIX YPOKOB
flpex4e qeM npHcrynfiTb K nepBoHaqalbHr,rM ynpaxHeHurM, cneAyer noAroroBurb
nHcTpyMeHT K Urpe, a r{MeHHo: npofiycTr.tTb HecKoJIbKo Kanenb BoAbI B KaMb[x, 3aTeM,
onopoxHlrB ero, 3aKpL,rrL KoJrnaqKoM r4 qepe3 15-20 ruun. npucrynlrrr, x ltrpe. flepe4
HaqaJroM r,rrp6r cneryer yKa3arb yqeHliKy Mecro rpocrlr-KaMHrra ua ry6ax, noKa3arb npLIeM
[3BlreqeHufl 3ByKa, 3areM o6rqcHurr, cnoco6r,r BAoxa u BbrAoxa npu urpe. .ftx eroro
seo6xoar.r:uo oxBarr'rrb rpocrr ry6auru, c:rerxa Haayrb lqeKr4 rar, vro6;r BHyrpeHHLIe creHKLI
ry6 or4e.nnrucb or aeceH u sy6on, co3AaBar Bo3ayrxHoe npocrpaHc'r'Bo.
20
.{o6rzourucr, [paBr4nbHoro u3BreqeHu.s 3ByKa, I\,roxHo npLrcryrlurr' K rlepBoHaqanbHbtM
ynpax(HeHr4qM. CneAyer orMeruTb, qro .[yayK ]IMeer ABe arrnnI,IKarypr'I.
llepea.a annnuKarypa o6rerqeHHaq (rae ne npl4Meutercq Mrt3l.IHeIl reuoil pyxu).
flepna.r annnr.rKarypa flprrMeHrercr e Ha.{anrHstii nepLroA o6yueuur.
Bropar anflnr4Karypa ycnoxHeHHa.q, B cB.B3fi c Ha.[uqHeM MHoro3HaqH!,Ix raN,rM 14 nbec,
fAe yqacrByloT Bce rranbubr pyK.
C qelr,ro pa3Bwrr4s, y yqeHr.rKa xyAoxecrBeHHoto Bryca u npoSyx4enuq uHTepeca K
3aurrrrrrM, xeJrareJrbHo qacro MeHrrr, ,ray:uralrHr'tri Marepr{an efo penepryapa. B reqeulre
nepBoro roaa o6yveuua yqeHI4K AonxeH ycBolrrr nplteMl'I Hrpbl Ha ayayKe I{ nstpa6orarr'
HaqaIbHLIe I{CIIOJIHIIT9JIbCKI{e }{aBL'IKH.
3ANI,{Cb 3BYKOB
My:uranrHue 3ByKn uMelor 7 ocHosurtx HagsaHllli: ao, pe, MI{, Qa, conr, rq, cu. 3rfi
3ByKU, nepr,roA r{ecKfi noBToprrcr. o6pa:yror ocHoBHbre cryneHr,r My3r'IKanbHofo 3ByKopsaa.
!;r.R. tu.tclveuuoro o6o:naqeHll.n 3ByKoB cnyxr.rr HorHoc nllcbr{o. Horst, nueloulrle cfopr"ry
oBaJIbHbtx roqeK uJII{ ycrtlx oBarloB, fiLruiyrcc ua nqrrrrrlFleiiHoil HorHoii cl{creMe,
Ha3brBaeMoii HoroHocueM r4Jrr,r HorHbrM craHoM. Horlr noveurarorcq Ha;runeirxax 14 Me)KAygnuu. Cqer Jrr,rHeeK BeAerc.u cHI43y BBepx.
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I
22
SHORT INFORMATION ABOUT DUDUK
Duduk isawide-spread ins t runentamoig thepeop leso fTrans-Caucasus ,Dzrges tan
and Middle Asia.
The main parts of Duduk aIe the followings: a body, a reed' a regttlator and a cap
Traditional duduks have nine fingerholes, eight of which are situated on the flont of
the cylinder, and one on the opposite-side.
The body of duduk (lengthis 350-450 mm) is mainly tr1ade of an apricot tree' The leed
is put into the round hole of the bo<iy, the upper top of which is flattened folmit.tg a double
reed of flat for[r. The regulator, or pafda, is put on the mid<lle of the reed. The tTrover.nent of
the regulator (parda) changes the pitch of the insttunent. The tirnbr e of dudr'rk is soft'
drawlir-rg. It is mor.e often used in duets as acconpanying with the melodious sounds (datn)'
The improved duduk has 14 fingerholes along the full length ofthe instrurnent, eight of
which are situated on the front of the cylinder, and 6- on the opposite - side.
The range of the traditional duduk has been extended by tl're author ar-rd by the tnttsical
master Sergey Avanesov by the addition of levers and lengthening of the body. As a result, the
following notes have been added: mi, fa, fa sharp, sol, sol sharp of the small octave, and re, re
sharp and mi of the second octave.
The addition of the levers enables the player to play all of the scales'
N o t o n l y d i d t h e a u t h o r a n d M r . A v a n e s o v i m p r o v e t h e t r a d i t i o n a l d t r d u k , b u t
together created several new instruments: bass, tenor and baritone duduks: Using these
instruments it is possible to perform pieces within a three octave range. These lnstruments can
be used in quartets, as well as folk ensembles and orchestras'
METHODICAL INSTRUCTIONS
The studies with a beginner are a very responsible period, since the future of the pupil
as a player musician depends on the correct primary base. It is recornmended to begin playing
dudukat theageof l2 -14( thor rgh theage isnots t r i c t l y f i xed . I tmayvary tooneor theother
side, depending on the general physical developrnent of the child)'
W h i l e s e l e c t i n g t h e s t u d e n t s i t i s v e r y i m p o l t a n t t o p a y a t t e n t i o n t o t h e i f p h y s i c a l
condition. The student should have a good ear for music, the feeling of lhythm and tl-tusical
memory .Thesuccessof thes tuder r tmuchdependsa lsoonthecond i t iono f t l re ins t rument
used by the student. The instmctor, who works with the beginners, mnst keep an eye on the
technical condition of their instruments. The educatior-r of the student should follow a ceftaln
p r o g l a n . T h e s t u d e n t i s s u p p o s e d t o m a s t e r t e c h n i c a l p e r | o r m a n c e t o d e v e l o p t r r t t s i c a l
thinking and artistic taste simultaneously. Therefore the instructor ntust watch all the elements
of technical performance and expressiveuess of the student while, working on an exerclse or
any piece of nusic.
lt1it
2:l
Further development of the stuoent greatly depends on the correct organization of thebeginning (first) level of study.
The instructor must make out in details all the instructions given in this book andconceming the questions of aspiration, embouchure, position of body, head, hands, fingersand then to achieve steadily their mastering by the students. one of the most importantelements of successful work of the students is their ability to work alone, which obliges theinstructor to help the students organize both home and class-work, just from the beginning ofthe studies.
POSITION WHILE PLAYING DUDUK
while playing duduk, the student should keep a natural, free and easy posture. It ispossible to study and play both sitting and standing. The body should be straight and relaxed.The instrument should be held at 40-500 to the body. The elbows should be raised a little forthe breathing to be free. The head must be kept straight, the back shouldn't bend forwardwhile playing. One must not cross the legs while playing sitting as it disturbs the work of theabdominal press and diaphragm and hinders breathing. While playing standing the right footis put forward a little.
BREATHING
It is necessary to develop breathing skills from the very beginning. The in-breathshould be quick and deep, the out-breath slow and equal. There are three types of breathing.
a) chest or rib
b) abdominal or diaphragmalc) mixed or chest abdominalThe student should practice rhe mixed type of breathing. This type profitably differs
from the others as it allows one to breathe in more air and therefore gives the possibility toachieve better sound and free play. During the deep in-breath the chest widens in all directionsand the diaphragm goes down. on calm out-breath the ribs of the chest and thp diaphragmsmoothly return into their original position. The depth ofthe breath should correspond to thevalue ofthe musical phrase. Frequent change in breath rhythm is not recommended as it tiresbreathine muscles.
HOW TO CONDUCT THE FIRST LESSONS
Before starting the primary exercises, it is necessary to get the instrument ready forplaying, i.e.: to apply some water drops inside the reed and then empty it, to close the cap andl5-20 rnin. later to begin playing.
1 -
Beforep lay ing thes tudentmustbeshownwhere top lace thereedonthe l ips ;howto
produceasoundar rdhowtobreathe inandout lvh i lep lay ing .For th is i t i snecessary toho ld
the reed with the lips, to swell the cheeks a little so that the inner sides of the lips shoulci
separate fr-om the gums and teeth forming a space'
Ach iev ingagoodsoundyoushou ldbeg in thepr in raryexe lc ises . I tmustber - l ren t ioned
that the duduk has 2 fingerings.
The first fingering is simpler (without using the lelt small finger)'
It is rrsed at the beginner,s level during the whole first forrn. Tlre second fingering is
more complicated.
It is put into usage from the second form because of the
scales and pieces of rnirsic demanding the work of all Frngers'
To develop artistic taste and maintain interest in studies' a
repertoire is desirable ideally. Within the fir'st year of study the
methods of playing and develop primary playing skills'
MUSIC NOTATION
Musical sounds have 7 basic narnes: do (C)' re (D)' mi (E)' fa (F)' so1 (G)' la (A) and si
(B).Thesesout.rdsbetngrepeatedperiodical lyfor.rnthebasicstepsofthemrrsicalgamut.There
are special signs for writing the music down' They are called notes'
Notes, which are ellipse shaped, are written down on a fiveline
called a stave. Notes are situated on and between the lines'
The l r r resarecounted f romdownupwards 'Notes ,wh ichdon ' t f indroomontheStave '
are written on extra lines, under and above tt'
Thes ign ,wh ichde| tnes thenameand(accura te)va lueof thesounds, isca l ledac le f .
For the duduk it is the treble clef ( . It occurs at the beginning of the stave and wraps the
second line with its finglet. sol (G) is written on this line so this clef is sometimes called G clef'
La (A) is written between the 2nd and 3d lines etc'
Thesec t ion ,wh ichrnc ludes thebas icsevens tepso | thegarnut , i sca l ledanoctave.Th is
b a s i c g a r n u t w i t h a n a d d e d f i r s t n o t e o f t h e f o l l o w i n g o c t a v e i S c a l l e d a d i a t o n i c g a m u t o l
scale. Sound range of the duduk includes the following octaves:
presence of n-rulticiPhered
frequent change of mttsicai
student should attain the
note system, which is
The small OclsYe
-.. 3sol l i l
l a
TIte Jirst Octave Tlrc second Octuve
25
RHYTHMIC VALUE
The unit ofcounting is a quarter note. It is played as one beat. A sound twice as long asa quarter note is malked as a half-note and is played for two beats. A sound twice as long as ahalf note is a whole note (o) and is kept 4 times. An eighth note is half the length of a quarternote, and a sixteenth note is half the length of an eighth note etc.
o
| . . n '
J ' J
) )
- l
, , . . \t r t t i - " ia ' a , a a a a a a J 2
' : . i: - \ , i i '
n n r . t * f f i - i -a a a a a a a a a a /. I i l l r i r r r : I l i i I t l , i i i i ; l r :
, , i 1 ' , r ' l , : l . t
, i j l i j
: : :. . t . . . . . a a a . t t I i - 7 -7 -Z -7 -7 -Za
Intermissions. A pause in music is called an intermission. Intermissions are measured bythe same values as the notes and are written down in the following way:
Bars. The meter of the bar. For convenient reading, musical writing down is dividedintc' equal parts called bars. They are separated by bar lines. At the beginning of a piece oflrrttsic after the treble clef the meter is put. It is denoted by 2 numbers, one above the other.fhe upper one shows the number of beat per bar; the lower one shows the value of each ofrhese beats. Sorre types of meter are 414 or C,314,214,318,618 .. .
SIGNS OF ALTERATION
To denote a change in sound by a semitone up (higher) or down (lower) there existsigns of alteraliot-t. The signs of alteration within the bars are called accidentals. They keeptheir effect only within the bar in which they occur. Every sharp or flat put at the beginning ofa piece of music is called the key signature and is functioning during the whole piece.
a) Shatp (#), put in front of a note, makes it a sernitone higher:b) trlat (b), put in front of a note, rnakes it a semitone lower:c) Natural negates the effect of a sharp or flat.d) Sometitnes the sounds become higher or lower for a whole tone (two Sernitones).
Such double change of the tone is marked by a double sharp, if the sound becomes higher andby a double flat if it becomes lower.
26
{ L-TLI1'I, ULI h qII'LLJb3
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OT ABTOPA
!,r.r 6olee pauuoHajrbFloro HcnoJIh3ouall l lJI IIoco6ltq. aBToporl
K Ka)fiAoMy pa3Aeny.
YnpaxHeHur, 3Tlo,qbr It ue6olsuttte npoll3BeaeHuq, aaHHble
npr r.1:rf aroTcg pcrio\lcl l/faull I I
r I pa:,le;re, cnoco6crBYlor
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Bo II pa:ae,re 3aKpenrqrorcq yMerlrq, npr'ro6pereHHbre B npouecce pa6orbt Haa I pa:lge:rolr, lr
npHBUBaIOTcc HaBbIKH fpaMOTHOTO IlcnOxllel l l tq r lapOAHblX, fycaHCKllX l leceH, TaLlUeDalJbl{ l , lX
ue.nogufi , .uyxoBHoii My3bIKr'I.R I I I n re . rene nncn.TxBJreHbl asc : ry5nt t . ,n , r r r rcno , r r te r t r rq 6o , ' Iec c , ] lo ;+ i l lL IX npo l lsBe- ]e l l t l i i .
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r 6- 17).lv pa:ge,r BKJrroqaeT N.lyraNtbt, oco6eHHocTb KoTopbtx - Bocnpotr3BeleH lle Ha cnyx l lo
onpeaeneHHLlM KaHOHaM,Aerop Hanucan MyraMbr B ToHaJlbrtocrll. yao6lloil Anc aynyKa.
llpr.r o6yuennu yqatur.txcr npaBrr,,rr,HoNly ucro,[lreHrrK) r{yra\roB Heo6xoJ.l lr lo o6paxlarb
BHuMaHLIe Ha co6nloAeHHe qerKoii nocneao Bzlrerbllocrlt rtacreil
Xe,rare,tltto pa36uparb MyraM 6e3 N{ejrr.r3},roB. PerolteHlyerc.r uc[lo,:lL'3oBarb \ '1erII3N1}'l ocJle
.{ocKoHaJrbHof o II3yqeHHt Myf aMa.
Anrop uageerc.fi, r{To azlHHbre peKorvreHAaur'u{ no}roryr 6o,ree uy6ot<oMy l ' l3yqeHrt}o
MaTepltana, H3JIo)I(eHHOf O B yqe6HlIKe.
FROM THE AUTHOR
To use more rationally the given book tl.re zruthor offcrs recommendzrtions to cver) sectlollThe exercises, etudes and slrall pieces given in Section I are aimed to teach the beginncrs the
equal per for:ning and correct reading o[ the notes.In Sectio-n II the skills gainea in the process of rvork rt Section I are fixed. Besides tlle skills of
competent pelforming of folk. gr-rssan songs, dnllce melodies. spiritual uusic are established^ In Section III-Elsembles tre reprcscntecl. To per'form rrore cotnplicated pieces giren in SecLion
II I . the author recommends to use dudtrk rv i th the enlargecl range (see p l6-17) 'Sectiol lV ipcludes rnughams. tlre peculiarity of rvhicir is playing by ear btrt lollorvirg the
certain canous. The author rr'rote mtlgllilnls in the key couveniettt for duduk'While teaching the stuclents tite correct pcrforD.ring of nrughams it is uecessary to p:l)' rltelltion
to follolvir.rg of the Jertain seqtlence of palLs. It rvould be bettel to make out nugh:Irrs \\'illtollt
or nar.nen ta tious after the lhorougl.r leatnit.lg of the mughanlThe althor hopes tltat
-the given recommendations will help deeper and more thoroughly
learning of the rnaterial given in the book.
27Gllf Irt'
PABNEJISECTION I
]'LItuLUqUL' q-U0trnl.t}3 n I.l,LbF214 n 414 2wtltbp: Ur_lpnr1g Lr \hu nln4mplnro0hp:
UrIh0 h01nL0p h02bg0b1nr9 unurp r{bpg0bl rupuq t-r funpg 2nr02, [ru\ rupLnLu202hplurnuphl hru{ruur.up L uurn}rdru 0ru[u0:
U.ILTI.9IT\'IIEPBbIfr
HAqAJIbHbIE YIIPAETHEI.Itr{flPasttcp 2/4 t 4f 4; ytnrt'tt Hocrl{ - uc..lanr{ lo.ror}r{Huafl Horlr. flcpc;l rr3B.'lcqcHlrcrlKaai;1olo arvria llc.'ra.ri, 6r,rclprrii rr r.. r'6orrriii:1.-' .: ;;;,i;io-i ac.r;+:cu 6urt, paBHorlcpHLlIlll llocTclcHHbtlt.
ELEMENTARY EXERCISESMctcr 2/4 and 4/4, thc valuc - a wholcand a half. Bclonc rvinding a sound rnakca quick and dccp in-brcath. Thc out-brcathshould bc cvcn and gradual.
,
4
a
6
q-L1FdnFfd3OI.l,LbF €UItnF+LnSULbOn.f 2e
€unnp4 GnLnu (J ): Uh\ u.rilpn42 0nururlfr rlhg [urOlnpu purnnJq finuruOhp: UrIh0 punnp4 0nrnur00{uqb1 hu2rl}r ribLl pufu mrinr{:
}TIPA?ITI'IEIII,{fl B qETB EPTHI,IX HOTAXrlc'r'tcprrra;l Hola(. ). B r1r..roii trorc cct,r,-1 .rclrcpruuc xo'ln. I{aai,qvro \c'l.lJcprHyx)Ho'l'\f |.rfpaTb Ha oaflH c(rcT.
EXERCISES IN QUARTER NOTESI
A quar lcr notc (J ) . Thcrc arc 4qual lcls in a wholc notc. Eacb quar-tcrnotc should bc plapd a[ onc timc.
l t
Andante r
Andante
t 2
Andante
l 3
+ Sh'u tg 217:Cl . c .220.Scr: p.220.
30
l 4
Moderato
Andante
<n3 rufOI;{. I{AP HOY. NAR
{ru; \ur\ufi dn4nrlp4tu\ur{i hpqi \ ; t l r l r rc t l r t l r f l po; l t t . l r r r lcc l l t l
Armcniln lblk sons
l 7
Moderato
l 8
I 9
Moderato{ru;[. dn4. hpqAp . rrap. trccrrrr
fu'm. folk song20
2 l
ts3nF+sTrO[ ETUDE
Andante
* &hu.U{lqut - qp!0nLp1u.r0 02ru0:Ptrr;ttltl - 3rlari ooBTot)a.Rc;x'izc - rcpctit ion sign.
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aro
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, 9
YIIPA}ITIIETII{fl B IIITPtrIXE JIE|ATOJlclaro oBHa.lac'i' ctluttoc ncrro"'rrtcHllc Sllynot'.Jlrrla - a'r'o !)'roo6pa3llar .'rrrrrrut (.'---,,,^ ),rioTop:rfl llolia3blBacT l 'l)Y .rcla'fo.
EXBRCISES IN LDGATOLcgato indicatcs lhc cohct'cutpcllbnrancc of []rc sotrtrtls.L iga is an at 'chct l l inc ( r - - )which shorvs plaving in l-cgato.
'P-af >-P P<Jt:>p p-<f
p < f 7 p P--f >
P- f >P P'-f >P
>P p<f >p
p - f > P
p f > p
23
,P<f >P
24'p<f>P p<f>p p<.f>P p<.f> F
P<f >P P<.f >p
* Shu tg 217:Crr . c .220.Scc p.220.
** Sb'u tt 215:C u . c . 2 1 5 .Scc p.215.
p- f >Fp<f >F p<.f > p p- f >P
Lento
f>p<f f>p<f f>p<
f >p< f f>p<ff >p< f
Andante
\r2urog gnrlg t rnrufiru 202unarp1ru0 rfrn{mhrDrun:3rrlri o:trrl.rac,r. clrclrJ' .\r,lxalrrra.Sign nrcans changc of bnc0lh.
34 qbu LflSU qbsnq- (J.)Ilptrk 0nutullr u.r2 [nrllfrg 4ptltud \huIE hnuulurgontd trnr.lut 0ntnuJb tnl,nrtntplnr00 bF !|tun{ 2urf :
ITIOJIOBI,IHIIAfl HOTA C TOIIHOi{ (, )
To.rria pl]Iotr c noroii lilrllrrlcr
ll.rlITC'lhltocTb IIoTIi IIA. ce flo.loBIIIty.
FIALF NOTE WITH A DOT OThc tlot prt ncxl to thc nolc Prolorrgs lhcvaluc of thc notc with the half of its nlcaning.
l - - la - a
ql{orU trIrrxrc'r'cnW.it lcn
qullnurlqmf tIItjtIo.-l||'|mctl
l'ltrJcd
2S
Moderato
30
3 l
:15+fl rrudnF quutru
Qu-nllu !n2r{nrrl t 1u4lr h0gnL00hpfr hugnp4ru\ru0 4ruuu.Irlnpmplnr0p gurn prupdpnlplut0' mn0flltugftgurn0frlu: Qrurll.u 0 \upnq t $0hlrlhpg0prug L L{rupg0pug: tlulllru0bpg [r0nr h0 rludnp L ff0np:
TAMMA,IIO MA}ITOPfaulroii naauracftn lloc.'rcaoBarc"rr,locl'r' 3B)'tioB||O IJhr|"OlC 0T ToHt|ri ; lO torrUir, :roaic' l 6H1-tBOCXOJlrqCr"r lr lrrcxoaflucii. l-al rn 6nraror
a?IiopHbrllu lr }ruHoprrbrl\ur.
THE SCALE OF C DURThc scalc is a scqucncc of sound b1' pitclt ft-orntonic tn [onic, mav bc asccnding or- disccnrling.Thc scalcs nay also najol and minor'.
r.ItqbQn^PIIEA?Iit{OARPECCIO
bTLU<I?3NF.I"TPD3B]\'qIIDTRIAD
Andante32
c 0
x $tllfu]|nu t qnlqnrd /}qud \r 02ru0[, nF! 4lrqnru t cnmlujhg qbnL quru oLnpLt 02urOrDUnt't t hotlnroh (Uur ulunrquJlr)qur ulqn| tFqrlfurgnr ' quluLlub uurhqbtuqnFbnrpJru0 F 0nUpbg, qruuruFnll gru Gqnrpjnrohg l, dru2uUhg:
. l ) r ' l ,1r ro i i
Frx ln. r l / : \ (n \7 is s ign oI l icc c\ lcnsion ol lhc vrr lLrc o l thc notc. This s ign is l ) r t bovc ot undcr thc [otc:rndn l c : u s l h n l t h c n o t c ( o | | , l | U 5 c ) n l U s t | J c h c k | | i [ [ l c
Moderato
LS3nF+gTK)II ETUDE
35
LS3nF+3TION ETUDE
ts3nI-+ETIOtr ETUDE
Andantino
38iLUf dnI.f}3nI.LLbF nI'fdItOnFAUqUL1,bOn.L
Orpbpnp4ur\u0 frnrnur ()1: Ifh[ ullpn42 Gnuru.;[ rlh2 \ru nrp ntphpnp4ru\urti 0nrnur:{ur2r[[r rih\ prufunr nrl 0rlulhl hplnr httt{ururup nrphpnp4tu\tu00hp:
YIIPA?{THEHI,Ifl B I}OCbMbIX HOTAXBocsrrax nora (.l). OAsa qc.ran loracoAcp;Ku'r' Bocci\rb rlocbrrbr\. I-Ia o11r,rH v1a;rlr|pilroT arlc pal r rbrc r;ocbrlblc.
Moderato
EXERCISES IN EIGTITH NOTESIi ight notc ( .1'). Olc rvholc notc inclurlcsc ight c ighL-notcs. ' fu 'o c t1ut t l c igh[ - r to tcsatlc olavcd :r[ onc bcat.
38
39
LS3NF+sTrOA ETUDE
Allegro moderato
40
39
LJlfrhlrIIEPETIEJIIIA QUAIL
4 l
Andantino
qUOLUf 'U3 I.l, (htu urtlur b)BECEI{Hflfl (orpueox)SPRINGTIME (extract)
fu.Ur[hu[ru;ru0\.Atcrrrcnrr
Kh:AvclisianAllegro con spirito
t
404U&nF+l,nSU.l' qbsn{
QUARTER NOTE WITI'I A DOT
Quartcr noLc wil.h a dot (J ) is cqtral toLlrrcc cight-notcs at dulation ) = W
43
€u.rnqr4 6nrnu0 Uhrnnrl (J ) tFgrtrn4ntplulip hur{uurup thptp nrpbpnp4rullurGh l'= L^J
IIETBEPTHAfl HOTA C TOI{TIOfitlcucprHax no'ra c routioii (J.) paBua rro
J+lurc.-tbHostll rl)cM uocbnlbrM J- = UJ
qr{ rl tThrnercrl
r$ruurn{trr{ t
Phtcd
Moderato
cntlntluuuLtlfdt x
UOPOPA CAJIAT.. SHORORA SALAT \nr.iIunuuKonrrlacKornit:u
44
* I lcuct to, t t t l r t ) l tBeacl lL l t t coi - (cpi+i i l l l l l l l t i l t l l t l l '' l 'hir translli ions are in tlre conl('trls of ll lo l)ook'
OFIlFflSU3t'l,ITOJILIEEJIbHA-fl LULLABY
1 I
tI.Uprih6;ru0I.Aplrcrrarr
G,ArmcnS'anModerato
15
<n3r,uQuLOII, HASAH
HOY, NAZAN
{ur;[. dnq. hpq
Apn, rrap. rrccrrn
Alm. folk song U2ur[.' fd.Uurnrti;ur0lrO6p. T.drrryrarraAdapl. T.Altunian
46
U'1,+U.|,Sf'1,nAIItrAI]TI4IIO ANDANTINO
Andantino
U.fuurlurrnp;ru0A,Xaua'r51rrrr
A.Khachltt'irrn
47
r Sb 'u tg 215: Cu. c ,215. Scc p.215.
a tempo
ts3nF+ETIOI ETUDE
UIFUUSSI'qCBETJIflqOK GLOW-WORM
{ru;\. dn4. hpqAp . lrap. rrccrlrl
Alm. folk songModerato
* Sh 'ut2 218: Cu. c .221. Scc p.221.
** Shutg E4,216: Crr . c .84, 216. Scc p.84 ' 216.
43suul,q-b3bt' n F+uqul, Lnsu]'bF
IIIECTHAAUATbIE HOTbISIXTEENTH NOTES
Andante
qU€U.LI^qIIYPOIIATOIITTA PARTRIDGE
52
41
Moderato
ts3nI-+ETIOtr ETUDE
54
EPEBAHCITI,IE HOTII,I
Moderato cantabile
YEREVANIAN NIGHTSbFbq-UlF qI'CbF],bOe
45
U.anlnrluru0;ur0A.,[,o.u5naunr
A.Dolukhanian
' D
$f.f,QULOIIHtr?IIAH FINJAN {ug[. dn4. hpq
Apnr. rrflp. rlccrraAlm. folk song
56
Pntrhq QflI.F UI. EPU'II}I{}TP MI,T 3PA BOBIK JUR MI ERABOBI,IK
Moderato
{ru;[. dn4. hpqAplr. uap. rrccrra
Arm. folk song
o l
I sh,u tP 215: Cnr . c .2 I5 . Scc p .215.
46LS3flI.+
ETIOA ETUDEModerato
ts3nI.+ETIO]I ETUDE
Tempo di marcia
rrbLUS bFQ (urltr. dnrr.hnqSACTOJIbHA-fl Apu. uap. 'cct,'DRINKING SONG Alm. folk song U2ur\.' fd.Upnrfr;ru0[t
O6p. T.Arr1'rurra .Adapl. T.Altuniu
+utrch ubq ucbOIJIflI{I,ICb LOOK ROUND
47
Qnruru0 ChlrunlIyeanr lllcpam
Gussan ShcramModerato
bFbUQULEPEM tr}I(AH
YEREM JAN
{ru.;\. dn4. hpqAprr. trap. nccrnr
Atm. folk song U2ur[.' O.Upnr0;ru0lr
62
06p. T.A.nr5aranaAdapt. T.Allunian
r Sh'u tg 215: Cu. c .215. Scc p.215,
48
63
qf'bUIIbECA PIECE
Scherzando con allegretto
SULq-nFf'qh IISFf.d
TAJIBOPI,IITI4TTTPI4II TALVORIKIKTRICH
Tempo di marcia
{ru;\. dn4. hpqAplr. rrap. t tcctt l t
Arm. folk song
64
49uI. ebunl uudnfl quuru
TAMMA CI,I BEMOJIb MA?I(OP THE SCALE OF B DUR
uf4rbQnAPnEAiIiUOARI'EGGIO
bIlU(L?3nl.l,TPD3B}\IIIETRIAD
IrS3nF+ETIOA ETUDE
6 7t-------------- / a _ _ _ _ - _ _ _ _ _ _ _ . _ /
''--_---../
'-'---------." '- t--____-----.-/
Moderato
UflI.Fe, UnFFtrCBflT, CBflT SAINT, SAINT
U.b\ritugur fiilLErilriurarr
i\I.YckmnlianAndante cantabile
5I
69
hu<u3uusurMOfl APMEIII,Tfl MY ARMENIA
'l_tl0uFurlh €u3l-bFqTTAPAEAXCT{IIIT MAPIII KARABAGH MARCH
tLnruu0 {ul[ruulrI'ycnrr Aua<lrr
Gussan lluvassi
tL.IIu0uruJur0f.lllarracflr
G. l\tanasyan
70
ts3nts+ETrcA ETUDE
t_t_ ' )- / -{.-r
- 7_::)t'/ ---__ -f 1::-_r,/ ----_____:J
5:)unl ubLnF quuru
TAMMA COJIb MIIHOP THE SCALE OF G MOLL
Uh1n4[t1
hurpd.ruplr. halm.
raplr. har.m.
,Ihtlrc. 'r. mcl.
uo4lbQnAPr rt]Tri r roAITPI]GGIO
bnu<l,Q3nFl,.TI'II3BTqI,ID
TRIAI)
; )+
hIC lIT. tuL+Ff.O}IE IIPOCI4 MEFIfl DON'T ASK }IE
Andantino
Il.Uur.;Iptu0A.Marr.,rarrA.Maillan
{
;))
<I^.|'qULLUXI{I{TAJIJIAHINGALLA
{ru.111. dn4. hpq
Aprr. [ap. rrcclla
Arm. folk song
Andante pastorale
74
tl2utq.' fd.Uulnr0.Jru0hO6p. T,Arr'ryrrrrrr.rAdapl. T.Allrrnian
ts3nF+3Trctr ETUDE
Iu.Udhulru;ur0X.Auc'r'rrcHu
Kh.Avclisian
56
76
bU Uf'ObAI.EC Cr,{PEUr,rYBS SIRETSI
{ur;\. dn\. hpqAplr. rra1l, rrccrrrr
Arm. folk songII2ru\.' O.UUInr0.tur6l,
06p. T. r\.'r'r'.y r rarrrlAdapl. T.i\ l lunian
Andantino
UlrbfanCTIEPUO SCERZO
i Shu t? 2 t5 : Cr r . c .215. Sce P.2 I5 .
; ) /
58
78
ts3nI-+ETIOA ETUDI]
--:-.--/ '--------/ --==.--- -;1=!--/
----__lI_.
.{nqULf'9BOItAJII4S \IOCAI-IZE
7!)
II.Ilurqrlu0.1ur0l \{.Marrrarrarr
M.Mazmanian
'....__-)'--:--:--/ntP
-
<j
---..-_:_..'z
59unl- trudflI. quuru
TAMMA COJIb MA}TTOP THE SCALE OF G DUR
ulr4lbQnAPTIEl ' I i I IO.TRPECCtO
brlu<\'?3nFl,TPD3B}T{IIETNIAD
60
8 l
Moderato
ts3nI-+eTro[ ETUDE
Andante
Allegretto
6tLS3NF+
ETIOI ETUDE
-j
"--_------/
--______--.- .------../ "'--:--'
QU'I-3I. enl-nf \UI,UQ {urJq. dnn hrqBCE SEJIEHO BOI{PyT MEJIbHIIIIbI Ap.rr. rrap. rrecua
EYERYTHING IS GREEN AROUND THE MILL Arrn. rotk sons
Allegro non troppo
U2urq.' f&.Uglnr0Ju0hO6p. T.A"rrryllarnAdapl. T.Allrrnian
62
Moderato
ts3nI-+STIOA ETUDE
ts3nFa3TIOtr ETUDE
Allegretto
87
rruFquqbsr'nFuHA JIYIY ON TI{E MEADOW
qbtQququL qruocEJrbcnr4ft TAHEU COUNTRY DANCE
63
U.Furp]unr4up;ru0C.Bapxy;:rpxrr
S.Barkhudnr5'an
.l-.U.UngurprnB.A.MoqaprV.A.Mozart
88
Allegro moderato
' S h u t g 2 l 5 : C r r . c . 2 1 . 5 . S c e p . 2 1 5 .
64
89
ts3nI-+STK)A ETUDE
- L::_s {____,-
Allegretto
65
sohnLSplmp qn1Lu0nLil t npl,t rn[]r4nrp;ru0' bphp hrurlu,ruup rlu,rubp]r prudur0hlmg:
TPI{OJIb
Tprrorl o6paayerr:r B pe:)'J,,Tare pa34eJellrananoii-rrr6o ;!'ltrerllroclr lra rpll pallrbleqacru.
TRIPLET
Triplet is formed by the division, ofanydurationin to three equal parts.
Sp[n10hgg $(lmf b0
Tprro.rrr 6rrnarm
There are the followingt)?es of triplets
t-J-------J
\bu 0nuu0bpn{
TIq]ORITIIIIbT]IIT
half
prunnp40bpn{
q cTBcPTrrr,rltrt
L- J ----J
nLpbpnp4urlu 0 0hpn{
BOCh\nnlrr
eighth
uIuuorlhgLFnp4ur-lru 0 ohpnr{
ruccTrranuaTbrlrrr
sixt€enth
Moderato
90
Moderato
0 t
66
Moderato
67<3nI.UbUUSt.|, UUSI-
94
CEBEPI{Afl 3BE3trA
Andante maestoso
NORTHERN STAR
\_:j
LFFTIqUqU.t,JII,IPI4qECItAfl
LYRIC SONG
{ug\. dn4. hpq
Aplr. rrap. rrccrra
AIm. folk song
Andante
U2ru[.' fd.tlpnr0;ru0[O6p. T.A,.ruyrrxrraAdaDt. T.Allunian
95
r-J-t
r-J--
r- J --t r- J --l
68
618PAsMEP 6/8
?uoMEASURE 6/8
ts3nI-+ETIOI ETUDE
-=.-.=:- - ' - J
-,,,_.__------.- -- -__-_____-:-..- -----..-:_'.-'
69'IIUfl
TAHEU DANCE
Allegro non troppo
t|.Ulr0ruu;rufif.Mnrracarr
G.Minasyan
70
99
b.t gblr. ftuur[urd)3[I3E,TI,{ ( o'rpnrnori ) ENZELY (exlracl)
Moderato
<UUPtltrCnFU 3U3LU (<<O0nt2> oulhpru;fg)AMEAPIIyM fftJIA (ua onepr,I "A*tytu")AMBARTSUM YAYLA (from "Anush" opera)
AllegrettoJ J I
U.Uqh04[ttup;tufir\. Crrclluaporrrt.Spcndiarian
, Il.S[rqpur0;ut0A.TnlparurrA.Tigr'&nian
r00
7I
<I'1' UUFflA (<<.rhurn[hp0hp gnrgruhru04hulrg> N 2)CTAPbIII 3AMOI{("ttapruHrrr c nrrcr:annn" N 2)
OLD CASTLE ("Pictures from Exhibition" N 2)ILIInrunpqu!lrM.Mycoprcnrii
M,Musorgsky
l 0 t
Adagio cantabile
72ftb Uf'lnn QUUUU
TAMMA PE MI{HOP TIIE SC;\I,E OF D MOLL
hrupfnGlr\lapuorur.rccsrriiharmonic
ilh1n4flq
uIr4lbQnAPIIE[]ItI{OANPEGGIO
lnI.FIItr-LnFtrUF {rur\. dnn hnqHyBAP-HyBAP Apnt. rr*r). 'cc.tNUBAR-NUBAR erm. folk sons lI2ur\.' fd.Uulnt-0; ur0h
O6p. T.A;r'ryuxrraAdapt. T.Allunian
102
Andante con moto
73
{I'QUUINtr?ITAC HIJAS
U.Uqh04lrurp;ru0A.Crrcrr4rrapouA.Spcndialian
Scherzando con allegretto
+ Sbu tg 84, 2rG:Cm. c. 84, 210.Scc p. 84, 21G.
74
UUfiUl-hrrMAPAJII{N MARALIK
{ur;[. dn4. qurpApM. uap. TauctlAlm. folk dance
r04
ts3nI.+STIO,II ETUDE
',.-____;-/ -__;--
Moderato
/;)Ul^l,qn4IU
Cb2nf gnfuur4pntfg uu\ufr mdb4 riuu]rg 4bq[ pnr.;l rluru Qn2rlmrl t ulr0\nqur:U[0l1nqu0 $0nrU t bphp uhurul;' l) 0hpuru:\urur1]r0, 2) rJfrgrnru\rnu:jfr0,3) bpp unqruurlur0 2h2n[ {n[uu:pb0 4prlnrrl t qrumqur:
CI,II{KOtIAflcpclror: anrlcrna c crr.'rhrror"r Ao,rrr rafiTatta cra6\'ro rta3blBaerca ctlttttouol"t.Crrnriona 6rreaclrpcx BrqloB: I ) nrryrprnanronal,2 )rrcananronu-a, 3)riorya nrrccro o rrr;1acrroroalirtcllTa c'IaBltTt:fl na\tsa.
SYNCOPESyncoPc is lhc transrnission of the acccrrtfrom thc strong bcat to the wcak onc.Sy'rcopcs nray bc of lhc following tlpcs:I )in bur. 2)inlcr bar. 3) whcn pausc isDut instead of thc ncccnt.
<lp{nf tILrulerct\vritten
kuruup{urf tIIcno.'rusercaPlaJ'ed
r06
107
t08
Moderato
Moderato
76
Lb.rKn Lts, LbJIEIIIO JIE, JIE LEPHO LE, LE
U2ur[.' €.\rupur-Unrpqru; [tO6p. K.Kapa-Nlypst t
Adapl. Il.Kara-Mruza
l l 0
<O{I^{IIACTSTX SHEPHERD
Qhluru\rufi tlnn hnq9curcnar nap. lrccnr
Czech folk song
l t l
'Shu t? 215: Crr . c .215. Scc p.215.
.[ULU (<€0urd qh4hgllnrhlr>> puqhrn[rg)BAJIbC (na 6a.ne'ra "Cnaulaa rcpacanrqa" )
WALTZ (extract from "Sleeping Beauty" ballet)
U4ITTPUI,C€TI,FTIS tsATIAPAH - ITAMEHI4CTbIfr KPAft
STONY APARAN
al.Qu;!ndu
. 7 8
UT^ trbUnL rutrnF qUU|ruTAMMA MII EEMOJIb MA}ITOP THE SCALE OF ES DUR
rloqbQnAPnE[?fit,IOARPEGCIO
bfru<l,Q3IlI.1,TPD3B}4II{DTRIAD
SrlUm[f+qUf,a 4IUf e (<<Uldururn> orqbpur;[g)TAHEII MyH(qI,IH (r're onepr,r "A.unracr")
MEN'S DANCE (lrom "Almast" opcra)U.Uqh04[rurJr.;ru0
A.Crrcrr14rapouil.Spctrdialirn
l l 4
Moderato
79
ts30I.+ETIOtr ETUDE
80an uF.t,no quuru
I 'AMMA.[O MI4HOP THE SCALE OF C }IOLL
hurprln0lr\rapnoruruccxrrir halmonic
ilh1n4[\
u4rqcQnAPTIEA}ITUOARPDGGIO
brlu<\,Q3nI.r,TPE3BYTII,IDTRIAI)
bnqTIECHfl SONG
Moderato cantabile
tL.Qpgur0f. rlr.rr I l
G. Chtchyan
poco r
-_-2
<UFU Hf t}lnFlf {ur[- dn+ qqBbD(Omy SAMylK Apn. uap. rrc.crn
I .fuU GETTING MA,RRIED Arll. fotk sotrs U2u[-'F-trpnfi;u6lr@-T-"frr1lralra
Adtpl- T-Altrrniar
lt7
.'-----------. ---...-:
'r-.-:___--: ---___-__------?
bTIILIIECIIfl SOtr{G
'-____-/'J
ILUqhfi4[up;rnfi,A.Grerr+r:rfrenA-Spcndlrian
t t 8Modereto
82U tl.FbFF <n.LFt' UbIL],bU
CAPEPI,I OBI{H MEPHEM SARERI HOVIN MERNEM(.Fru4urguG, rl2ur\.' fd.tlpnr0;ut0[
O.B4{a.rntr, o6p. T.A"rrrYuttaH.Badalya, adapt. T.Allunian
Andante espressivo
Vivace
83
120
ts3nI-+ETIOA ETUDE
..--- \..-.-: l------/ T--------
'---------t ---------/ \!____--/ t=----,
--..----------\.-/- \ - - / - t - . - - - - - - - -
\ - | / t { - - - - ) {l;, -> - t - : - : - - - '
\.t;r {-; --::___--,/ t-----------.''
84Irbr-hgulbo
Uurop rnl,nqnrp;ulip h0gm06hpnrl rlhrlh4fro qurF4urFhu uror[ur0r[mrl t |!\!ql
IItb pur6ur\nrp.lurlp rlLfirqrf 0@tr9 pr10 \frprunnplm0 h0 urnurghl Sq'Zruqn ilry1F0r4' uFhg:
NTENI[3MbI
*Ie.ugr'm - seyxl orncrrrelsuo ,rrerriofr
JfiltTq-rt'u(ETrl' lripall.|arc||uc ('IxCrblrHc
sr5'ril- Hal6ancc qacro Bcrllc.mtorctr
Qopmnar, MopAeFr, rperb.
el!ts{tIIn|rF-trt\vrilLfl
r@ltllt|rcrrrrcftrPl.}td
bp{uahrru+fomrm Qopnuar- Loud Grase-Note-
enrftdrlqqtE|[-Ilcperearw-rrrft !|op;err.
r-IEI.ISMAS
Melismas arr: sounds of approxinratclyshort duralion ornamcnting lhc scparalcsound- trIorc oftcn arc ot'curcd thc Grasc-Notc, thc Monlcnt, lhe Shakc.
$ff'DLUq. (DOPIII.JIAI. GR,{S8.tr'{OTE.qryrtqAu+Kopo, r.rdi Short Grase-l\ole-
IIIII!'IbII'S+ }TOPTIEHT. MORDEN"T.
C-flsrd mordenl.
rrp{liur
l 2 lAdagio
4
FLr,ltnltb+UF+U3UqUr,ilPOCHT{Cb Ot TIAPCTBEHHOT1O CHAWI.KE IJP FROM THE REGAL DREAM
Frnq4ruuurp ar{rF, il2urlt.' lL.Uilmr-0Ju0hBrrArcop trnnp, o6p. P.AorrlumaB{€hdrssr Dpir, adapl. R.flrtmian
-----.7 =r
-'.--i--J-;
86 ILb rrudnP quulruI . \MMA PE MA}I{OP TFIE SCALE OF D DL-II
un.qbQn.\I 'IrEITtiIIO.\RPECCIO
122
b{ru{.|,?3nh],TI'E3B}'I IIIETIIIAD
Allegro comodo
ts3nI-+3TIOtr ETUDE
LtltushJIAXTI{ Aprr, 'ap. 'cc'a
u.?hp0[tf l . t lcpttt t
K.Chcrni
,{r'm. folk sortg
II2ur[.' fd.Upnr0; ut6[O6p. T.A'trYrrarra,\dapt. T.Alluni.rn
{,ur;\. dnq. hpqLAKI{TI
123
'87
\r_ _\uv 1_l i \r -!t tJ \-i -r_J
88
L3UUI.f'OO t}IIIruUrAIIMA JIfl MIIHOP TIIE SA\LE OF A. }IOLL
hupfn6L[\
'Ihnrtr[
uP4ltsQO"{PIIEIUnrIO..TRPEGGIO
Etlu{'r,o3nFI,TPE}BYqIIETRLAII
<nq3uqutr}TUEHbI(A SWEETHEART
_ \ - - l
LbqnFOf^ (qrup <<aur!ulr> oqhpur;lrg)JIEHITPI4 (raHerl r{B orrepbt "[aucu" )LEKURI (dance from "Daisi" opera )
89
(u;11. dnr1. hpqAp . rrap. rrccrrr
Arm, folk song
r2{
t25
Allegro scherzando
9I
L3U trbUnL UU.dnF qUUtrU|AMMA JI.fl EEN{OJ]b MA?TTOP THE SCALE OF AS DUR
UIrqbQn bILU<IQ3nI.lAPIrElilit{o TPE3B}'ql.tEARPECCIO TRIAD
92
Surpphpur\0hpBuprrarrru V{rlianls
>----:-.'
FUUBUqU<Uq-U€ (qrup <tlur;urfib purlhrnf g)CEOP XJIO[[{A (raueq uB 6a^r]era "Iarrre")COLLECTING COTTON (dance from "Gayane" ballet)
Moderato
ts3nI-+3TIOtr ETUDE
U.fuurlurnp;ut0A.Xruaryparr
A.Khachslrian
Allegro moderato
128
)--i---------/- --r-...-_--J ), -_-{j .---1-
93
Allegro moderato
trs3nl-a3TIO.[ ETUDE
,,_________-_-. - --____i--- ''---- '-,____:_--.-' -._____ -_.--
94
._-- t--_____ - ------
tS3nF+ (<Uhq;urh> 6ur;0ru\upqmrl)
9TIO[ 1u .rra4c "Ccllx") ETUDE (modc "Scgyah")
-'...------.---.....-
95
tS3nF+ (<Qurpq;ruh> dur;{iurllupqnul)eTIO.q (n .rra4c "rlaprax" ) ETUDE (modc ',Chargrah" )
96
tS3nI'+- (<Fru;ruplr Chnurq" dur; fru,\upqnul)
STIO[-1n rasc "Eaarr'r Illrrpas" ) ETUDE-1moac "Bavalv Shiraz" )
* turJnrnn qndrud t qruuruphturqn1&dru0 4nuprlllr hutdurp:erroil ttatrtrcatt ;!ltl ycoBcprxclrcrnoBallltol'o iU;lyn{r'Etrrde is \r't'iltcn fot. ilnptovcd dudrtk.
E Orr I n O '[. GIL6 IT t'BTOPOft PABtrEJI
SBCTION TIq-uF+uLb unF nttre
CKOPEb MATBPI4 BAPTAHA VARTAN'S MOTHER'S
Andante
97
GRIDF{ur;[. dnr1. hpq
ApM, rrap, fleulflArm. folk song
\\:
3nFduuOP}ITAM HORZHAM
I
q-uu.|, rrbon3BACH MEPOIT ilPH}'TEAH
Moderato
U2ruU.' U.bUrIurUur0hO6p. M. Er:lra.rrnrra
Atlapl. M.Yckmalian
OFqnl.fdbUl,VASN MEROY PRKUTSEAN
U0urG[ru Clrpur\urglr (YII rp)Anarnra lll lrpariaq r (VII r.)
Anania Shitakatsi (VII c. )
.t--::j
98Ul,CI^f"'P
AHtr3I4HI( HBI{PflJIKL.Lf'l3UL€
ANDZINK
Moderato
NVIRYALKIrnrllrmruu U4ghgh (vlt +)
Itorrrrrac Axueqn (VII a.)Komitas Aghtsetsi (VII c. )
4
9NFUSOPC bICT TIATKEPI{
Moderato
Moderato
eUS qlUSqbFb€nI'U
KYM ZORS YST PATKERI KUM
Qnhqnn Uruq[rurnJrnu (XI 4.)Iplrrop Mnrrrr:rpoc (XI n.)
Gligo|. l\{agistros (XI c. )
tlttU.L0S LlnI'Un3APABOT JIYCOIT ARAVOT LUSOY
Lhpuhu Cfinphurflr (xII ry)Hepr:ec IIInopnrII (XII n' )
Nerses Shnorali (XII c.)
0
8
99<UFflI'l,, <tlFOI-l,
AB}'H, AB}'I{ HAVUN, I{AVUNQpftqnpl'uph[uSh (x 4.)
Iprrrop Hapexaqtl (X n. )5 Grigor Narekatsi (X r:' )
ubq- unl.fd uu.rtboCEB MYT AMTIEP SEV MUT AMPER
{uq\. dn4. bpqAprr, nap. necux
Arm. folk song3
lnnquLMAIIKAil MACHKAL (ug\. dn4. hpq
ApM. Hap. flecr|flArm, folk song
I
Andante
t00tUu. f'If dUUObU
AX, I4M TIAMTIEC AKH, IM TCIIAMPES
Andante
(ur;\. dn4. hpqApu. rrap. ner:rra
Arm. folk song
t 0
osLLF Utru3h dUUObPh q.fuOTAP AMAI{ IIAMTTEITI4 BPAOTAR AMAI TCHAMPEKI VRA
Moderato
{ur,;\. dn4. hpqApiu. rrap. uecrrx
Arm. folk song
TARAN(ru.;\. dn4. hpqAprr. rral). [ecH'I
Arm. folk song
t t
uhob3h,3tlFU SUFULCI4PEUI,I, flPC TAPAH SIRETSI. YARS
Andante
l 2l _ r '
Allegro
QnLh Qb30ur,qOJIII trflTEf,TPAH CHOLI JEYRAN
3U3LUq_nr 3u.ouflIUJIABOP flPC YAII,AVOR YARS
IO.I
{ullurulrABac||
Havassi
Moderato
102gbo3n'Fll, eurrbq- sur
SEIrK)P, BAPEB TAP ZEPYUR,
Andantino
BAREV TAR
J
{u{uultADaon
Havassi
3 3
QU.I-Utubgh UI'F0F]" U{-QFIrtr?IUBAXEIIII CIIPYH AXIII,TK JAVAKHETSI SIRUN AKHCHIK
, {ulluuh
AnacuHavassi
Moderato
103llitu, [If. ULILUULL SI.QbhF
AX, MtrI AI{IAM 3JI 3II[?ITEI4P AKH, MI ANGAM EL ZIJEIR
{ullurulrABacrr
HavassiAllegro vivo
t 7
cus bubFqbl-IIIAT EM EPTEJI SHAT EM YERGEL
Allegro vivo
l 8
104rrl,Qb-1,ull
HASE-HA3 NAZE-NAZ
Allegretto
-gb9 LL QI.If-l'UITES 3JI III4 MI{A KIIEZ EL CHI MNA
20
Moderato
IunUh'ft, hUUU,QeXOCI4P. I,IM CA3 KHOSIR. IM SAZ
105
{u{uu}rArar:rr
HavassiAllegretto
IAPIIAH
Moderato
QUFLUL OUrLI'q bUIIAXIIK EC GARNAN TSAGHIK ES
, ,
106
23
bL n'I'UbOqbU3JI YM EPTEM? EL UM YERGEM?
Moderato
quPnsbL bubuIIAPOTEJI EM EC KAROTEL EM YES
Allegretto
24
t07btLf'qf. qbu 0nl.ft LII'UCb
EIIIIIHI,I TIEC II}? MI{ AIIIE YEGHNIKI PES TSUR MI ASI{E(un[uu[
r\nacrr^ rr^--^ l lavassi
95
Allegro
Ll,.Pn ubfiL L,3t103H nO CEPII 3, .flP BN KO SERN E, YAR
Moderato
26
108 qSNSULU fuftNq-bL ETESAJIC XPOBEJI S GYOZALS KIIROVEL E
27
Dolce
Moderato
ULSU qLUAf.
AHIIA THAUII ANTSA GNATSI
28
\.- v -r./ _:_-- _ - -
L[lFtrBU.|, AULuII el$+tHAI4PflH AAJIAP BAPtrI{ NAIRYAN DALAR BARDI
Allegro con espressione
109
Curhh0IIIareuShahen
29
30
UUULU 6NI{tCACHAUYP SASNATSUR
Allegro con spiritob
\i;
I t 0uLIru.USe Cnq-nFutr
AJIMACT IIIOTXTM E ALMAST SHOGHUM E
3 l
Allegro non troppo
Qb<D3OFItf'l'truLSETINPbI HMAI{ ZDPYURI NMAN
Alleqretto con animax - - -
32
I l IUl,qf.l' 3tlFU
AHTI,IH flPC ANGIN YARSCurht0IIIarenShahenA!9gro con vivo
33
q3nAULU, UI.LQ b'OF tuItnq- In UUTE3AJIC, MI,IHq EPE XPOB MHAC?
GYOZALS, MINCH YERB KHROV MNAS?
Allegretto
1 1 2Onq-UUSthrrU
UOBACTXI{HC TSOVASTGI{IKS
35
Moderato
LlnFU]"t COtndLJIYCH}I ilOTOB LUSNI SHOGHOV
Allegro con spirito
36
(LUFNFL LTAP}T{ E GARUN E
Andantino cantabile
I13
II2nrnAIIrorAshol
Allegretto ..
U3NI-I,3U3 UTIFbFCIOHflII CAPEP SYUNYATS SARER
Allegretto cantabile
38
1 1 1UNFFtrIru3FbfI
C}?E MAffPEP SOURB MAYRER
ubFU q-u1'€nFusuf}b{FCEPC BAHKYM TATEBI{ SERS VANI{UNI TATEVI
Moderato.10
4 l
UUFq-0FI'b0qeCAPBOPI/I EPT SARVORI YERG
Allegro non troppoat aa
n'I.F LYP E? UR E?
Andante
._____.z l -lJ
{ 2
t I 6
43
Allegretto
f
tL urlftbPe3H CAPEP EN SARER
otrlltAXyM OJAIilIUM
44
\.--,
Allegro moderato
{U3nl.rrAITPUH HAYRIK
I I 7
ll2nmArrror'Ash0tAndante
€n ur.on <uutlP}TO CIIPO AMAP KHO SIRO I{AMAR
Andante
1 1 8uuu, bL?o'F
ACA, I4Hrry Ay JryP EC?
Allegro
+nI. LOFIL bUASA, INCHU DU LUR ES?
47
Allegretto
3t1tr, utuL3-ebgflP, APAHII I(E3 YAR, ARANTS KIrDZ
Andantino
48
<nq_ uunbF. unq- uu.obFMOB CAPEP I{OV SARER, MOV SARER
1 t 9
U2nrnArrrorAshot
oB CAPEP,
Moderato
120
50
rIIUtufiU
IIAXPA PAKHRA
Moderato
utrbl, uftuq-osAMEHAPABOT AMENARAVOT
+NFL hUUNFUUL bUII{YCAH EC DUN IM MUSAN ES
121
ChpurrlIIIepaiuSheraru
[yrr rrM
52
;;--- rr) -
Moderato
Andante
122
53
cnonouIIOPOPA SHORORA
9nq- qf'Cbn3OB TI4IIIEP ZOV GISHBR
CbpullIIIepalrSherau
ChpulilllepauShelan
Moderato
Moderato
Moderato
OLrNF UNLNFOJIOP MOJIOP OLOR MOLOR
qULFU bU+nFIt+EM A}?A GALIS EM DURD
123
ChpurilllepairrSheralr
ChpuriIIIeparrSherarr
;)i)
IAJII4C
Moderato
124LLF TUOO UT'FSU qNFLU
SJII{ SCOP CIIPTC KYJIA ELI ESOR SIRTS KUI-A
Moderato
Ol,QLhq-In'QLI'qrrHtrEtJII{K- MH[?nJrI4It PNJLIK-MNJLII(
UO+bL Unl'fdl' el'qblUAPtrEII MYTII bII{ITEJIA ARDEN MUTN YNKELA
Moderato
ChpurillllepalrSherau
58
ChpurfIIIepalrShetant
59
Moderato
UbO hU, UI.F0FI' bUCEP trIM, CI4PYTI EC SER IM, SIRUN
CAPEP IIAXATIEM
Moderato assai
SARER KAGHACHEM
uboha Enq_u6CEPI4U SPBAU SERITS ERVATS
ES
60
62
uur.bn qurlu?bu
Moderato
126
63
f}tltll-ul', fdtul|-u],TAPJIAII TARLAN. TARLANTAPJIAH,
Andantino
ChpulllllepanSheran
UFOnI.LLbFCIIP}'HHBP SIRUNNER
Allegro non troppo
ChpurrlIIIeparrShern,u
64
65
Moderato
Moderato
qlUrsf.9ni-U q-U0+btr trU3q-UOIIAPTIISYM BAPAEP EAUBAUPARTIZUM VARDER BAZVATS
127
ChpullIIIepunShcrarr
t , - t
ChpurilIIIepauShelalr
\\--z
66
ULQf'qgUO 3UIrAHtr}IiI4TflP flP ANDJIGYAR YAR
128
67
€bQU],f.A truU ?OFL['UI$3AHI4II MAC IIYTIIIM I{HEZANITS MAS CHUNIM
LUOO UrU9L bU q'LU3bL
SCOP APASH EC THAUEJI ESOR ARAZN ES GNATSEL
Moderato
ChpullIIIepauShetalr
A
ChpulllllepauShelanr
129
<ULULtrFUAJIAJI SPA TTALAL ERA
t
ChpurillllepalrSheralr
Andante
G9
130LLf. bFqI.LPL UtIqIbL L
EJIII EPKI4HITH AMIIEJI 3 ELI YERKINKN AMPEL E
70
LTI.QHA3 AXIIIIK
UrLPf.IrNAZ AKHCHIK
Moderato
q-UF+ aULbSfiBAPI IIAHEIII{ VARD
Moderato
TSANETSI
I:J I
ChpurdIIIeparrSheralr
ChpurfIIIeparrShelau
AMTIEPH
Andante cantabile
uu'IlbFl" bl-ur,EJIAH AMPERN YELAN
132
74
U.LUFU3FF +UCSABAPAITPU AAIIIT AVARAYRI DASHT
n.L Uf'FnI.L, UbFnI.LOB CI{P}'H, CI4P}'FI OV SIRUN, SIRUN
Q[{uti[t[anunanu
Jivani
Q[{uolt!,;rilnaurr
Jivani
Tempo di marcia
Moderato
+bIL qf'Cbft EIEP II4IIIEP 3 DER GISHER E
'-.-:----..-/
eLqboTOBAPIIUI FRIEND
r-.-:-'-.'
I3:)
Q[{u0ltflaiunaulr
Jivani
Qf{uoft,II,xrrcaHrr
JivaniAndante
r34Iru3FI.rr
MAITPI,IK MAYRII(
uqFsuq uu,QbFCTII4TAK MA3EP SPITAK MAZER
Q[dufift[rrlrnann
Jivani
Q[{u0}t[;srrrr:uur
Jiyani
79
Moderato
Allegro moderato
<nq-f.qOBIIH I{OVIK
I:t5
.Qll[urnlr,\;r irruarru
J ivun iModerato
80
UUUNF],UUTTFCAC}TI{ACAP SASUNASAR
Allegro moderato
Qhrlurlih,[xirrnaHu
Jivani
r36qbtbSqnl-<nFr
TEXEUIIy'aH GEGHETSKUTTUNQ[{u0[t
fiaillnaunJivani
lVloderato
AMEEPE,
Moderato
<uutrbFb', <nqr.uOruC HAMBERE, HOGIS
Q[{utfi[t[;rirrrittrlr
Jivani
UIL, LUQI;LI'UAP, HASEJTI4C AR, NAZELIS
137
Q[{ufiltf{;r ' ir l trnrrrr
Jivani
84
Moderato
ORERcutunF+ oFbF
ASAXOPI OPEP DZAKHORD
Andante
Ah{u0h,[a.irrnarrrr
Jivani
138
Moderato
eLenFLI.<h+EJIEYJII4 ITtr BLBULI HID
Uur3 urp-l,nrlurCasr-HonaSayat-Nova
INCH KONIMU ur; urp-l,nr[ur
Caar-HonaSa1'at-Nova
tlItuLS€b9 h'L? qnLr.u
APAHU KEB I,IHq I{OHI{M ARANTS KEz
Moderato
--:
rr-..-__-j
tl --l---tE -
uetuuF<nFIIU utu Qr.u€uchAIIIXAPYIVTC AX IIUM I{AIIIII
ASI{KHARUMS AKH CHIM KASHT
I:J9
U ur.; urp-I, nrlurCa.sr-Iloua
Sal-:rl-Nova
JIAJIAHI4HU ur.; urp-l nrlur
Carr-I{onaSa1':rl-Nova
Andante
88
{
3 f.U qULQ0I.U f'U LULUI,bLYIS KANCHUM IM LALANIN UC KAHTIYM I,TM
Largo
8 9
1400FUSI. qnFqUU tUFf'e FLFIII.L
YCTI,I IWTAC XAPI4E EJIBYJIUSTY KUGAS GHARIB BLBUL
Moderato
Uur.| rup-I,nr[urCanr-Hoaa
Sayat-Nova
Uru.;urp-LnrluCan'r-Hosa
Sal at-Nova
90\-- _.-=
-..-:_-../ tr--'
, a \
uctutlF<u rrbour,QuPutAIIXAPC ME TTAHA?I{APA EASHKHARS ME PANJARA E
Moderato
9 l
Moderato
trOn3f'EPOITI4 BROYIE
141
Uur; rup-'1, nr[urCaqr-Hoaa
Sa)'at-Nova
g2
142UFI'I.LC Ul,tLUd qUL
API4 IIHtr3 AHTATI ITAT ARI INDZ ANGACH KAL
Allegretto
Uru.;rupl"nr[ruCanr-HonaSayat-Nova
+nF1, Ll, <nFFf.L FUtrYH 3H YPI{H I{C DUN ENH URIN IS
U ur; rup-'t' nr[utCa-sr-HonaSa;'at-Nova
94
Moderato
3f.UUCIS
€nbtbffbfdL ?f.Uqf'ShKY XUMETH [II4M IIITI{
KU GHIMETN CI{IM GITI
t 1:)
Uur;urp'1, nr[urCaxr-I{ouaSal'al-No.'a
Uru;urp-l,nr[urCagr-HonaSayat-Nova
95
3bU lfb rLUfrf.F FIJFI-LI'qbuI4C ME XAPI,IB BJIEYJIII IIECIS ME GHARIB BLBULI PES
Moderatox
Moderato
QhU UUNFUTINC AC}'I{ CHIS ASUM
U ur; urp-1,nrlu.rCaa'r-Hosa
Sayal-NovaModerato
.IlUSIrf'O€+ tULUUn q- €UCUOIIATKI,IPKT XAJIAMOB ITAIIIAU
PATKIRKT GHALAMOV QASI{ATS
115
Uu.;urp-Ln{urCaar - l lon i t
Sayal-Nova
98
€UIruLQUHAMAHIIA KAMANCIIA
Moderato
Uur.J rup-l,nr[urCast-Hoaa
Sayat-Novn
99
.'G/rsr
!
Lttfl 4lLlPHA3 IIAP NAZ PAR
147
U.Ulhpuur[4p;ur0A.Alexcarr,qpxrr
A.Alexandlian
100
Moderato grazioso
espfess,vo
r48LUQbl-f.
HASEJII4 NAZELIU.U1hpuur04p3ur0
A.A rt'ricarrgpanA.Alexandrian
IIIAJIAXO
Andante sostenuto
SHALAKHOcuLLltun
r49
{ur;\. dnr1. qupAptrr. Hap. TalreqAtm. folk dance
_\r/ \+, ,_,...../ -=i e\::
t.....--..--. --.------..- !_j
\__-- -__i
150cnPno
{uq\. dnq. qurp
IIIOPOPApv. rrap. rarreq
SHORORArm. folk dance
U2u\.'f}.Upnrti;u0lrO6p. T.Amylrrrra
Adapt. T.Altunian
103
Andante sostenuto
152SUl,qbgnl-oh
qU'uU3t'4IttO
3AHIE3}?I4IITEHCKI{ff TAHEU
ZANGEZURIWOMEN'S DANCE
U.lllbpuur[4p3rufiA.ArericartqparrA.AlexsandrianElegante
x104
153trutusuq-uf.h
rl-urprupurrfr \ur 0rug I qurp
EAXTABAP14Iterpa6axcnuir acellcriul"r rarre4
Allegro moderato
BAKHTAVARIItarabakh women's dance
105
chPuqh cnl.pQ rrlu.oIII,TPAITCKUIT KPYIOBOIT TAHEII
SHIRAK ROUND DANCE
Andantino
{ur;\. dn4. ulurpApnr. Hap, TnrreuArm. folk dance
+I'Lf'QUl'trI4JIII?ITAH DILIJAN
I ' ; )
{ur;\. dn4. qrupA1xr, na1l. riuterlArm. folk dnnceAllegretto
x107
- a ' - <Da capo al Fine
1569nI'ftLI'
3}?HII TPHII{SOLqh
ZURNI TRNGI{u3\. dn4. qupApu. rrap. ratreqArm. folk dance
r08
€n?uohullf'snFl,nF
I{OIIAPI4MAPTYHI,TFICI{I4ll
KOTCHARI]UARTUNIAN*
{ur;\. dn4. qupAplr. rr:rp. tarleqArm. folk dance
Allegro marcato
qUSUrrIIYTOqHbIIT TAHEU
'IIT.I.tl
FACETIOUS
157
{ur;\. dnr1. qupApu. rrap. rarrcqArm. lolk dance
DANCE
l t 0
Scherzando
158
l l l
{bo-q_bFhBEP-BEPI,T VER-VERI
3
{ur;\. dn4. qrupApM. Hap. TatreqArm. folk danr:e
Andante amoroso
Allegretto con moto
poco tccelerando
1,NFl,NF$UF
HYHY(DAP NUNUFAR
Andantino grazioso
159
{ur;\. dnr1. ulurpApu, lrRp. raueqArm. folk dance
ObIrI'IIEPII PERI
{ur;\. dn4. qurpAplr. uap. raueqArrn. folk dance
r l 3
Allegretto giocoso
a t! .--__/
r60ur,u<bs
AHAI,IT ANAHIT
Moderato
U.llhpur0qnrgurliA.Mepanry.ranA.Melangulian
F -
,:1'----- ':-___-_____--- -
LIII'O3UL U'l-QqU qUOTAHETI HAr4Pr4rtrCHOft AEBy[rnr4
NAIRI GIRLS'DANCE
t6 I
U.U1hpuur04p.1u0A.Arexcan,qpnrr
A.Alexandlian
l l 5
Allegretto
162
I I7
0uq_EbonI.LQUAXHEilYHTI TSAGHKEPUNTCH
Andante con moto
cnFcuLr'qhilIYIIIAHIIITII SHUSHANIKI
tu.U{hur[u;ur0X,Anerncan
Kh.Avetisian
{ru;\. dn4. qrupApu. nap, raueqArm. folk danceModerato
163<NFLP
}IIATBA RDAPING
Allegretto
{urJ\. dn{. qupAp . Hap. rarlcqArm. folk dance
r64uosucusb
APTAIIIATI4 ARTASHATI
Allegro con moto
{ur.;\. dn4. qupApn. nap. TaHeUArm. folk dance
ubq_uLhCEBAHU SEVANI
120
U.U1hpuur04p.;ur0A.AreHcaHApHrr
A.Alexandt'ian
-
Moderato
Allegro scherzando
f,UI'FhHA}IPII
tlUlhpuu04p;ur0A.A.nencaugpan
A.Alexandrian
NAIRI
,
t2l
r66CnI.Oh trUr|-+U+nFFI'
ruYPII BAIIAfYPI,I
Vivo
SHURI BAGHDADURI{u;\. dn4. qurpAplr. nap. taueqArm. folk dance
Moderatox
nI.2nI..I,+UOUY3}IHIAPA UZUNDARA
I t L
{ur;\. dnry. qurpApM. Hap. TalreqArm. folk dance
Grszioso
t23
t F slt F 1[. GIL6h\,TPETIII:il PABIDJI
SECTION III
On€Ff.q qI'bUMAJIEHT,ITA'I fIbECA LITTLE PIDCE
Allegro moderato
--..--.---.--l.
167
tL.Ulr0uru.; ur0I.MrrHacarrG.Minasyan
1 6 8
Li[lI.Ul,3Uq qf'CbFhu;\. dnr1. hpq
J]YCHflIT TIIIIIEP LUSNYAK GISHERapM. uap. flecrm arm. folk song
U2ur\. td.Upnt0;utfiltO6p. T.Arqrraxa
h+^ r Adapl. T.Altunian
Andante
bu LUbSr'uF u.|"nFccu3],EC JICEIII4 MI4 AH}'I[ [3AfrH
YES LSETSI MI ANUSH DZAYN
qnML ultuITY?ITH APA KUZHN ARA
169
{u;11. dnr1. hpqAplr. rrap, ner:trx
Arm. folk song
Naturale
' Moderato
170uLuq3u'e
AJIATflS ALAGYAZ
fdNt FLENFLQbFqbTOX EJIBYJI ITEPIE TOGH BLBUL CHERGE
Andante maestoso
rrn rlfr rnruuItornrracKomitas
p - \--_
.'--.-----...'..--
J ' --_:__)
171
lF-
r)_-. -
-__
tun0<nl.ft+ tunFf.LXOP}'P[ XOPI4H HHORHURD KHORIN
fu rulurnnrp Surpo0hg [r (XII-XIII rp) {I2url1.' QnrllruruulrXtruarXp Tapoueqrr (XII-XIII n.) O6p. Ilolrrrraca
Khachatur Taronetsi (XII-XIII c.) Adapt. Komitas
i n D
i n A
i n D
172
173€Ul'f. q_OFO QUl, I.U
IIAHII B)TP tr?ITAH IIM KHANI VUR JAN IM
Uru;urp-tnr[ru, rl2ru\.' IL.Upnr0;ur0lrCaar-Hona, o6pa6, P.A.rr5ruxuaSayot-Nova, adapt. R.Altunyan
.) \.-j \.----' .-J -\lt .----:, - r-. -.-!
+#
. J t 'p
A I
a)
174
AJ \---:/' \.._._-.-/'
.) ))
a) \----:-/ ..-_____-.., D
a) P
p
175
a tempo
176UNFFE. UNI.OF
CYPE, C}?ESOURB, SOURB
Ilassduduk
Andante cantabile
< >
U.b\riur6ut0M.Ex,uu.rstI
M.Yekmrtlian
p f
'Da ',.---/ +p f
t
a - ? t - J J t ep p
- < l > >-
1 - + - +U l J [ ] 4n" >- PP
-:=- PP
mf
177
A.USp[surOII.A{rpnnan
P.Atlikian
Iru3F UOU€Ub UObFnq_CJIESbI APAITCA
TEARS OF THE ARAKS
a)nf
A
e
o e emf
e
A
3 t €
178
<us{uo 4rustlFuqhaOTPbIBOIT II3 JII{T}?IIII4
EXTRACT FROM LITU
U.b!rIurgu0M.Eriua.rarr
M.YckmalianLento
d
a
a) e +o oz.-
Andante
179
a)f
o e
I t ) |d
n '
e 4-
--_:__:_-' A 4 4
180
np p
o +/ -
') € t'..--J're}
>------"
trU qf'CbP, LnFUL3Urr qbObP3C frrlrrEP, JrycI-IflK TI4IITEPES GISHER.LUSNYAK GISI{ER
I8I
knrlfmuruItolrrracKomitas
Nobile
i n D
i n A
i n A
i n A
aJ
d ---
o e e 4 I e e
i - . . ' . . . . . . . - . . . -
r82
U --
------/ ---.-_i
d 4 . 1
183
UIrl,U tr[}nF'LIr
AHHA ITPYI{K AKNA KRUNKU.fdnulurd; ru 0
U2ut\.' tIp.Uurfr4ru1gur0[r
M.T;nralainnO6p. fp.Carrga-rr5aiarrir
M.Turna<:hian
Andante Adapt. Gr,Sandaljian
i n D
i n A
i n A
i n A
184gu.Ftruuul-r. t bl,c
3APMAHAJI}I E IIHtr3 ZARMANALI EII UNDZ
tunupnrllrqnrlurn (VIII q-)U2u\. A.Uur04ur1gu0[r
Xocponrr4lmr ( VIII a. )O6p. f .Carr1.t-'rt;rixua
Khosnovidukhl (VIII c.)Adapt. G.Sandaljian
185
€'P'=------/
186
" i - s .___EI-
o f
o . ?
fG ---_-------------l
o+f
Q{r e fl {h f,r +- Gur^dF-F\vIIETPIEE PTlilifi P.I$.BtrB JT
SECTION IV
PACTAd libitumF urltgnt2rp: Dapduutnt.. Bardosltt '
RAST
I
167
ILUUS
IIurlh muurp: lllrtri.c Ttttcttt . X[u e rnsl-
'-:_:-'/
II
|--------"'
6
188
fl r2rug: 11 t r.az. Ush ug.
(trutq filt: tri'<,it rtt r. ) I ooscyrtir,.
Allegretto
Ad libitum4 f1ut1 tuplu But a n mt.llil tty ttly.
a'_---/ -::-=/ -{--/
1 - - a - a a - 2 -
A\ry1wurTult. lttuptt:IIIru;ncnrtu lxtpc. Shi I;rtsluyie .fttrs.
=::-_=-' -,-----i <--:_____----' <--
Uruprupfi quu ll[y6tt1tprt ztt.. ll[t rborrigh n.
t9:lenI.f'
Ad libitum
, A
Antplr 2u t\utq: IlIy ltrt- t tttt "trru:t. Sltrtri sht nttz.
Ptulurplt htuoutl: Banttru zadwop. Beyat:ll ltejor,3 r . t
. Allegro moderato
t97ubq3u{
CETflX SEGHAI{Ad libitum
1-31 p-.? 1 p-J1'a+ ' .at
a tempo
, fi-_i_-_1--s >-------" +'-/
poco accelerantdo
t98
Aftplruurputlt $ruputIllur;ncmqu Qtapc. Sltil:ustayic Jars.
. s A
\-.--,
Iflnryruppfiq1 ut, Mto6op1tr r zn. Ilh tbanti gl t tt.
Allesro moderato
: . + . . a+ a+ .*
?uoq3u<qAPTflX
Ad libitum
200
t- '-2 ,--_:)
SHARGHAH
a A
.'--.---'-'--
3 )
-;_1;3r r-'--z -=_:_::= aJl!).4 r_,2
lItulh 1uq41tult lllctc'tttpzn.t:. llIu1Jc clttuglt ult.
accelcrutdo
FlutuEh Afi 7ut1.* E n eur a -nu z a p. Bya ste-ni gl n.r.
20:i
l tuuwl t \acap. I Iassar . ,
Ifnlutullg.Il[y.ta t u Q t. tr[t r I;h o IiJ.
7
Allegretto
ENFESUFIIIYIIITAP
Ad libitum
205
SHUSHTAR
Itwpplrp:Tapm6.Tarl:ib. I0
3 3
mf
207
BAYATY SHIRAZPU3Uf}T'ebfU9
EAflTbI IIIIIPAS
Ad libitum
Frulwpf ftu$urhutfi: Dunntr,t uctlxttttn. Dalluly is.fithrn '7
7
* urlhft rrur0 dru3 0urourrlruln{ 0r[u.rqrupruo0hplr hrurltup_(purn. purfru0lur, pu0n0l' ru110):
g,io-rtrrctpyatattton c 6o.ree lrtltporill:\t ;llttlnlrilolloll (rap, tirtrratlra' Iilrlolr Il 'll)''l'
ho" thc insi l t ,mcnls $i lh NidcI 'r ' lnge ( lr lr , klnl iur<:l t i t ' k{r lon clc') '
I
209
a tempo
fuurlhpu(c\uee1nu.I{huuextn .
\1 ntqqul: Xro s aa t. I lyu zz al.
210
2 I I<nFtru3nI.l'XYMAFOH
Ad libitum
I{UMAYUN
r-i-t t- J -.1 TJ
f- J ----.1 r- J r
Xrblth
212
Ad libitume n t2r1tut1 "' I I Iy u t tt t t t p, Sl rr t sh t ar.
d ruqqutp Xrc aaan. Hyuzzal.7
Andante
Crescendo
: .1 I5
bOUdCSUqU\, nf'nC {UUr{U3OI-fd3nI.Ll,bf!HEKOTOPbIE M}t}bIKAJIbIIbIE IOIUITI,I'I
SOME MUSICAL E)GLANATIONS
{02nr1nLp3u0 nrdq0nr.p..;ur0 ruunlr6ru0tu\ru 0 prupdpulgnulp 02tu0ur\{nr[ t crescendopLunn{ (t4h2h0ryr, \pdLuLn cresc.) !LurI ul.ltul02ur0n{:
flocteresnoe yBelnqeH[e cl.ulbr 3ByqaHuq o6o3Ha.raercs cJosov cresccndo (corpaqeHuocresc.; IlpoHSHoueHHe - KpeUeHAo) rufi srl.rM 3HaKoM.
Cresheudo is a sign of gradual strengthening of the sound.
Diminuendo {02nqrrrp1ur0 uuurlrdru0u.rlltu0 0qurqmllp 02ru0url1{mri I decrescendo (4b\ph2h04n. !ldruur'deruatc.) qlud Din.rinuendo (4[rf[0nLhc4n. lpduur' diz.) punhpm{ [ull ulr]_;u1 02u0n{:
flocrenesuoe yMeHbueHr{e cuJrbr 3BytraHlr o6o3Haqaerca qJroBaMr dirninuendo(corpaureHuo dim.; tpouzuoueHr{e - A}rMHHy3HAo) n decrescendo (coxpauleHHo decresc.;npoH3HoueHtle - qexpeu:euaci), a raKxe ]TlM 3HaKoM.
Diminuendo is a sign ofgradual weakening ofthe sound.
Volta .l]oLSU' \p\0nLp}u0 02tu0 t. npO oqrnu.rqnpbr{mrl t, bpp hpLud2mr.u\r.u0 uurhrl-Oruqnpdnrp.;nr0g \rurl 4pLu b hrrruqubg l4r\Or{nul t rnrunFhn Llhp2u{npnrplnL00hpm{:<ruulr-luql, npn uthurp t tttr\orlh, umulho u0qruU urLlurpu {nLrl t l-fr0 {npurln{, [ru\lp\0bgu 1-lr0 Llnluu0 prug t pn{0qnlU L r.u{rupr.nr.lmrl t 214 {n1nru1n{:
BOJIbTA 3HaK noBropeHrlfl, xoroptrfi ynorpe6,rflercr, KorAa My3btKarbHoe npor{3Be,qeHuer IH ero orpbrBoK noBTopqercfl c pa3nbrMl-{ oKoHgaH[qMn. Orpuroox, roroputfi gonxeHnoBTopurbcr, n nepnsrri pa3 oKaHqHBaercr nepeofi no,rsroii, a npu noBTope oepBiu BonbrarponycKaercq u oKaHqaBaercr nropofi roltrori.
VOLTA - is a designation in the note-wdting above the last bars ofany pafi the musicalpiece. It is used in the cases ofrepeating ofthis part but with different ending. The first voltadesignates the final for the first performing, the second one is for repetition.
Accent CbCSQ npl:t dLuJ0h ULuU u.r\np4[r runu-r0d 0ugnulg, qurnnrrlp, g04qbmrl0 t: L2ru0p41{m t dLu10! \url u\np4b qbnLmf qrt:f 0hppl,mf :
AI{.pIil BbrAeJrenxe, noAqepKuBaHne orAe;rbHoro 3ByKa nJrr.t aKKopla. B sorsou nucllreaKueHrbl npocraBrcrorcg Har r.r.lrH noa ror? uoroi Hru aKKopaoM, K Koropor,ry oxlr orHoctrcr.
ACCENT is an apportionment, marking of a separate sound or chord. In note-writing theaccent is put above or under the note or chord to which it concems.
)
Tenuto SbLnI.Sn (r4urhqr.u0L{ur}, Ulduur' ter.) - 62r.nnpb0 qurhqur0bl 0ntnru0hlfr urLnqm-pgm00hpp: L2ru0p 4prlnrrl t 0nuru0bpfr rltpLrnLri \urrl 0bpphLrl:
TEryTO (asqepxaHHo, coKpaueHHo /ea. ) - rovuo Bbuepxarb 3ByKu no ,&rr{reIrbHocrr.r.9eprovra npocraBrqercs xa'q uln noA uorofi, x roropoti oHa orHocr.rrcq.
TENUTO (finnly) - you should maintain the sounds exactly at duration. The srnall dash isput abovc or under the note to which it concems.
J
Staccato USII\USI 02u0ru\mri t drul0hpp 0r{ruqb1 ru02r.urnh1n{, \rnprnhp{: khrng 4p{mrl t0nmLulf L{bpLrnI 11u: 0bppLn l'
CTAKKATO - o603HaqeHue npHeMa r{rpbr orpbrBl,rcrbrM :nyrov. Tovra nposraBJrrercr Ha[ruru rog xorofi, x xoropori oHa orHocltrcs.
STACCATO is a designation of the way of playing with an abrupt sound. The dot is putabovc or undcr rhe note to which it concems.
J
Glissando ALhUU'Lr+n ([p6ruu' g/r3s.) - 0Llurqhlm hu]rnnrU 6h, rlfr h05nr0fr9 4bqf rllnru h01nr-0p tupu-rq uuhnq, 2p04rif2r{nr1 hO1nrOulqlrb: Lnuruqpnrplru0 rib2 02{nrrl t h02;mOurqblrrunuplr0 L Libp2|r0 dru1Op, fru[ rlfrgur0\.yru1 du-r10bpp +nluunhOrlnr h0 qblr\m{ \urr]urfrprudL qbn{:
IJMCCAIIIO (corpauesuo gr:ss.) - oco6bli npgeM Hrpbr, :ar,rn,rarculuirca B 6brsrpoMcKo,rb)KeHurr or oAl{ofo 3ByKa K ApyroMy, npuqeM B HorHoi 3anficu o6srvxo uornpyrcrcr llrursuaqa,rsssrri t,t roueqsufi 3ByKu naccDKa, npoMexyroqHble 3ByKr{ 3aMeHrrcTcl veproii tlusonHr-{cTOri,'luH uei.
GLISSANDO is a special way ofperfon.ning consisting in fast gliding from one sound toanother. And only the init ial and thc final sounds ofthe passage are noted in note - writ ing.Thc intcurediate sounds are changed by a l ine or navy l ine.
fr-r r
I
l-r
2t6
SnnCLUqC Uh{hryr nptrt hfui0tullut0 hGlnr0fr0 0urtunpqnrl odu04tu\ h0!m00 t:Lfr0nul t 2 r,nhuurll'llupd L bp\rup: \tu1td $np2prqp Uuurunqnrf t 2ruur \rup6 t-. qfrurLhgqbLlLuO t: Qt\rupg' hful0urllu:0 h0gnL0ft mLrnrlnrplu;O hu2r[r0, 0pLu llbuft 2rur]r:
OOPIUIAI - yxpaurarouui ecnor4orate'IsHHr,ri :ryx u,rr rplrna 3ByKoB nepea ocHoBHbrM,yKpauaeMbw :ayrou. O6o:uavaercq Me-rKllMrl HoraMlr H He nplrHr4lraercfl B pacqer npr4pHTMTqHOCTH fpyn[poBKe HCrr B TaKTe. PaUararor roporxrri r.r ao,rrsfi Qopru,rar. Koponcmnfiurgrcq o6rt,lgo B BHAe BocbMoi c nepeqepKH)'rbrM BKocb lrJrr{JreM. ,{on'ri Qopmlrar nuruercrverroi scnofi c HenepeqepKH)'n rM rurt{JleM I.r ficnoJrHsercfl 3a cqer BpeMeHI.t ocHoBHoro 3ByKa.
GRACE NOTB is a kind of melismas (melodic omamentations) to omament the auxiliarysound, or a group of sounds before the main omamented sound. It is designated by small notesand is not taken into consideration in the rhythmic grouping of thc notes in the bar. There areshort and long Grace Notes. The shorl one is usually writtcn as an eight-note with thc crossedout obliquely stick. The long Grace Note is written as a small uote but with the none-crossedout stick and is oerformed at the expense ofthe main sound's tirne.
Uqr4h0ur
.++,,
4*Mopaenr
+,?
4/?
.1..,v
4t+
Mordent
+?
*
++t
4?
4p
IJIlI4bluS t u0r{ru0r{nuJ rlhrlh4nr npl-.t hfitlOtultu0 h01nt0f . 4pu tlbpl,}t lLutl Obppt ltodu04u\ h01nL0|r L urulu 0nnhg 0nrj0 hlr 0u\u0 hOgmOf uluqhugnp4ru[ru0nrp.;nr0p: tlnp4h0urp qlh t u:n0{nLf np{ut} 02u0nLl, npp $0nL t 0u-tt.llpLul[g qd{Lu0:
Un{ngu\ur0 dnp4hOtn u0r{ru0nrrl h0 hpbp h0!nt00hnhg' hltti0tullu-tO h01nt0}t,
4pu0lrg \bu \rurJ rlf urnO 0hppl,f odru64ru\ h0gnL0f L tuul.u 0nplrg 0nr10 lrfLi0ulu.t0h0lnLOfr ulpuq hugnp4ru!ru OnrplnrOp:
!!ttltu} np4b0tnp qrur.nurpbtlu hfui0ur\Lu 0 h0r1nL0lrg hbrnn rltpg0uL h0 0bppl,ltodruG4ulI h0gnr0p:
kn!0utltb dnp4h6utg gnr-19 t r.nrufru h[tl0ur\ur0 h02-;nL0[t L hurtluru.ltumuulutu0odu:041u! h01m0f \p\Onr\fr hLu2np4ru\uOmp.;nr0 :
h02qbu rlnp4b0urp, t11l\0ru!f ilnp4bOug 0nL10u1hu $OnL t qb{u} tr 2q}t[utt:
MOPIIEIIT - MenoauqecKoe yKpaueHl.te, 3aKfiorraouleect s 6rtcrpov qepeAoBaHt'II4
ocHoBHoro 3ByKa co cMexHbtM c Hl,rM no BblcoTe BePxgIrM l-t,nn HuxHltM BcnoMo,faTqnbHblM.Ilpocroi uopnear cosrour l: Tpex 3ByKoB: ocHoBHoro MeroAriqecKofo 3ByKa, orcrosu{ero
oT Hero Ha ToH t,nu norlToH BePXHefo BcrroMoraTenbHot'o r loBTopqnuefocq ocHoBHofo.Ilepevepuyrrrfi vopnenr rapKe cocronr H3 Tpex 3ByKoB, reprstir l.t nocreauni x3 Koropt lx
qBrttorcq ocHoBHblMt{, Ho Mexqy HuMLI ne><ur ue tepxtt-li, a xnxHrrrj ecnoMoratertsxstii.Apofuoi MopAerrr cocroHT r.r3 fiqrx 3ByKoBi aByxKparHor-o eepeloBaHrt ocHoBHoro n
BepxHero BcnoMoraTerhHoro 3ByKa c ocraHoBKoi Ha ocHoBHoM.Ilsofuofi repexepmyrrul vopqerr no crpoeHuro cxoxeH c Henepe\epKHylbrM, Ho
gcnouorare,'r rsrri n xen 6eperca urxxt.tft.
MORDENT - is a rnelodic omamentation consisting in fast interchange of the main soundwith the next to it upper or lower auxiliary sound.
Ordinary mordent consists of 3 sounds: the main melodic sound, the upper auxiliary soundwhich is a lone or semitone next to the main sound, and the repeating rnain sound again.
Crossed out mordent also consist of 3 sounds, the frrst and the last ofwhich is the main onebut between them there is the lower sound instead the upper one.
Double mordent consists of 5 sounds: that is twice interchange of the main and uppcr
auxiliary sounds with the stop at the main one.Double crossed out morde,nt is like the double mordent by structure but the auxiliary sound
in it is lower.
SObL (!ndurn' tr:) ur0rlru0{nLri t hqh4nt nplrt hlttJ0u:\ur0 h0lnt0ft l' 4pLu0}tg tih\ururnfrdur0 r{bpl, qur0rln4 odtu04tull h01nL0lt tupLuq l, htu tu2urf !p\0mp.1m0p:
TPEIIb (coxpaureHno tr) - MenoAHqecKoe yKpaueHxe, cocroquee n: qayx 6stcrpo sepegy-loulrxcs 3ByKoB, ocHoBHOnO A BepXHerO BCnOMOrarenbHOrO, Ha,\OACUeI.OCC Ha paCCTOCHtIH rOHa
r,rJtl. no,tyroHa or ocHoBHoro :nyxa. flpoqonxurerbHocrb 'Tpe.'llt paBHa !rr,IrerbHocru ocHoBHoro
3ByKa.SIIAKE is a rnelodic omamentation consisting of two fast interchanging sounds, the main
and the upper auxiliary one, which are in the distancc at a tone or semitonc from the main
sound. Tl1e duration of the shake is cqr.ral to thc duration of the nain sound.
217
bnUdC S UI{U! S bnuT'f'f,bll
thluubqu3h quu nl.dqlnl.fd3uu lcul,Lbo
hwutlhph? ubptrt0Abp Qpdutu 02{aul t hal4ug[aul t l4w0w|nt t
piano-pianissirno pgp qlrur0n-qfrur0frulnln lurdruqur0g ilb4tl
pianissimo pp qlru0[ufuln 2ruu ilhr1il-
piano p q[ru0n tlhqti
merzo-piano np rlbgn-qltu:On lhu tlhqd
mezzo-forte nf rlbgn-$nprnh lhu ntdq[0
forte f $npub ntdqh0
fortissimo E $nprnfufliln 2urn ntdqfO
forte-fodissimo ffi Qnpurb-Qnlurlrululn lu.ulruqu0g ntdq[0
+fr0urlfr\Lu1fr 02ur00hnh hhrn hurdru]u qnJr]tu]tlnul h0 pii (u1nr.' ru{hft) l, meno ( h0n' qu\uu)
purnhpp:
SbIFtle bq. UnU \rCnFIIe
blurd2rnu\tu0 uurE40urqnplmplur0 ltruruluprluO rupurqnrp;m0g ru0tlu0nt h0 rnh u4:
Sbrlql 02mrl t0 rlh& rltuururlp Jruru:1hph0 purnhpnLl: L[r0ntrl h0 4ru0qruq, lu+ru{hp t u.rpruq urhrlqhp:
+uu+u1 sblrtlbrr
4p{atuf t' kutp4wgntault l4uAutSntt
Largo lunqn 2urm 4ul04ur4 tu.u0Largetto lurlqhum Largo-lrg ilh qrnpn urnuqLento th0mn 4u04uq, dqrlur0Adagio ul4rulhn 4tu04u:r1Grave qntx{h btu0p
ououq.nn sbunrbn
4p{mtt Qutptlutgtault l4tudwlpilt
Andante ruO4urOmh hu:04urprnAndantino ur04ru0ur[0n Andante-fg rlh rhnpn u:nuqModerato n4hnuun lur+ulrlnlSostenuto unuub0mrnn qntuulAllegretto rulhqphtnn pullu\urO ru2|um1d
2t8
4plnttAllegroVivaceVivoPrestoPrestissimo
4p{ntt
Accelerando (acc.)
Ritardando (ritard.)
Ritenuto (rit.)
a tempo
non troppo
poco a poco
ueuq sblFtbo
Stuppagtnf turlhqpnrlhtlurh
${nqptuurnqlhuurfru[ n
SbtItIIn LCIIITUqUIr1, U3L
l4u0ulnuI I
upruq, ur2funtldtu2funLldru2|un11d
zul'n tuluq
2rutlurqu0g tupuq
SbfiIlhl,Lbf'
I'2utfiuQauI t
Lnh q}r ruuufr6tu0ruprup r-upu_rqu_rgnulnbf qf uuLnfr6u0upup 4ru04LuqhgnrrILnh[qI ruurnfrdu-rOuprup 4ru04tu4hgnrrIOtufuQf0 rnhrlqn2 u:30pru0
{rnpp urn rfrnpp, uurnfrdu,r0rupu:p
b2tu0utlnuf fru2pm3d, nqLnp{u0
\ppnn, furu04urlrunrJnu11m0bnqhshLlp0pm2, rih4rlhnur0rpr0hhpnuur\Lu0urprnulhru.; nlr2, ruq4m
funn{ruhnr1q, rlnlhqfr00uqhg, 0ppuqb4pbpl,
tlhh, hru 04frurutlnpulluml0rlur4h1n{
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ru mbUuln0n0 upnqqnqnLln u qnln
brtUdCSUqU\r Usbrloqqneonl.fdStn' eLqtnrnFn Alnl.Afde8nF33 Sq.nfL l,cnFtnrbrr
4p{aul tAnimatoAppassionatoBrillanteCantabileDolceEnergicoEroicoEspressivoFeroce
GraziosoLeggieroMaestoso
MestoMorendoPateticoPesanteScherzando
Qup4ug{nttru Ofulu:urnu:qruuIn0runn
Fnh1tu0uh\ru0Lnruplrlh4nuht0b19[t1ntnnh\nturryrhuu[{n
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. Assai u.ruuurjf 2ululBrio, con brio pplrn, \n0 ppfrn Qprulnur, nqLnpnLpSurlpCalando l1ur1u04n 0,1-qhg0h1n{ rupruqmplnropCantilena \urOmlr1h0ru hpqul]r0 rlL4h4frCapriccioso lruu4rfr22nqn prluhrud, qru rultnnntpJuliFCoda lln4* Qn4ru, rlhlprurlnpntplnr0Con anima \n0 ru0firlu nqt,npnrplullpComodo \nrin4n hru0qfrutnElegante tlhqruOmh OnpruqbqEspansivo tuqru0ufr{n uprnruqh4, upurupmfuEspirando tuqfpur04n 0{urqblmlFine q,hoh {hngGiocoso 2n[nqn ru2fumdnph0, ntpurfurufirGioviale pnL[lu1b ru2]unt1d, mpru]uLacrimoso plpfulnqn rupuruu{rufr, lugu\mrlur}Libero thphnn ruqumLieto firhun nrpru]u, qrlu:ppMarcato rlupl-1urun 2h2rn{rubMarcia rlLuJr2[lu pulJthnqMarciale rirup2frulh nuq ur2nt02Mobile rlnpfilh 2ru1dm0, phpLMolto nlnn 2rurn, 2uln ru{bfirMosso dnuun ur2]umdugrub, 2rupdnL0Moto, con moto rlnrnn, !n0 rlnmn 2updmrl, 2u:pdmrintlNaturale 0rurnnrprulh p0tu\ru0Nobile 0nFhtb u:q0{ruprupn, {bhPastorale ulruuutnpulh hnrl{hpqrulur0Poco ulnlln phlPoco a poco qnln ru qn\n hhurqhhurhRubato nnrFrurnn u:qu_ln r-nhrlqSegno uh0;n 02ru0Sforzando u$npgru0qn unrufidfr0 h05nr0fr \u_ll u\np4fr
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220
MY3bIKAJIbHbIE TEPMI,IHbIM U S I C A L T E R M S
IIIIHAMTIECKI4E OTTEHKI4DYNAMICNUANCES
llrarnmcroe rqlr,mr Corqlaqemo 3sacemre MeaningItalian terrnspiano-pianissimo ppp vpeaasrvaftHo rnxo very silentlypianissimo pp oqeHb rrlxo very quietly
piano p rHxo quietly
mezzo-piano mp He oqeHb middle softly
mezzo-forte mf He oqeHb middle loudly
forte f rpouro strongly
fortissimo E oqeHb rpoMKo very strongly
forte-fortissirno ffi vpe:suruafiuo rpovro extremely strongly
Hnoraa x alrnaunqecKuM orreHKaM npficoejluHrrorcr croaa piur (nsro - 6o,,ree) rr meno (ruleuo - lteHee).
With dynamic nuances often are used the words piur (more) u meno (less).
TEMNOBbIE OBO3HAqEHI4JITEMPO DESIGNATIONS
CKopoclb HcnorHeHr,rq My3brKilJIbHofo npon3BeaeH[r Ha3brBaercq reMno[a. B oct{ogHov reMnbr o6o3Haqa}orcq
HTaJTITHcKHMH cJrogavn. Tevnn 6slearctr Me,qneHHbte, yMepeHHbte H 6blc"rpble.
The speed of the musical work's performance is called tempo. Generally the tempos are denoted with Italianwords. The tempos may be slow, moderate and quickly.
MEiUIEHIIbIE TEMIIbISLOW TEMPO
Teptmt Tetms 3sacefirc Meaning
Largo ot{eHb MeArteHHo, trnpoKo very slow
Largetto 6urcrpee ver'.r Largo quicker thaa Largo
Lento Me[JteHHo, npqrDKHo slow, lingering
Adagio MeMeHHo slowly
Grave hard
YMEPEIIHbIE TEMIIbIMIDDLE TEMPO
Tepvssu Tetms Snacewe Meaaing
Andante o6uKHoeeHHsrM uaroN{ by normal step
Andantino 6rrcrpee, qeu Andante quicker than AndanteModerato yMepeHHo rnoderate
Sostenuto c[epxaHHo with restraintAllegrefto aoBoJIhHo oxllnrleHHo rather brightly
22t
EbICTPbIE TEMIIbI
QI,NCKLY TEMPO
Tepuos*r Tetms Szaccme
AllegroVivaceVivo
PrestoPrestissimo
cKopoXI{BO
OXI{BJIEHHO
o.renr 6urctpovpesouvaftuo 6stcrpo
Meaaiag
vividlyquickly
brightlyvery quickly
extremely quickly
FTNT,C OEObHATIEHI'Ig TEMIIAOTIIER IEMPO DESIGNATION
OBOT}HAIIEHI,I,' XAPAKTEPA I{CIOJIHEHH' MX}bIKAJIbHOTO IPOIfiIBEIIEHI{'IDESIGNATION OF CHARACTER OF MUSIC WORKS'PERFORMANCE
Tepwt Tetms Szacewe
Accelerando(acc.) ycKopf,t
Ritardando(rr'&rd.) 3aMeArtt
Ritenuto (nZ) c[ep)KaHHo
Mcaaiag
acceleratingretardingwith restraintin a former tempo
not verygradually
Mearingenthusiasticallywith passion
brilliantlymelodiouslytenderlyenergeticallyheroicallyeexpressivelywild, savagegracefully
easily
sadlydying awaypassionately
hardwittily
a temponon troppopoco a poco
B npexHeM TeMne
He oqeHb
nocreneHHo
Bog.Q/rrreBneHHOcrpacrHo6lesrsue
sHepfHrrHo
rePouqecKu
Bblpa3lrTerbHo
ar,rKo, cBnpenorpaqr{o3HoJIETKO
neqaJbHo, rpycTHo
3aMnpafl
cTpacrHo
TH)KEIIO
EYTJIHBO
Tqw Taas SncweAnimatoAppassionatoBrillanteCantabileDolceEnergicoEroicoEspressivoFeroceGraziosoLeggieroMaestosoMestoMorendoPateticoPesanteScherzando
neB) re
HEXHO
ropxecrBeHHo,BerrnqaBo majestically
222
iIPYTI'IE TEPMI{HbITeptrnpry Tetms 3saccweAd libitum no xenaHutoAgitato B3BoJrHoBaHHo
Allargando 3aue4rssAl segno Ao 3HaKaAmabile npuqrHoAmoroso rrc6oBHoAssai oqeHb
OTIIER TERMSMeaaiagat your wishwith agitationslowing downtill the signpleasantlyamorouslyvery muchexcitedlyBrio, con brio
CalandoCantilenaCapricciosoCodaCon animaComodoEleganteEspansivoEspirandoFineGiocosoGiovialeLacrimosoLiberoLietoMarcatoMarciaMarcialeMobileMoltoMossoMoto, con motoNaturaleNobilePastoralePocoPoco a poco
RubatoSegnoSforzando
SimileSmorzandoSotto voceSpirituoso,con spiritoTuttiValseVibrando, vibrato
ao:61nx.[eHHo
JmeHbuarc cruIy H cKopocrb decreasing strength and speed
neByqas MenoEue
Kanpr.r3Ho
3aKfl tot{HTer bH a9 qacrb
c ryurofi, c t{}tsc'ItsoM
cBo6oaHo, He cneua
H3CUIHO, n3bICKaHHO
6ypuo3aMI{paq
KOHEII
rxyrJrHBo, I.IfpHBo
6ogpo, secenoc]Ie3nnBocso6oaHoBece[onoatrepKxEaq, Bbl[entt
MapIx
vaprueo6pa:xo
no[BIt)KHO
MHO|O, OqeHh
OXHBJICHHO
aBr.rxeHI,Ie, c ABI.DKeHlleM
ECTECTBEHHO
6rar0poaHo
nacTy[recKLI
MAJIO
nocreneHHo
cso6oaHolft renn
3H K
BHe3anHOe yc[neHHe 3ByKa
r.rjlH aKKoplanoxoxHI
3aMnpaq
BnoJlforoca
BOOlyrxeBneHHo,c Boo,qytIIeBJIeHI{eMBCE BMECTE
BZut bc
nH6pnpya
melodious h.rnecapriciouslyfinal part
soul, heartilyfreely, not hurryingelegantly, delicatelystormilydying awayendwittily, playtully
cheertully, joytully
tearfullyfreelymerrilymarking outmarchmarchinglymobilemuch, very muchlivelymovementnaturallynablyas a shepherdlittlegraduallyfree temposrgnsudden increasing of the sound or chord
resembling, alikedying downin an undertoneenthusiasticallywith inspirationall togetherwaltzvibrating
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MAJIEI{bKAJI IIbECA fME8cffi 167JTyCH'K fHIxEP (.tMlHAt HOt{b) ApM. Eap. le€Es O6p. fAnTzwa.... 168EC nCEUl4 MH AHyIII [3AfiH (MHE fiOAT6IIIIA"ICS CJIAnKEfr fonoq ApM.rap.uecne......... 169KDKH APA (B3.q,tIA KyBIIIIIH Korsrac . . .. .. .. . . . . .. 169AJIAIf,3 Korqrac l7OTOX MByJI r{EPfE (nycTb HE IIOET COfiOBEE) Kor,srac.............. l'70XOP)?tr xOPl4H Xaqarr? T8poEerF (JCI-)fltr rr.) O6p.Kor,maa........ 171KAHII ByPIIXAH uM (IOKOEE t XI'IB) CaaI.HoBs 6p.P,an1zw.... I'13C)?8, C)?E (CBST-, CBqT:) M.Erq'rsmE.......... 176C J I E 3 b I A P A K C A r l 4 Q p 8 s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1 7 7OTPbIBOK l I3 J I I ITyP|ZU M-EIc {arE . . . . . . . . . . . . . . . . . . . . . . . . . . . 1783C fl[IIEP, JIyCH'K fI4IxEP (B 91-y HOt{b, ]IyT#InO HO.IB) Kowzzc ... 181AKIIA KP]'HK M.lyMarE Odp. Ilcaw)wqa 1833APMAHAJII4 3I4Htr3 (MHE CTPAHHO) Xocporryrr (VItr a.) @p. fCaqpwa 184
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PREFACESHORT INFORMATION ABOUT DUDUK ,., ,.,.,.,.,,METHODICAL NSTRUCTIONSPOSITION WHILE PLAYING DUDUKBREATHTNGHOW TO CONDUCT THE FIRST LESSONSMUSIC NOTATION
ELEMENTARY E)GRCISES
EXERCISES IN QUARTER NOTESEx. I l -13
C O N T E N T S
S E C T I O N I
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RHYTHMIC VALUE , , . . , , . . , . . .S IGNS OF ALTERATION . . . . , . . . , , . . , .TABLE OF FINCERING OF DUDUKFAMILY OF DIJDUKSFROM THE AUTOR
E x 1 4 - 1 6 . . . . . .17. HOY. NAR Armenian folk song .
232E x . l E . 1 9 . . . . . . . . . . . .20. HOY, IM NAZANIy AR (HOY, My TENDER LOVE) (extract) ArE. folk sorg .............-. .....2I. ETIJDEDGRCISES IN LECATO . . . . . . . . . . . . . . . . . . . . . .E x . 2 2 - 2 4 . . . . . . . . . . . . -E x - 2 5 - 2 8 . . . . . . . . . . . . .IIALF NOTE WTIH A DOT . . .. . .. . ... ... .E x . 2 9 - 3 1 . . . . . . . . . . . . .TIIE SCALE OF C DI,'RE x . 1 2 , 3 3 . . . . . . . . . . . .E x . 3 4 . . . . . . . . . . . . . . . . .35. ETUDE36. ETI,DE3?. ETUDEEXERCISES IN EIGIITII NOTESEx. 3E, 39 . . . . . . . . . . . .40. ETUDE41. QUAIL RMclikian42. SPRINGTIME (extract) KhAvetisiaa -........QUARTER NOTE WTIII A DOT ................Ex . 43 . . . . . . . . . . . . . . . . .,t4. SHORORA SALA'l (DANCE, SALAT(a girl 's name), DANCE) KoDitss..............45. LULLABY GArmeuyan.........,+6. HOY, NAZAN Aro- folk song AdqtfJuntnisa ....47. ANDANTINO AXhachatrian48. ETUDE49.GLOW-WORM Arm. folk song ......SD(TEENTH NOTESE x . 5 0 , 5 l . . . . . . - . . . . .52. PARTRIDGE Komit8s . ... .. . ... ....E x . 5 3 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .54. ETUDE55. YEREVANIAN NIGHTS ADolnkhanian . ... ..56. FINJAN Arm, folk rog .. .. . .57. BOBIK ruRMI ERA (DON'T GO FOR WATER BAREFOOTED) ArE-fotkwnS......................5t. ETUDE59. ETUDE60. DRINKING SONG Arm. folk song AdaptT-Altutiat ....61. LOOKROUND Gussar Sheran . .. .. .62. YEREM JAN Arm. folk soag AdsptT-Altwiaa63. PIECE S.Barkhudarian......64. TALVORIKI KTP.ICH (DARING FELLOI4. FROM TALVORIK) ArE. folk songTHE SCALE OF B DURE x . 6 5 . . . . . . . . . . . . . . . .E x . 6 6 . . . . . . . . . . . . . . . . .67. ETUDE6E. SOURB, SOURB (SAINT, SAINT) M.Yckneliaa.........69. MY AtuVENlA Gussan HBYassi70. KARABAGH MARCH GMausyan . . . .. ... .71. ETUDETHE SCALE OF G MOLLE x - 7 2 . . . . . . - . . . . . . . . . -73. DON'T ASK ME A.Mailyan ............74. HINGALLA Arm. folk song AdqtTAhniaa ... .?5. ETUDE KhAvetisian.........76. YES SIRETSI (I FELL IN LOW) Arm. folk song AdaplTJ4lt@iaa . .. .77. SCERZO KhAvetisian ........78. ETUDE'19. vOC ALIZE MMaznsaisuTHE SCALE OF G DIJRE x . 8 0 . . . . . . . . . . . . . . . . .E x . 8 l . . . . . . . . . . . . . . . . .82. ETUDE83, ETUDEt4. EVERYTHING IS GREEN AROUND THE MILL ArB. folk sotrg AdaptTAJdmian ...85. ETUDE8 6 . E T U D E . . . . . . . . . . .87. ON THE MEADOW S.Barklrudarian . .. .. .88. COUNTRY DANCE V.A.Mozart ..........89. ETUDET R I P L E T . . . . . . . . . . . . . . . . . . . . . . . . . . . : . . . .E x . 9 0 , 9 1 . . . . . . .
3 l3 l3 l
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Ex.92.93 .94. NORTHERN STAR M.GliDks ...95. LYRIC SONG Arm. folk song AdaptT.Altuaian ...
6'I
6868686970707 l727273747475
97. ETUDE9t. DANCE G.Mirasyan ..99.ENZELY (extract) A.Speodiarian..
100. HAMBARTSUM YAYLA (SONG FOR THE ASCENSION) (from "Anush" opera) ATig"ai8D101. OLD CASTLE ("Pictures from Exhibition" N2) M.MusorgskyT H E S C A L E O F D M O L L . . . . . , , , , , , ,102. NUBAR-NUBAR Arm. folk sotrg AdaptTAJtmiu ...103. HIJAS A.Spcndiadan .......104. MARALIK Arm. folk daft€
MEASIJRE 6 /8 . . . . . . . . . . . . . . . . . . .
IO5. ETUDE
2. HORZHAM(W{EN YOU ASCEND TO THE HOLY ALTAR) Exts8ct fron Litur5| Adqt M.ycbafiaa.....
3. VASN MEROY PRKUTSEAN(IN TtlE NAME OF OUR SALUATION) Sharakan for Resurregtion Atstia Shinks$i (Vtrc.)......
4. ANDZINK NVIRYALK(SOULS WIIO DEVOTED THEMSELVES) Sharakan to Ripsime v€tgirs Komitas ASbtsetsi (Vtr c.)
5. ZORS YST PATKERI KUM(THOU wHO CREATED By YOUR LIKENESS) Sbarr&n Grigor Msgiskos (XI c) . . . . . . . . . . . . . . . . . . . . . .
6. ARAVOT LUSO (BRIGHT MORffIVdJ Ncrses Sbnorali e<n c.) . . .. . .. .7 . HAVLN, HAVUN (BIRDIE BTRDIE) Tag Gr igorNarekars i (Xc . ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .E.SEV MUT AMPER (BLACK CLOUDS) Arm. folk song . . . . . .9. MACHKAL (PLOUGMAN) Arm. folk song . . .. ..
10. AKH, IM TCHAMPES (OH, My WAy) Arm.folksong......I I. OTAR AMAI TCHAMPEKI VRA (ON THE LONELY RoADs oF STRANGE Z,4ND)ATn. folk song12. SIRETSI, YARS T AP.AN (I LOVED BUT My SWEETTIEART WAS GONE) Arm, foft song ..... -.13. CHOLI JEYRAN (STEPPE DEER) Havassi . . . . . . . . . . . . . . .14.YAILAVOR YARS Havassi ..15. ZEPYUR, BAREV'l AR (CA RR y My REGA RDS, BREEZE) Havassi ...........,...16. JAVAKHETSI SIRUN AKHCHIK (BEAUTY FROM LAVAKHo Haya$si1? . AKH, MI Ar . \GAM ELZIJEIR ( tTVISHyOUGAVEI / ONCE MORE) Havass i . . . . . . . . . . . . . . . . . . . . . . .18. SHAT EN,l YERGEL (l SANG A ZOt Havassi
Ex. 106. 107, l0tE x . 1 0 9 . . . . , . . . - , . . . . .110. LEPHO LE, LE Arm. folk song Adsptl<I<sn-MuzI I l. SHEPHERD Czcch folk eoog ... . .112. W ALTZ (extract from "Sleeping Beauty " ballet) P.Tchaikovsfy .......I13.STONYAPARAN ArE" folk sorgTI IESCAT;EOF ESDIJR. . . . . . . . . . . . . .l14. MEN'S DANCE (from'i{lmast" opera) A.Sp€ndiarie..I 15. ETUDETHE SCALE OF CMOLL ........l16 . SONC G.Chtchyan. . . . . . . . . .ll7.I AM GETTING MARRIED AIm. folk soDg AdaplTAlturiat ....I lE. SONG A.Spsndiarirn .......119. SARERI HOVIN MERNEM (I ADORE MOWTAIN COOLNESS) H.Badslysn Adapt TJ4lhmistI2O. ETUDEORNAMENTATIONS .......,,..121. WAKE UP FROM THE REGAL DREAV Bagh<hsar Dpir Adapt RAInmie ...THE SCALE OF D DUR122. ETUDE l<Aemi .. ... . .. .. . . .123. LAKHTI Arm. folk sorg AdaptT-4limiaa ...THE SCALE OF A MOLL ., ,.,..124. SWEETHEART Aro- folk song125. LEKURI (dance from "Daisi" opera) Zlaliashvili . . . . . . . . . . . . . . . . . . . . . . .T I IE SCALE OF AS DUR, . . , . . . . , . .E x . 1 2 6 . . . . . . . . . . . . . . .127. COLLECTING COTTON. (dance from "Gayane" ballet) AJthachatian....................l2E. ETUDE . . . . . . . . .129 . ETUDE . . . . . . . . .130. ETUDE (mode "Segyah') ...l3l. ETUDE (mode "Chargah') .132. ETUDE (mode "Bayaty Sh inz ' ) . . . . . . . . . . . . . . . . . . . . . . .
1. GRIEF OF VARTAN'S MOTHER
S E C T I O N t r
Arra folk soug ... .. .
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23419. NAZE-NAZ (COQUETTD Havassi . . . . . . . . . . . . . . .20. KHEZ EL CHI MNA (YOU WON'T HAVE EITHER) Havassi ....21. KHOSIR IM SAZ (SING, MYSAZ) Havassi . . . . . . . . . . . . . . .22. GARNAN TSACHIKES (yOU ARE A SPRING FLOWER) Havassi .. .23. ELUM YERGEM (WHOM ELSE SHALL ISINGFOR) Hevsssi.....24. KAROTEL EM YES (IHAVE MTSSED YOU) }Iaya5F,i25. YEGHNIKI PES TSUR MI ASHE (DON'T LOOK AT ME SULLENLY LIKE A DEER) }Jvassi ...26. EN KO SERN E, YAP. (THIS IS YOUR LOVE, MY DARLNG) Hwa-+sr2'1. GYOZALS KHROVEL E (MY DARLING HAS BEEN HURT) Shahsn . . . . . . . . . . . . . . . .28 . ANTSA GNATSI Shahd. . . . . . . . . . .29. NAIRYAN DALAR BARDI (NAIRI YOLTNG POPLAR) Shahen30. SASNA TSUR Shshcn.....31. ALMAST SHOGHUM E (DIAMOND IS SHINING) Shahco.......32 . ZEPYURI NMAN (L IKE BREEZE) Shahen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .33. ANGIN Y ARS (MY PRECIOUS) Shahea ................34. GYOZALS, MINCH YERB KHROV MNAS?
(M Y BEA UTY HO W LONC WIL L YO U B E HURT?) Shahen ..............35. TSOVASTGHIKS (YOUAREMYSEA STARJ Asliot36. LUSNI SHOCHOV (BY MOONLIGHT) Ashot.......37 . CARUN E (SPRING) Ashot . . . . . . . . .38. SYLNYATS SAP.ER (SYUNTC MOL/N7'A.NS) Ashot .. .. .. .. . . .. . . . .. .39. SOURB MAYRER (SAINT MOTHERS) Ashot .................40. SERS VANKUM T ATEVI (MY LOVE IS IN TATEV CONVENT) Ashot. ..41. SARVORI YERG (HIGHLANDER FARMER,S SONG) Asbot,,.,....42. UR E ? (VTHERE IS SHE ?) Ashot ..... ...... ... . ..43. EN SARER (THOSE MOWTAINS) Ashot ... .44.OJAKHUM (AT HEARTH AND HOME) Ashot. ,......45 . HAYRIK /FATHER) Ashot . . . . . . . . . . . . . . . . .46. KHO SIRO HAMAR (FOR THE SAKE OF YOUR LOVE) Asho/-47. ASA, INCHU DU LUR ES? (WHYARE YOU SILENT'?) Ashot .. ........4t. YAR, ARANTS KHEZ (MTHOUT YOU Mv LOVE) Ashot.......49. HOV SARER, MOV SARER (COOL, COOL MOWTAINS) Ashot . .. ... .. .... ....50.PAKHRA (ROE) Ashot.....51. AMEN ARAVOT (EVERY MORNING) Sheram . . . . . . . . . . . . . . .52. DUN IMMUSANES (YOA ARE MY MUSE) ShersE . . . . . . . . . - . . . . . .53 . SHORORA Sheras . . . . . . . . . . . . . . .54. ZOV GISHER (COOL NIGHT) Sheran . . . . . . . . . . . . . . .55. OLOR MOLOR (HESIIATING) Sheram ...............56. GALIS EM DURD (I AM GOh|G UP TO YOUR DOORS) Sheram . ..57 . ELI ESOR SIRTS KULA. ( tu lYHEARTIS CRY IG AOAIN TODAY) Sheram. . . . . . . . . . . . . . . . . . . . . . . .58. PNJLIK-MNJLIK Sheram .......59. ARDEN MUTN YNKELA (DUSK HAS FALLEN) Sheram...... ....60. SER IM, SIRUN ES (DARLING, YOUARE WONDERFUL) Sheram .61. SARER. KAGHACHEM (IBEG YOU, MOWTAINS) Sheram62. SERITS ERVATS (BURNTBYLOVE) ShEram....63. TARLAN, TARLAN (BELOVED) ShersE ...............64. SIRUNNER BEAUTIES) Sh€raB......65. PARTIZUM VARDER BAZVATS (THE ROSES HAS BLOOMED IN THE GARDEN) ShetEfi ......66. ANDJIGYAR YAP. (HEARTLESS) Sheram . . . . . . . . . . . . . . .67. KEZANITS MAS CHLTNIM ShcrsD ...............6t. ESOR ARAZN ES GNATSEL (YOU WENT TO ARAKS RIUER TODAY) Sheram..................69 . HALAL ERA Sheram. . . . . . . . . . . . . . .70. ELI YERKINKN AMPEL E (THE SKYHAS BEEN COUERED BY THE CLOUDS)Sbqsn ..........71. NAZ AKHCHIK (COQUETTD Sheram ...............72. VARD TSANETSI (I 'VE PLANTED A ROSE) Shsram ...............73. AMPERN YELAN (CLOUDS APPEARED) Shsr8m . . . . . . . . . . . . . . . .?4. AVARAYRI DASHT (AVARAYR FIELD) Jivad . . . . . . . . . . . . . . . . . .?5. OV SIRUN, SIRUN (OH, MYBEAUTY) Jivani . . .. . . . ... . . . . . . . .T6.DERCISHERE (IT IS STILL NIGHT) \vaoi7 7 . F R I E N D J i v a n i . . . . . . . . . . . . . . . . . .78 .MAYRIK TMOTHER) J ivan i . . . . . . . .79 . SPITAK MAZER (GRAY HAIR) J ivan i . . . . . . . . . . . . . . . . .70. HOVIK (BREEZE) Jivatri . . . . . . . . . . . . . . . .81. SASLNASAR (MOUNTAIN SASLIN) JiYani . . . . . . . . . . . . . . . . .82. GEGHETSKUHUN (TO THE BEAWY) Jivani . . . . . .. . . .. . . . ..83. HAMBERE, HOGIS (HAVE PATIENCE, MY SWEET) -Jivad. ...............t4.AR,NAZELIS (TOYOU,DARLING) Jivaui85. DZAKHORD ORER (HARD TIMES) Jivani . . . . . . . . . . . . . . . . .86. BLBULI HID (WITH NIGHnNGAZE) S8yat-Nova ..87. ARANTS KEZ INCH KONTM Sayat-Nova.88. ASIIKI'IARUMS AKH CHIM KASHI ('LL NEVER COIVPL.4 /N/ Sayat-Nova .. . .
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(WHERE HAVE YOU COME FROM. STRANGE NIGHTINGAID Sayat-Nove ..91. ASHKHARS ME PANJARA E (THE WHOLE WORLD IS A WIMDOW) Sayat-Nova92. BROYIE Ssyst-Nova93. ARI INDZ ANGACH KAL (LISTEN TO ME) Sayat-Nova........ . .94 . DLN ENHURIN IS (YOUAREAFAIRr , SayahNova . . . . . . . . . . .95. YIS KU GHIMETN CHIM GITr (I DON'T KNOW YOy, Sayat'Nova ...96. YIS MEGHARID BLBULIPES (l AMAS A STRANFE NIGHT-INGAZE) Sayat-Nova....97. CHIS ASUN4 (YOL| DON'T SAY) Sayat-Nova ...........98, PATKIRKT GIIALAN,IOV KASIIATS (I.OLIR PORTRAITIS RITTEN,BY A TEACHER) SAYAT-NOVA. ..99.KAMANCH.A. Sayat-Nova
100. NAZ PAR (COQUETTE DANCE) A.Alexsndriatr.-......101. NAZELI OENDER) A.Alexsndrisn ......102. SHALAKHO Arm. folk da.oce103. SHOROR Arm. folk dance Adapt- T-4ltuti8t ..104. ZANGEZURI Womeo's datrce A:Alexaldrisn.......105. BAKHTAVARI Karabakh womcu's dance . . . .. . .. .. . .. . .106. SHIRAK ROLTND DANCE Arm. folk dance .....107. DILIJAN Arm. folk daoce .. .108. ZURM TRNGI Arm. folk dance109. KOTCHARI Martunian Arm. folkdaDce.....l l 0 . FACE TO US DANCE Arm. fo lk&!ce . . . . . . . .111. VER-\'ERI Aro. folk da.nceI12. Nl-fNUFAR Arm. folk darce113.I'ERI (FAIRY) Arm. folk daocel l4 . A \AHIT A.Mcraogu l ian . . . . . .I15. GIRLS' DA-NCE A.AlexaqdriarI 16. TSAGIIKEPTTNTCH (B UNCH OF FLO IL/ERS) Kh.Avetisi6.s ......117. SHUSHANIKI Arm. fo& dance .....I lE. REAPING AAlexandrianl19. ARTASHATI Arm. folk dauceI20.SEVANI Arm.folkdanccl2l. NAIRI AAI€xEdriED .. . .. .122. SHIJRI BAGHDADURI ArE. folk daacc ..................123.UZUNDARA Arm. folk dance
S E C T I O N I I I BNSEMBLES
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LITTLE PIECE G.Mioasyan. . . . . . . . .LUSNYAK GISHER (MOONLIGHT NIGHT) ArE.. folkforlg Adspt TJ|lfrDiu . . . . . . . . . . . .YES LSETSI MI ANUSH DZAYN a1 HEARD A SWEET VOICE) Arm. folk song . . . . . , ,KUZHN ARA (ITOOKA JAR) Komitas........ALAGYAZ Komi tas . . . . .TOGH BLBUL CHERGE (LET THE NIGHflNGALE NOT SING) Komitas.......KHORIIURD KHORIN Khacbatur Tarotretsi CJflI-Xm c.) Adapt Komitas...KANI VUR IA\ lM (IVHILE I AM ALIVE) Sayst-Nova Adspt RAltnDW..SOURB, SOURB (SAINT, SAINT) M.YekmalianTEARS OF THE ARAKS P.AfrikiatrEXTRACT FROM LITURGY M.Yeloralis!ES GISHER LUSNYAK GISHEP. (THAT MOONLIGHT NIGHD Komitls .AKNA KRUNK M.Tumachian Adapt. G.Saadatdli'anZARMANALI EH INDZ (IT IS ASTONISHING TO ME) I<hosroid\Yht Nfrc.) Adapt c.Satdtldjin
S E C T I O N r y MUGHAMS
SOME MUSICAL EXPLANATIONS
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MUSICAL TERMS
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Editors
ArtistTranslations:RussianEnglish
II.UgenQu0U. Udb tf1tuO, II. buulu AUUJt0uunt
U.UJz0uunlwU. 4l'npqlut 0, U U(21 tu 0
P.AnmynnnC-Adcrcensu, P. EcanuM.Munacoe
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<trOUhSUU> hlruuru:pu:142ntp1m0+[u. furlpuqf4' A. butulu A
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G.V.MINASYAN (MTNASOV)
MANUAL FOR DUDUK
R.AltunyanS. Atshemyan, R. Yesay anM-Minasov
S-MinasovaS.Gevorkyan, M.Aujyan
"KOMITAS" Publishing HouseEditor-in-chief R.Yesayan
Circulation 300POLIGRAPH WORKS OF ASHTARAK CJSC
E-mail: komitas-publ @ yahoo. comquartet-dudukner @ rambler. ru