Mugam Radio

Mugam Radio
Tar, is one of the oldest musical instruments of Azerbaijan. Таr is hollowed out from a tree in the form reminding a guitar. It has the case in the form of two bowls from the mulberry tree, tightened by a membrane replacing to a deck from an animal bubble or the fish skin, a long neck and a head from a nut tree. On a signature stamp -22 basic modes (lads) and 2-3 additional cane, pasted at the case. The basic frets are fixed by the plug-in wooden pegs which are in a special fillet of a neck.

Ancient 4-6-stringed таr had untapped 19-stepped tone lines, including small (less a semitone) intervals; the sound was taken from horn plectrums. Modern Azerbaijan tаr-11-stringed (the number of strings has increased); bass unary strings are in the center, melodic-steam rooms, the basic and additional (the last are used only in kadansakh), are located along the edges. Pair strings have constant adjustment, unary-a variable (depending on a genre and a harmony of the performed play, including in mugams). The developer of tar is the Azerbaijan musician-designer Sadyghjan (Mirza Sadyg Asad oglu), living in a XIX-th century and received a nickname «the Father of tar». He reconstructed and has improved tar: To poorly sounding five-string tool has added six strings and quantity of frets on a signature stamp has finished to seventeen, having added tone of mugam Zabul, and to mugam Mirza Huseyn Segah-tone of mugam Mukhalif. To increase the resonance Sadyghjan had added choruses (resounding strings) in the top register and performing style “lal barmag” (style of "a mute finger») is entered.

The most widespread (one of 13) adjustment container: c1, c1; g, g, c1; c; g; g1; g1; c1, c1;. Chromatic tone lines of tar includes 2,5 octaves. The tool range Mugam Radio covers sounds from “do” a small octave to “sol” of the second octave, but at play it is possible to take also sounds «la» and «la be mol».

Musical parts for tar are written in mets-soprano key. Tar-exclusively masterly tool, is used as solo, also in ensembles. Folk tunes on tar, as a rule, represent a melody performed usually on two strings in a unison (sometimes on one; then the second becomes resounding) and leaning against incidentally included chords. The bottom register of tar-dense, sated, a velvety timbre, top-sonorous, silvery.

In the Azerbaijan music таr was applied, mainly, as the leading tool as a part of so-called mugam trio, including also khanende (singer), kamancha and gaval. It is necessary to notice that таr, both in structure of mugam trio, and in solo quality, continues to play an exclusive role in mugam art till now, traditional and popular in Azerbaijan.

New blossoming performance on tar begins in the XX-th century. So, for example, таr has taken a leading place in the first musical orchestra of national musical instruments created in 1931 at the initiative of Uzeyir Hajibeyov. The school of musical performance on the national tools, based by Uzeyir Hajibeyov, even more has expanded technical and art possibilities of tar.


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	Tar Tar, is one of the oldest musical instruments of Azerbaijan. Таr is hollowed out from a tree in the form reminding a guitar. It has the case in the form of two bowls from the mulberry tree, tightened by a membrane replacing to a deck from an animal bubble or the fish skin, a long neck and a head from a nut tree. On a signature stamp -22 basic modes (lads) and 2-3 additional cane, pasted at the case. The basic frets are fixed by the plug-in wooden pegs which are in a special fillet of a neck. Ancient 4-6-stringed таr had untapped 19-stepped tone lines, including small (less a semitone) intervals; the sound was taken from horn plectrums. Modern Azerbaijan tаr-11-stringed (the number of strings has increased); bass unary strings are in the center, melodic-steam rooms, the basic and additional (the last are used only in kadansakh), are located along the edges. Pair strings have constant adjustment, unary-a variable (depending on a genre and a harmony of the performed play, including in mugams). The developer of tar is the Azerbaijan musician-designer Sadyghjan (Mirza Sadyg Asad oglu), living in a XIX-th century and received a nickname «the Father of tar». He reconstructed and has improved tar: To poorly sounding five-string tool has added six strings and quantity of frets on a signature stamp has finished to seventeen, having added tone of mugam Zabul, and to mugam Mirza Huseyn Segah-tone of mugam Mukhalif. To increase the resonance Sadyghjan had added choruses (resounding strings) in the top register and performing style “lal barmag” (style of "a mute finger») is entered. The most widespread (one of 13) adjustment container: c1, c1; g, g, c1; c; g; g1; g1; c1, c1;. Chromatic tone lines of tar includes 2,5 octaves. The tool range covers sounds from “do” a small octave to “sol” of the second octave, but at play it is possible to take also sounds «la» and «la be mol». Musical parts for tar are written in mets-soprano key. Tar-exclusively masterly tool, is used as solo, also in ensembles. Folk tunes on tar, as a rule, represent a melody performed usually on two strings in a unison (sometimes on one; then the second becomes resounding) and leaning against incidentally included chords. The bottom register of tar-dense, sated, a velvety timbre, top-sonorous, silvery. In the Azerbaijan music таr was applied, mainly, as the leading tool as a part of so-called mugam trio, including also khanende (singer), kamancha and gaval. It is necessary to notice that таr, both in structure of mugam trio, and in solo quality, continues to play an exclusive role in mugam art till now, traditional and popular in Azerbaijan. New blossoming performance on tar begins in the XX-th century. So, for example, таr has taken a leading place in the first musical orchestra of national musical instruments created in 1931 at the initiative of Uzeyir Hajibeyov. The school of musical performance on the national tools, based by Uzeyir Hajibeyov, even more has expanded technical and art possibilities of tar.