SOUND SYSTEM OF ASHYG MUSIC IN THE CONTEXT OF U. HAJYBAYLI’S MODE THEORY

Ashyg music has a distinct sound system. Upon research, this problem was investigated from a different angle, and the author concluded that the structure of ashyg melodies is connected with diatonic scale of frets and traditional structure (kyok) of saz. This has further been compared with U. Hajibayli’s scientific concepts, and, therefore, new conclusions have been made, including the sound system of ashyg music according to the context of U. Hajybayli’s mode theory. The identification of mode system of ashyg music greatly aids the studies of the music of composers of ancient times, as well as the scientific analysis of professional composers on this matter. Moreover, the professional composers can implement such ashyg principles, as rich and modern accord system, understanding of national tonic, availability of polymode elements, melodic and rhythmic traits, mode theory features, and, thus, greatly benefit from them. Main fret structure (“bash parda kyoku”) corresponds to the mode of “Segah”, fret structure “shah” (“Shah parda kyoku”) – “Shur”, middle fret structure (“orta parda kyoku”) – “Rast”. The author for the first time presents harmonic and melodic scales of three ashyg frets (k？k