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    45 views29 pages

    Instructions Notes PDF

    Uploaded by

    Oscar Alaniz

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
    Flag for inappropriate content
    of 29
    ANFANEG UTLSUSAHALsb LSNHUUY TABNILA ANTIMKATYPbI AYAYKA TABLE OF FINGERING OF DUDUK SS es we elele “| abAbare |e BI _ fa © Were rust O cuwe cus e 4+ URU AUQENILVERE LusuNBL UEAUAUD cHINBErA OTBEPCTHE OTKPHITO KMIANAH OTKPLIT STV 3BYkM HCrONHSITh CKATBIMA YEAMA THE APERTURE |S OPEN THE LEVERS OPEN ‘THESE SOUNDS MUST BE PERFORMED WiTH THe PRESSED LIPS @ user oust @ ommeour HE ms OTBEPCTHE 3AKPEITO KIIATIAH 3AKPLIT THE APERTURE IS CLOSED THE LEVERIS CLOSED © use uruueus t CCrAuLUNUENh su4 andUD BxtNG BNkes BL SULPU UMLhWUShEnUNY GTREPCTHE NONY OTKPLITO UMP, BRIGTABAIEHHEIE NON KPYKOUKAMMA, OBOJHAYAIOT ANITIMKATYPY THE APERTURE/IS SEMI-OPEN THE FIGURES PUT UNDER THE CIRCLES INDICATE FINGERING 1 SHORT INFORMATION ABOUT DUDUK. Duduk is a wide-spread instrument among the peoples of Trans-Caucasus, Dagestan and Middle Asia. ‘The main parts of Duduk are the followings: a body, a reed, a regulator anda cap. Traditional duduks have nine fingerholes, eight of which are situated on the front of the cylinder, and one on the opposite-side. The body of duduk (length is 350-450 mm) is mainly made of an apricot tree. The reed is put into the round hole of the body, the upper top of which is flattened forming a double reed of flat form. The regulator, or paida, is put on the middle of the reed. The movement of the regulator (parda) changes the pitch of the instrument. The timbre of duduk is soft, drawling. It is more often used in ducts as accompanying with the melodious sounds (dam) Tae improved duduk has 14 fingerholes along the full length of the instrument, 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 the author and by the musical 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. Not only did the author and Mr. Avanesov improve the traditional duduk, but 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 instruments 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 recommended to begin playing duduk ut the age of 12-14 (though the age is not strictly fixed. It may vary to one ar the other side, depending on the general physical development of the child). While selecting the students it is very important to pay attention to their physical condition, The student should have a good ear for music, the feeling of rhythm and musical memory. The success of the student much depends also on the condition of the instrument used by the student, The instructor, who works with the beginners, must keep an eye on the technival condition of their instruments. The education of the student should follow a certain program. The student is supposed to master technical performance to develop musical thinking and artistic taste simultaneously. Therefore the instructor must watch all the elements of technical performance and expressiveness of the student while, working on an exercise or any picee of music. 23 Further development of the student greatly depends on the correct organization of the beginning (first) level of study. The instructor must make out in details all the instructions given in this book and concerning the questions of aspiration, embouchure, position of body, head, hands, fingers and then to achieve steadily their mastering by the students. One of the most important elements of successful work of the students is their ability to work alone, which obliges the instructor to help the students organize both home and class-work, just from the beginning of the studies. POSITION WHILE PLAYING DUDUK While playing duduk, the student should keep a natural, free and easy posture. It is possible 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 for the breathing to be free. The head must be kept straight, the back shouldn't bend forward while playing. One must not cross the legs while playing sitting as it disturbs the work of the abdominal press and diaphragm and hinders breathing. While playing standing the right foot is put forward a little BREATHING It is necessary to develop breathing skills from the very beginning. The in-breath should be quick and deep, the out-breath slow and equal. There are three types of breathing. a) chest or rib b) abdominal or diaphragmal ©) mixed or chest abdominal The student shouild practice the mixed type of breathing. This wpe profitably differs from the others as it allows one to breathe in more air and therefore gives the possibility 10 achiove better sound and free play. During the deep in-breath the chest widens in all directions and the diaphragm goes down. On calm out-breuth the ribs of the chest and the diaphragm smoothly retutn into their original position. The depth of the breath should correspond to the value of the musical phrase. Frequent change in breath rhythm is not recommended as it tires breathing muscles. HOW TO CONDUCT THE FIRST LESSONS Before starting the primary exercises, it is necessary to get the instrument ready for playing, i.e: to apply some water drops inside the reed and then empty it, to close the cap and 15-20 min. later to begin playing, 24 Before playing the student must be shown where to place the reed on the lips; how to produce a sound and how to breathe in and out while playing. For this it is necessary to hold the reed with the lips, to swell the cheeks a little so that the inner sides of the lips should separate from the gums and teeth forming a space. Achieving a good sound you should begin the primary exercises. It must be mentioned that the duduk has 2 fingerings. The first fingering is simpler (without using the left small finger). It is used at the beginners level during the whole first form, The second fingering is more complicated It is put into usage from the second form because of the presence of multiciphered scales and pieces of music demanding the work of alll fingers. To develop artistic taste and maintain interest in studies, a frequent change of musical repertoire is desirable ideally. Within the first year of study the student should attain the methods of playing and develop primary playing skills. MUSIC NOTATION Musical sounds have 7 basic names: do (C), re (D), mi (E), fa (F), sol (G), la (A) and si (B). These sounds being repeated periodically form the basic steps of the musical gamut. There are special signs for writing the music down. They are called notes. Notes, which are ellipse shaped, are written down on a five-line note system, which is called a stave. Notes are situated on and between the lines. ° =o o- © o ° S The lines are counted from down upwards. Notes, which don’t find room on the stave, are written on extra lines, under and above it. ‘The sign, which defines the name and (accurate) value of the sounds, is called a clef. For the duduk it is the treble clef @ . It occurs at the beginning of the Stave and wraps the second line with its ringlet. 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 ete. The basic gamut with an added first note of the following octave is called a diatonic gamut or ection, which includes the basic seven steps of the gamut, is called an octave. This scale, Sound range of the duduk includes the following octaves: The small Octave The first Octave The second Octave RHYTHMIC VALUE The unit of counting is a quarter note. It is played as one beat. A sound twice as long as 4 quarter note is marked as a half-note and is played for two beats. A sound twice as long as a half note is a whole note (0) and is kept 4 times. An eighth note is half the length of a quarter note, and a sixteenth note is half the length of an eighth nate ete. 4 J J 1 dt Jee Tr D0 FER AA 0) SSS SSS SSS Intermissions. A pause in music is called an intermission. Intermissions are measured by the same values as the notes and are written down in the following way: Bars. The meter of the bar. For conveniem reading, musical writing down is divided into equal parts called bars. They are separated by bar lines. At the beginning of a piece of music after the treble clef the meter is put. It is denoted by 2 numbers, one above the other. The upper one shows the number of beat per bar; the lower one shows the value of each of these beats. Some types of meter are: 4/4 or C, 3/4, 2/4, 3/8, 6/8 . SIGNS OF ALTERATION To denote a change in sound by a semitone up (higher) or down (lower) there exist signs of alteration, The signs of alteration within the bars are called accidentals, They keep their effect only within the bar in which they occur. Every sharp or flat put at the beginning of & piece of music is called the key signature and is functioning during the whole piece. a) Sharp (#), put in front of a note, makes it a semitone higher: b) Flat (b), put in front of a note, makes it a semitone lower: c) Natural negates the effect of a sharp or flat, 4) Sometimes the sounds become higher or lower for a whole tone (two Semitones) Such double change of the tone is marked by a double sharp, if the sound becomes higher and by a double flat if it becomes lower. a) b) °) & by UNDUE e PUGP OU NEPBbIM PASIEL SECTION 1 VUTVLUGUDL LUPENEOSNELUBP 2/4. 4/4 pumpin: Uspnng bs yeu anlngmpyenGGtn: USEC hGyyneGp hGstgGbymig wmuxg YongGb, wpm L fen 2mG, hal whenewEybyp yutmupt hunjwowp Lunn wGonkwG HAUAJIDHDIE YITPARHENAA ELEMENTARY EXERCISES Meter 2/4 and 4/4, the value - a whole and a half, Before windi Paamep 2/4 0 4/4; siaurecpnocrn = i nosonmntar nowt, Meper sound make ReMOTD SnyKa CAAT Gorcrp eat a quick and deep in-breath. ‘The out-breath ox xouTaKeH GhiTH panoarepmoast should be even and gradual. 1 nocrenem ists. 29 CUPEANCSNELUGP LUMP? LASHER Qwwnnpy Gun (J ); Vay wiipngg Gnwwjh dy yud ‘gnu pwunnpy Gnumubitp: Use punnpy Growl fiywiqhy buyyh voy puujuneiny: YAPAAHEHMA B UETBEPTHBIX HOTAX EXERCISES IN QUARTER NOTES Yorweprian nora(, ). B uecoit wore ec A quarter note (+). There are 4 4 actweptanie note. Kaxtyio ueruopyio quarters in a whole note. Each quarter ory Mopar» Ha ont exer. note should be played at one time, Andante* Andante Andante * stuty 217; Ea. 220, See p.220, 30 Andante 14 Moderato Andante <3 VUE Ol, HAP HOY, NAR Auyluulywd donmpqraljud bq, Apne rast cent ria folk song Andante BL Moderato £3 PU LUO UP BUPC (impo) Off, AM HASAHH AP (orpunox) HOY, IM NAZANI YAR (extract) Sut. dnp. tng Apt. ap. treciet Arm. folk song Moderato 20 ES30hM. orion, ETUDE we Andante Souuphqun - unGnep yd dpe: Peupina - stax ronrops Reprize « repetition sign. ** Uyd tunjmaGbap, apg hun}dun Gye zt, qmjud HGF UpGuujwGh (uniyd Shadwaplyp honpswlh) ganas: yeatow {aueropont xasmore HoCotist)- ritlen by G.Minasyan (author of this text-book). LUPTANO3NFLLGE LEGUSN GUSUPUWUE Liquinn dguitutond t nesmGGtoh Yuupabgyud, whine yurnoupned: Lhqw6 Ynpaighé wnby t (2S), np gayg € inunhe tequnnn yusrnumey: VIIPAVRHEHMA B UITPMXE JIETATO EXERCISES IN LEGATO Alerarry osnamer eusisi0€ Henoanenne anysoD. Legato indicates the coherent Jura - sro nyro06par perfomance of the sounds, UTOpAA MOKASHAEL IMPY acy Liga is an arched line (SS) which shows playing in Legato. Lento Pofop Ps >P paofoP PP plop P= for p= f>P Lento —— ~ PofSP pafSP PfSP Pf P PP pof>p — Pf P Pafp PPP paf=P pope Epes Pf>P * Sbuty 217 x, 6.220. Sco p.220. + swuty 2: Ou. 0.215. Soe p2us. 33 Lento 26 “ fappeaf f=P—=S farmf fem a =f forms SPF fo ps Andante 3 y y ¥ ¥ 27 = = Moderato a SE? ae, © Y Uguidia gmyg t mu 2Gywampyu dphapamdp: Suis oaunsaer exteny orca ‘Sign means change of breath. 34 UBU LASU USA (4 Apt Gan wg yondho ambe young epbaapragGnes t njuy Gnnwsyh nlonnpyuGy bp Yor su: NOAOBHHHAA HOTA C TOUKON é HALF NOTE WITH A DOT dy ‘Towa pate Hotoit yacmmner ‘The dot put next to the note prolongs the RUTeTBIOETE HTM Ha Ge HooBIy. vlue of the note with the half of fts meaning. Snjast Writer ‘Sunmuipfaas t Heunstiaeres Played Moderato 29 Moderato 30 Tempo di valse LA UUG AP UU, Guniiws Yogdned E wunh hymOGeph hugnp_ulwaG yumenfapmp)mdp pun puipspmpywe wnnGhlyeyhg ndhljw: GaudiwG yuupny t ppGty orpGpwg b YwppGpwg: Gurtbwdbon Ene BG swdne & pnp TAMMA {0 MAZKOP THE SCALE OF C DUR Tsoi massacre noeieuouareamuer’ yoykon ‘The scale is a sequenet of sound by piteh from ho naicore oF Tome Xo TON, MoxCE Gur toni lo tonic, may be ascending or discending. nocxouunied Mu uncsomuneli. Faniut Gutuor The scales may also major and minor. aAROpUuiNLN YL sUALIOpHDANL WR RADDA RD RRR RTA uenbon APE IO ARPECGIO pauevo3nny ‘TPEaB MME ‘IAD Andantino 33, 2 % spdtgonmt yngdand yurd Ly Sows, apm neon Gninayg Yel ut Glinpe Gatun & NG us yung) rasan Enkupagm add wobaduanpompjus pine, yum gucnpyathe Lcozulhs para vasunsener ask >) sa CL Monopa en ai uy ey) sn mmr cet AOHMANE.w aRMAENMOR OF xap-TEpA MOHAN Feagln Zor Ay is msg of Tree extension of the value of the ote. Fh ‘he note a means thatthe noe (oe pause) must be Held Tite Tonger depending an the eharaster af pe oF the wish of the periormer: 36 Moderato Esso STION ETUDE Moderato ' v v rEs3 nh STION, ETUDE Moderato ¥ ¥ 36 = SSS SS SS SS SS SS = + t ¥ ¥, 2 ESSN orion ETUDE Andantino y 38 CLUPENNESNAPGCLGE NNO EPAPIDELLUEL OL MpbpappulwG Grow (2): Vy wipang Gnuwyh by yo oop mpbpapqutlywh Gnu: wiih ily propria, Gefun by bp hun nepbpapyulpnGip: YIHPAAKHEHMA B BOCbMbIX HOTAX EXERCISES IN EIGHTH NOTES Bocosas nora ()). Onna cas ora Bight note ()). One whole tote includes couepxiitr nocom nocunx. Ha onium yxap eight eight-notes. Two equal cight-notes Lypalor swe passe voCbabue are played al one beat. Moderato Moderato ES31M- STON ETUDE Allegro moderato 39 Larey NEPENEARKA QUAIL Aahpws P. Meuse Andantino R.Melikian i GOP LEVUSPL (hunntwa) BECEHHAA (orpsmor) SPRINGTIME (extract) Fo.h{iunpaynd X.Abericat ‘i KhsAvetisian Allegro con spirito 40 PUMP LASWE UESAM Swonpn Gawd youn ¢) bp winrmpyuiip hunfuuup t php mptpapywlwop J-- (7) YETBEPTHAA HOTA C TOUKOL QUARTER NOTE WITH A DOT Yerueprian Hora ¢ vousolt (J.) passa uo Quarter note with a dot (J-) is equal to esurrecistocrit open wocoatim d=

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