About what the tuyduk of Serdar Haydarov sings09.09.2020 | 11:26 |
Everyone at least once in his life heard a legend about the origin of the tuyduk which is connected with the name of Alexander the Great. By the legend the flute from reed reproduced the same phrase - secret, kept by the great commander for a lot of years. But about what actually the tuyduk sings? We have decided to find out it from one of the most famous musicians of Turkmenistan who bravely combines in his performance national traditions and modern arrangements, - Serdar Haydarov.
The multi-instrumentalist, composer and maker of his own musical instruments Serdar Haydarov knows about the tuyduk practically all. In his childhood he joined the club of the dutar players and being a young man he heard unusual sounding of the Turkmen flute - gargy-tuyduk and without fail decided to master techniques of it.
- It is possible to tell that exactly the Turkmen tuyduk is capable to transfer all beauty of desert, to draw in imagination of caravans going on sand and to transfer a rustle of wind among dunes, - tells Serdar Haydarov. - But not many know that to learn produce music by the national instrument not so simply. Unlike classical wind instruments possession of special techniques of breath, here, is required, to master it many try, but from the first lesson it is difficult enough to make it.
However Serdar could seize exact intonation of the Turkmen flute practically at once. Being trained in musical school in the class of bassoon, Serdar did not quit his hobby to play the gargy-tuyduk. And soon the national musical instrument turned into his business. The musician began to make independently for himself the tuyduk and for today in the collection of Serdar there are more than 30 "author's" flutes.
- Gargy-tuyduk is the invaluable instrument and it is not so simple to find it in a shop, - the musician makes comments. - All of them are made to order. I have learnt to make the tuyduk in youthful years. For the Turkmen flute the special reed - a gargy-reed is necessary. I go to places where the variety of this reed grows, and I select the copies necessary to me. For a musical instrument the gargy-reed of two or a three-year old will be suitable. The cut off stems of reed are maintained at room temperature, and only after I start making it.
The length gargy-tuyduk depends on tonality, reaches to 90 centimetres. For safety of red and brighter sound production the copper mouthpiece is inserted into the basic case of the future flute. Gargy-tuyduk is clamped between teeth so that only the part of air blown by the musician into the instrument passes through key apertures. Thus, the hoarse, hissing whistle reminding a sound of wind in reed thickets turns out.
But the collection of musical instruments of Serdar Haydarov is not limited only with the gargy-tuyduk, with the great pleasure he shows the dilli-tuyduk also made by him. The flute differs from its similar wind peers with dimensions and brightness of sound. When you hear a melody of the dilli-tuyduk, apparently, it seems that nature sings.
- Actually, what the musician played, in any tune his own soul sings. Surprisingly, but the tuyduk, the instrument minor is faster and lyrical melodies are organically conformable with it. The dilli-tuyduk has a little limited possibility in comparison with the gargy-tuyduk, but both instruments granted by nature, are fine. I try to intertwine with national tunes and how much it is successful, first of all, in modern rhythms, listeners should judge.
Serdar Haydarov co-operates with composer Rovshan Nepesov, two talented musicians repeatedly collaborated in which the classical grand piano had something in common with unusual beauty of sounds of the gargy-tuyduk. And it only confirms the fact that classical music is closely connected with the national.
Popularising national musical instruments among the youth, Serdar Haydarov rejoices that he managed to evoke interest in many people to learn to play the gargy-tuyduk. Young talents would even attend lessons of the musician once. Today the composer does not have not enough free time to teach it and it is necessary to get to his musical laboratory, it becomes clear that the spirit of continuous creativity here reigns.
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