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Heritage
Safiaddin Urmavi and Uzeyir Hajibayov
Author:
City
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Baku
Country :
Azerbaijan
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The sixth chapter of the treatise "Kitab al-Advar" was dedicated to the main problem - modes and their interrelation. Here the author is using the term "jam" as a mode noted that "jams" were constructed by the combination of the frictions of the first and second registers. Then in his treatise Urmavi substituted the term "jam" with the term "aduar, advar, daur" which meant a circle that made the signification of the scale of modes clearer. The scholar introduced to the theory and scholarship of oriental medieval music such concepts as "daur", circle, period which correspond with the term "mugham", "grade" used later on. We should note that the succession of sounds (nagama) within an octave (zilkul) and the coincidence of the first sound and the last one of the succession form a circle. That is why the name of Urmavis treatise is "Kitab al-Advar", or "Circle or periods (modes)". Further in the treatise rhythmic circles were shown graphic as circles. Sometimes they think wrong the name of Urmavis book was taken after the graphic circles. Urmavi explained the building of the circles this way: "If we combine kisims of the first register with the kisims of the second one, then with the others having been combined too there will be 84 circles in all. But some of them sound consonant, others sound middle dissonant".")7
We should note that the theory of dissonant intervals got further development in the theory of modes. If there is an interdependent correlation among all the grades of a mode within a circle, that mode is consonant, otherwise, if there is such a correlation among only constant grades that circle is dissonant.
At first Urmavi combined each kisim of the first lower register with the corresponding same kisim of the second upper one and received six combinations.
In this chapter the scholar presented interesting six circles and their correlation. Here are these circles: Ushshag, Nava, Busalik, Rast, Huseyni, Irag.
Then the author presented 7 scheme - tables, which are introduced our book "Safiaddin Urmavi" to the readers explaining each of the tables. ")8
In these 7 tables he presented 84 circles of scales existing in the theory of oriental music. But we should note that not all of them may be used in practice. Their forming was possible only in theory.
It was Urmavi who for the first time pointed to the significance of aesthetics sence caused by combining any "djins" (tetrachord or pentachord) with the other one and noted that not depending on a good impression of any "gender" taken separately the musician himself must choose which "djins" must be combined with each other.
In practice Urmavi selected only his 12 modes and 6 avazes. We should say that among the combinations of modes there were many scales of mugham, but then Urmavi did not select them in an independent group. That work was continued by his successor Abdulgadir Maragha and others.
According to U. Hajibayovs theoretical system, tetrachords that form the basis of the scales of Azerbaijan modes present the following varieties: main - 1-1- 1/2, auxiliary - 1 - 1/2 - 1, auxiliary - 1/2 - 1-1, diminished - 1/2 - 1 - 1/2 with an increased second 1/2 - 1 1/2 - 1/2.
Hajibayov noted that all those tetrachords might theoretically be combined by all four ways of combinations but not all the 20 scales obtained as a result of these combinations would be fit to form Azerbaijan modes. The scales that are intended for the formation of the main Azerbaijan modes should meet two requirements: 1. strict consequent order of organization, i.e. the scales must consist of gradual succession of perfect quarts or perfect quarts, minor or major sixths; 2. the grades of scales must not form tritones. Those all is so consonant with Urmavis theory of mode: in his book Hajibayov wrote about the rules of the formation of the following 7 main Azerbaijan modes: Rast, Shur, Segah, Shushter, Chargah, Bayati-Shiraz, second sort Chargah, Saranj.
Hajibayov wrote: "Naturally, the names of 12 classical mughams, as well as the mughams themselves, were subjected to great perturbations: those that once were considered independent mugham turned into the section of those mughams in some peoples, and on the contrary, those that once were sections turned into independent mughams.
7 “Kitab al-Advar”, sheet 24
8 Zemfira Safarova. "Safiaddin Urmavi", Baku, 1995 and later in "Azerbaijan music scholarship (XIII-XX centuries)" by the same author, Baku, "Elm", 1998.
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