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G.V.MINASYAN(MINASOV)

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MANUAL FOR DUDUK

(2nd,revisedand expandededition)

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.KOMITAS" YEREVAN
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0036(01)-2004

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KTO NOMOT MHE B I{3]IAHI,IH K}II{TII

flocsquaro MoeMy BHyIty f eoprt'rro

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naypear foc. npeuttlt, npo$eccop P.Anntymtt
Yqe6noe roco6ue a-[.f, yqaxluxc-f, My3brKa-IlbHbIX ulKo,'l l{ yqutl'tu{' cryAeHToB
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)teMqyx}{Hr,r BocToultoii xyllryplt - ]\{yf aMbl.

I am deeply grateful to everybody who helped me

in publishing the book
I dedicatethis book to my grandsonGeorgy
Editor The HonoredArtist of RA,
tlre laureateof StatePrize,professorR.Altunian

The text-book for the studcnts of musical schools atld collcges, thc strLdentsof

and also the co posiLionsof Rttssian atld Westcrtl Europeatl authors.

It is thc tl i tirr.rctvhcn thc pearls of Eastcrn cullulc - mughams, arc rcllrcsentedin
thc givcn text-book.

ISMN M 801600-15-8
rsBN 99930-979-5-0

Lutr/ [.MnuacrtH / G.Minasyan / 2004

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 PREFACE

The secondedition of the "school-book of the duduk', by G.Minasyanis remade and

enrichedand lets the performer-beginner
as well as the performerhaving someskills of playing
learn deeply this wonderful folk instrument,its features,rich performingpossibilities,help to
overcometechnicaldifficulties.The deeplythoughtover idea of the book which entersthe student
into the world of music, leads him from simple to the complicated,from exercisesto the
performanceof highly artistic pattemsof folk and authenticmusic, makesit indispensableand
valuableguideto the achievement
of the professionalism.
The music material is rich and selectedwith a good taste and makesthe basis of the
repertoireof duduk. There are the pattems of country and city folk-lore usedhere such as folk
instrumentalmelodies,songsand dances,pattemsof gussanmusic,medievalsecularand
spirinral
monody. You can also meet the pieces of Armenian as well as westem-European
professional
music as the authorbelievesthat it enlargesmusician'shorizons,raiseshis culturallevel, helps
to
developa senseofstyle andthe skill ofusing all the rich soundpaletteof this wonderfulinstrument.
The particularvalueto this book, to our mind, brings the insertionof the eastemmughams
in the note-writingof G.Minasyanhimself, who is one of the acknowledged expertsof the art of
mughamatin the Transcaucasus today,into the secondeditionof thebook.
He was born in Baku in 1933.His first teacherwas his uncle,his father'sbrother,Agalar
Minasov, a well-known duduk player of that time. The formation of the individuality
of the
musicianwasgoing on underthe influenceof the performingart of suchgreatmasters
of duduk as
Karo CharchoglyanandLevonMadoyan.
Spreadin the East, mughamatexisted in Armenia yet from Middle Ages simultaneously
with the Armeniancity secularinstrumentalart. The penetrationof the mughamat
to Armenia and
its rvide spreadingare mainly conditionedby the existenceof the certain
similarity and common
featureslying on the basis of Armenian mode systemsand the models
of mughamatand it is
obviouslyconnected
with theregionalcloseness.
During the processof its development
mughamat
in Annenia having separatedfrom common Eastem culture gained
certain national feahlres
conditionedby Amenian nationalmusicalthinking.It was reflected,in particular, in otherdegree
of concentration
ofthe musicalideain the time and this fact in its tum conditionedthepeculiarities
of the fonnation. Having insertedinto all the spheresof the musical culture
mughamattook a
considerable
placeboth in the perfonningaft and in the field of theoryandalsoin the professional
colnposrngart. It is enoughto rememberthe adaptationsof mughamsof
N.Tigranian,..yerevanian
etudes"by A.Spendiarian,
etc.
Developingin the conditionsof city culture as a professionalart of oral tradition
mughamat
advancedsuchremarkableArmenianperformer-virtuososwhosenames
were well-knownall over
the world' Among themaresuchfamousmusiciansof the XIX-th cenfury
astamburplayersAlexan
t0
The
and Harr-rtin,khamanchaplayer Achazurk sepukh, tar player Agar-nalMelik-Agamalian.
greatestmughamatplayersof the XIX-th century were Sashaoganezashvili(Alexandel oganian),
others.
Bala Melikov (Melikian),Levon Karakhan,SogornonSeytanian,Levon Madoyanand
is to
The purpose of the including of the pattems of nughams into the given edition
mughamand
introducethe studentsto this art, to bring r.rpthem to be able to feel deeplythe style of
technicalskills
to interpretit correctly,to overcomethe difficulties of the fon-nation,to developthe
exclude the
and to perfect the perfonning culture. At the same timc teaching the notes doesn't
to keep the
developmentof the student'sabilities and skills to ilnprovise.All this in the end serves
stable Armenianperfomringtraditions.
at all
Suchis the customthat Annenia being a country of the developedinstrlmentalcr.rlture
valuablecontribution
tinresalso advancedwonderfulmasterswho rnadethe instrulnentsand made a
famons
to irnprovementof their construction.In XX-th century the nat.neof vatdan Buni became
r'viththe different
a'd hi! interestingwork at the creationof the er]tile farnilies of the inshuments
rvasreflectednot
ranges(for.example,a quartetof tars-piccolo,traditional,baritoneand contrabass)
idea but also
only by a well-spreadand enthusiasticresponsefrorn the scientificmusical-theoretical
- in Tadjikistan, Kazakhstan,Dagestanand
practical use in the countries of the Soviet East
for being a creator of
Uzbekistan wher-ehis work was continued by Ashot Petrosian. Buni is famous
bas-duduk which is called "buniphone".
the fourth
Remarkable improvement was made by Sasha oganezashvili r.vho had added
the instru[rent'We
string to khamanchaby weansof which he enlargedthe technicalpossibilitiesof
rlore side of his
can rightfully add Georgy Minasyan to these names and thus we shall open one
teacher,as well as a
versatileactivities:besidesbeing a perfectperformer,he is also an experienced
Avanesovhe rnade
tirelessinvestigatorof the instrument,an inventor.Togetherrvith masterSergey
made it possibleto
the reconstructionof duduk applying it with the system of metal levers.That
possibilities'More
enlarge essentiallythe range of the instnrment,thus enlarging its perfonning
fact allor'vsto expand the
over, the whole quartet of duduks is created on the same principle. This
gussanand folk
repertoireand to perform the adaptationsof the patterns of Annenian tnedieval,
sic St-tch
g'ork of the rvorld professionalt.t.tu
tlusic in polyphonic sounding as well as tlre best
canbe found in the Ensemblesectionofthe given book'
aclaptations
..School-bookofdudrrk,'isar.esultofmanyycats,pcrforrningandteachingcxperienceo
rnind doesnot stop
and inqr'risitive
the autltor in whose"artistic laboratory"the beatingof searcliing
cven for a mintlte.

ALINA PAHLEVANYAN
Doctor of Arts, Profcssorof Yerevan
KomitasSlate ConscrvatorY
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B :ryxonofi o6:seu yconepuleHcrBoBaHHoro AyAyKa BXoatr cneaylourue oKTaBbI:

itn.rya, oKTalla neprlat oKTalH . tJ-topa' oK'lalJa

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aoflei B TaKTe. Hr.rx(H.r.q
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3HAKKI AJIbTEPAUI4I{

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c:ryvaiiHlll',fl.r. orru coxpanrrcr cnoe 4efrcraHe rojrbKo B TeqeHl,reroro raKTa, B KOTOpOM
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I

22
SHORT INFORMATION ABOUT DUDUK

Dudukisawide-spreadinstrunentamoigthepeoplesofTrans-Caucasus,Dzrgestan
and Middle Asia.
and a cap
The main parts of Duduk aIe the followings:a body, a reed'a regttlator
on the flont of
Traditional duduks have nine fingerholes,eight of which are situated
the cylinder,and one on the opposite-side.
tree' The leed
The body of duduk (lengthis 350-450mm) is mainly tr1adeof an apricot
folmit.tga double
is put into the round hole of the bo<iy,the upper top of which is flattened
The tTrover.nent of
reedof flat for[r. The regulator,or pafda, is put on the mid<lleof the reed.
e of dudr'rk is soft'
the regulator (parda) changesthe pitch of the insttunent. The tirnbr
(datn)'
It is mor.eoften usedin duetsas acconpanyingwith the melodioussounds
drawlir-rg.
eightof
The improvedduduk has 14 fingerholesalongthe full lengthofthe instrurnent,
-
which aresituatedon the front of the cylinder,and 6- on the opposite side.
by the tnttsical
The rangeof the traditional duduk hasbeenextendedby tl'reauthor ar-rd
the body. As a result,the
masterSergeyAvanesovby the addition of leversand lengtheningof
the small octave,and re, re
following noteshavebeenadded:mi, fa, fa sharp,sol, sol sharpof
sharp and mi of the secondoctave.
The addition of the leversenablesthe playerto play all of the scales'
NotonlydidtheauthorandMr.Avanesovimprovethetraditionaldtrduk,but
duduks: Using these
together createdseveralnew instruments:bass, tenor and baritone
range.Theselnstrumentscan
instrumentsit is possibleto perform pieceswithin a threeoctave
and orchestras'
be usedin quartets,as well as folk ensembles

METHODICAL INSTRUCTIONS

the future of the pupil

The studieswith a beginnerare a very responsibleperiod, since
recornmended to beginplaying
as a playermusiciandependson the correctprimary base.It is
dudukattheageofl2-14(thorrghtheageisnotstrictlyfixed.Itmayvarytooneortheother
of the child)'
side,dependingon the generalphysicaldeveloprnent
Whileselectingthestudentsitisveryimpoltanttopayattentiontotheifphysical
the feelingof lhythm and tl-tusical
condition.The studentshould have a good ear for music,
memory.Thesuccessofthestuderrtmuchdependsalsoontheconditionoftlreinstrument
beginners,mnst keep an eyeon the
usedby the student.The instmctor, who works with the
of the studentshould follow a ceftaln
technicalconditionof their instruments.The educatior-r
proglan.Thestudentissupposedtomastertechnicalper|ormancetodeveloptrrttsic
Thereforethe instructorntust watch all the elements
thinking and artistictastesimultaneously.
of technicalperformanceand expressiveuess of the studentwhile, working on an exerclseor
any pieceof nusic.
lt
1
it
2:l
Further development of the stuoent greatly dependson 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
concemingthe questionsof aspiration,embouchure,position of body, head, hands, fingers
and then to achievesteadily their masteringby the students.one of the most important
elementsof successfulwork of the studentsis their ability to work alone, which obliges the
instructor to help the students organizeboth home and class-work,just from the beginning of
the studies.

POSITION WHILE PLAYING DUDUK

while playing duduk, the studentshould keep a natural, free and easyposture.It is
possibleto study and play both sitting and standing.The body shouldbe straightand relaxed.
The instrument should be held at 40-500 to the body. The elbowsshould 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
abdominalpressand diaphragm and hinders breathing. While playing standing the right foot
is put forward a little.

BREATHING

It is necessaryto 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) chestor rib
b) abdominalor diaphragmal
c) mixed or chest abdominal
The studentshould practicerhe mixed type of breathing.This type profitably differs
from the others as it allows one to breathe in more air and therefore gives the possibility to
achievebettersound and free play. During the deepin-breaththe chestwidensin all directions
and the diaphragm goes down. on calm out-breath the ribs of the chest and thp diaphragm
smoothlyreturn into their original position.The depthofthe breathshouldcorrespondto the
valueofthe musicalphrase.Frequentchangein breathrhythm is not recommendedas it tires
breathinemuscles.

HOW TO CONDUCT THE FIRST LESSONS

Before starting the primary exercises,it is necessaryto get the instrument ready for
playing,i.e.:to apply somewater drops insidethe reedand then empty it, to closethe cap and
l5-20rnin.later to beginplaying.
1 -

Beforeplayingthestudentmustbeshownwheretoplacethereedonthelips;howto
produceasoundarrdhowtobreatheinandoutlvhileplaying.Forthisitisnecessarytohold
the inner sidesof the lips shoulci
the reed with the lips, to swell the cheeksa little so that
separatefr-omthe gumsand teethforming a space'
Achievingagoodsoundyoushouldbegintheprinraryexelcises.Itmustber-lrentione
that the duduk has2 fingerings.
The first fingeringis simpler(without using the lelt small finger)'
Tlre secondfingeringis
It is rrsedat the beginner,slevel during the whole first forrn.
more complicated.
the presenceof n-rulticiPhered
It is put into usagefrom the secondform becauseof
Frngers'
scalesand piecesof rnirsicdemandingthe work of all
a frequentchangeof mttsicai
To developartistictasteand maintain interestin studies'
year of study the student should attain the
repertoire is desirableideally. Within the fir'st
methodsof playingand developprimary playingskills'

MUSIC NOTATION

(D)' mi (E)' fa (F)' so1(G)' la (A) and si

Musical soundshave7 basicnarnes:do (C)' re
(B).Thesesout.rdsbetngrepeatedperiodicallyfor.rnthebasicstepsofthemrrsicalgamut.The
are callednotes'
are specialsignsfor writing the musicdown' They
a fiveline note system,which is
Notes, which are ellipseshaped,are written down on
lines'
calleda stave.Notesaresituatedon and betweenthe

Thelrrresarecountedfromdownupwards'Notes,whichdon'tfindroomontheStave
are written on extralines,underand abovett'
Thesign,whichde|tnesthenameand(accurate)valueofthesounds,iscalledaclef.
at the beginningof the stave and wraps the
For the duduk it is the trebleclef ( . It occurs
this line so this clef is sometimescalledG clef'
secondline with its finglet.sol (G) is written on
etc'
La (A) is written betweenthe 2nd and 3d lines
Thesection,whichrncludesthebasicsevenstepso|thegarnut,iscalledanoctave.
basicgarnutwithanaddedfirstnoteofthefollowingoctaveiScalledadiatonicgamuto
following octaves:
scale.Soundrangeof the duduk includesthe

TIte Jirst Octave Tlrc second Octuve

The small OclsYe

-.. 3
sol lil
la
 25
RHYTHMIC VALUE

The unit ofcounting is a quarternote. It is playedas one beat.A soundtwiceaslong as

a quarter note is malked as a half-noteand is playedfor two beats.A soundtwiceas long as a
half note is a wholenote (o) and is kept 4 times.An eighthnote is half the lengthof a quarter
note,and a sixteenthnote is half the lengthof an eighthnote etc.
o
- l
| ..n'

' J
J ) )
, , . . \
at r t ' t a , a a a i - a" i a a J 2
':. i
: - \ , i i '
n n r.t *ffi a a a -ai a a a - a a a /
. I ,
, , ii l 1 l' r ,i r r' rl ,r : I li i I tl ,i i i ji il ;l jr :
: l . t i
: : :
.. t. .. .. a a a. t t I i-7-7-Z-7-7-Za

Intermissions.
A pausein musicis calledan intermission.Intermissions
aremeasuredby
the samevaluesas the notesand arewritten down in the following way:

Bars. The meterof the bar. For convenientreading,musicalwriting down is divided

intc' equal parts calledbars. They are separatedby bar lines. At the beginningof a pieceof
lrrttsicafter the trebleclef the meter is put. It is denotedby 2 numbers,one abovethe other.
fhe upper one showsthe number of beat per bar; the lower one showsthe value of eachof
rhesebeats.Sorretypesof meterare 414or C,314,214,318,618 ...

SIGNS OF ALTERATION

To denotea changein sound by a semitoneup (higher) or down (lower) there exist

signsof alteraliot-t. The signsof alterationwithin the bars are calledaccidentals. They keep
their effectonly within the bar in which they occur. Every sharp or flat put at the beginningof
a pieceof musicis calledthe key signatureand is functioningduring the wholepiece.
a) Shatp(#), put in front of a note,makesit a sernitonehigher:
b) trlat (b), put in front of a note,rnakesit a semitonelower:
c) Natural negatesthe effectof a sharpor flat.
d) Sometitnesthe soundsbecomehigher or lower for a whole tone (two Sernitones).
Such doublechangeof the tone is marked by a doublesharp,if the soundbecomeshigherand
by a doubleflat if it becomeslower.
26
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{ L-TLI1'I,

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(bqlr0ur\p l.rnLl
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:

OT ABTOPA

pcrio\lcll/faull I I
!,r.r 6olee pauuoHajrbFloro HcnoJIh3ouallllJI IIoco6ltq. aBToporl npr r.1:rfaroTcg
K Ka)fiAoMy pa3Aeny.
YnpaxHeHur, 3Tlo,qbr It ue6olsuttte npoll3BeaeHuq, aaHHble r I pa:,le;re, cnoco6crBYlor
lty3blKaHTOB pOBtloMy l{CnOIIleHlllO II rpaIlOTI{Oii rlllTKe HOT.
O6yqeHur9 Haqtlllarcrt1yx
B npoueccepa6orbt Haa I pa:lge:rolr,lr
Bo II pa:ae,re3aKpenrqrorcqyMerlrq, npr'ro6pereHHbre
npHBUBaIOTcc HaBbIKH fpaMOTHOTO IlcnOxllellltq rlapOAHblX, fycaHCKllX lleceH, TaLlUeDalJbl{l,lX
ue.nogufi , .uyxoBHoii My3bIKr'I.
R I I I n r e . r e n e n n c n . T x B J r e H b la s c : r y 5 n t t . , n , r r r r c n o , r r t e r t r r q6 o , ' I e c c , ] l o ; + i l l L I Xn p o l l s B e - ] e l l t l i i .
(c\1. c
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r6-17).
lv pa:ge,r BKJrroqaeT N.lyraNtbt, oco6eHHocTb KoTopbtx - Bocnpotr3BeleH lle Ha cnyx llo
onpeaeneHHLlM KaHOHaM,
Aerop Hanucan MyraMbr B ToHaJlbrtocrll. yao6lloil Anc aynyKa.
llpr.r o6yuennu yqatur.txcr npaBrr,,rr,HoNlyucro,[lreHrrK) r{yra\roB Heo6xoJ.llrlo o6paxlarb
BHuMaHLIeHa co6nloAeHHe qerKoii nocneao Bzlrerbllocrlt rtacreil
PerolteHlyerc.r uc[lo,:lL'3oBarb \'1erII3N1}'locJle
Xe,rare,tltto pa36uparb MyraM 6e3 N{ejrr.r3},roB.
.{ocKoHaJrbHofo II3yqeHHt Myf aMa.
Anrop uageerc.fi, r{To azlHHbre peKorvreHAaur'u{ no}roryr 6o,ree uy6ot<oMy l'l3yqeHrt}o
O B yqe6HlIKe.
MaTepltana, H3JIo)I(eHHOf

FROM THE AUTHOR

To usemorerationallythe givenbook tl.rezruthoroffcrsrecommendzrtions to cver) sectloll

The exercises, etudesand slrall pieces given in SectionI are aimed to teach the beginncrsthe
equalperfor:ningand correctreadingo[ the notes.
In Sectio-nII the skillsgaineain the processof rvork rt SectionI are fixed. Besidestlle skillsof
competent
^ pelformingof folk. gr-rssansongs,dnllcemelodies.spiritualuusic are established
In SectionIII-Elsemblestre reprcscntecl. To per'formrrore cotnplicatedpiecesgiren in SecLion
III. theauthorrecommends to usedudtrkrviththeenlargecl range(seep l6-17)'
Sectiol lV ipcludes rnughams. tlre peculiarityof rvhicir is playing by ear btrt lollorvirg the
certaincanous.The author rr'rote mtlgllilnls in the key couvenietttfor duduk'
While teachingthe stuclentstite correct pcrforD.ring
of nrughams it is uecessary to p:l)'rltelltion
to follolvir.rgof the Jertain seqtlenceof palLs. It rvould be bettel to make out nugh:Irrs \\'illtollt
ornar.nen tatiousafterthe lhorougl.rleatnit.lgof the mughanl
-the
The althor hopes tltat given recommendations will help deeperand more thoroughly
learningof the rnaterialgivenin the book.
 27
U.ILTI.9IT\' Gllf Irt'
IIEPBbIfr PABNEJI
SECTION I

]'LItuLUqUL' q-U0trnl.t}3 n I.l,LbF

214n 4142wtltbp:Ur_lpnr1g
Lr\hu nln4mplnro0hp:
UrIh0h01nL0ph02bg0b1nr9 unurp r{bpg0blrupuq t-rfunpg2nr02,[ru\ rupLnLu202hp
lurnuphl hru{ruur.up
L uurn}rdru0ru[u0:

HAqAJIbHbIE YIIPAETHEI.Itr{fl ELEMENTARY EXERCISES

Pasttcp 2/4 t 4f 4; ytnrt'tt Hocrl{ - uc..lan
r{ lo.ror}r{Huafl Horlr. flcpc;l rr3B.'lcqcHlrcrl
Kaai;1oloarvria llc.'ra.ri,6r,rclprrii rr r.. r'6orrrii
i:1.-' .: ;;;,i;io-i ac.r;+:cu6urt, paBHorlcpHLlIl
ll llocTclcHHbtlt.
Mctcr 2/4 and 4/4, thc valuc - a wholc
and a half. Bcloncrvinding a sound rnakc
a quick and dccpin-brcath.Thc out-brcath
should bc cvcn and gradual.

6
 q-L1FdnFfd3OI.l,LbFUItnF+LnSULbOn.f 2e
unnp4 GnLnu(J ): Uh\ u.rilpn420nururlfrrlhg [urO
lnpu purnnJq finuruOhp:UrIh0 punnp4 0nrnur0
0{uqb1 hu2rl}r ribLlpufu mrinr{:

}TIPA?ITI'IEIII,{fl B qETB EPTHI,IX HOTAX EXERCISES IN QUARTER NOTES

rlc'r'tcprrra;lHola(.
). B r1r..roiitrorc cct,r,
-1 .rclrcpruuc xo'ln. I{aai,qvro \c'l.lJcprHyx)
Ho'l'\f |.rfpaTb Ha oaflH c(rcT.
I
A quarlcr notc (J ). Thcrc arc 4
qual lcls in a wholc notc. Eacb quar-tcr
notc should bc plapd a[ onc timc.

Andanter
lt

Andante
t2

Andante
l3

+ Sh'utg 217:
Cl. c.220.
Scr:p.220.
30

l4

Moderato

Andante

<n3ruf
OI;{. I{AP HOY. NAR
{ru; \ur\ufi dn4nrlp4tu\ur{ihpq
i\;tlrlrrctlrt lrfl po;ltt.lrr rlcclltl
Armcniln lblk sons

l7
 Moderato
l8

I9

{ru;[. dn4. hpq

Moderato Ap . rrap. trccrrrr
fu'm. folk song
20

ts3nF+
sTrO[ ETUDE
Andante
2l

* &hu.U{lqut- qp!0nLp1u.r0
02ru0:
Ptrr;ttltl - 3rlari ooBTot)a.
Rc;x'izc - rcpctitionsign.
**
U10 trn1n40b1g, np.n6g hbqi0u\1 C2rlub
tt, qrqub h0 e.Ulr0urujur0]r (um10 6hn6rupllr ht4lrGurq[) tfD$bS:
Jtro'p't' lltrrr4t lilrlollt,l\ rra')riiltrrl|r I ri | | | r|(' i rrI r,r f.llrrrrrtr.rrrrorr(
nrr'r'oporr larrrror.otroco6rr,r l.
' r r r r n c c l l r Q c s\ r ' l l h o t l l h c d r r k r ri t t l h c l t ' x l - h o o k u r e s l i l k ' n
b t G . M i n o s y a n( a u t h o r . o fl h i s t c x l - l r o o k l .
aro

Lbquso qusu.otruup
q_uFdnl-f}3nr-L.l,bo
Lbqururn 02ru0ru\mrl t hOgnt00hplt!ulr4ul\g{uld, uu:hnt0 \urnu-rpnt : . -
Lfrqru0 lnprugfrd rur1b4t ( :--, ,^ ), npp gntlg t ulrufru Ltqr.uulnI'luruunnlf !i

YIIPA}ITIIETII{fl B IIITPtrIXE JIE|ATO EXBRCISES IN LDGATO

Jlclaro oBHa.lac'i'ctluttoc ncrro"'rrtcHllcSllynot'. Lcgato indicatcs lhc cohct'cut
Jlrrla - a'r'o!)'roo6pa3llar .'rrrrrrut(.'---,,,^ ), pcllbnrancc of []rc sotrtrtls.
rioTop:rfl llolia3blBacT l 'l)Y .rcla'fo. Liga is an at'chctl inc (r- -)
which shorvs plaving in l-cgato.

,9

'P-af >-P P<Jt:>p p-<f

>P p<f >p p f > p p<f 7p P--f >

p-f >P ,P<f >P P-f >P P'-f >P

23

24
'p<f>P p<f>p p<.f>P p<.f> F

P<f >P P<.f >p p<f >F p<.f > p p-f >F p-f >P
* S h ut g 2 1 7 :
C r r .c . 2 2 0 .
S c cp . 2 2 0 .
** Sb'utt 215:
Cu.c.215.
S c cp . 2 1 5 .
 Lento

f>p<f f>p<f f>p<

f >p<f f >p<f f>p<f

Andante

\r2urog gnrlg t rnrufiru202unarp1ru0rfrn{mhrDrun:

3rrlri o:trrl.rac,r. clrclrJ' .\r,lxalrrra.
Sign nrcans changc of bnc0lh.
34
qbu LflSU qbsnq- (J.)
Ilptrk 0nutullr u.r2[nrllfrg 4ptltud\huIE hnuulurgontd t
rnr.lut 0ntnuJbtnl,nrtntplnr00bF !|tun{ 2urf :
I
TIOJIOBI,IHIIAfl HOTA C TOIIHOi{ (, ) FIALF NOTE WITH A DOT O
To.rria pl]Iotr c noroii lilrllrrlcr Thc tlot prt ncxl to thc nolc Prolorrgslhc
ll.rlITC'lhltocTb IIoTIi IIA. ce flo.loBIIIty. valuc of thc notc with the half of its nlcaning.

l - - al
a -
ql{orU t
rIrrxrc'r'cn
W.itlcn

qullnurlqmf t
IItjtIo.-l||'|mctl
l'ltrJcd

2S

Moderato
30

3l
 :15
+fl rrudnFquutru
Qu-nllu !n2r{nrrlt 1u4lr h0gnL00hpfrhugnp4ru\ru0 4ruuu.Irlnpmplnr0pgurn prupdpnlplut0' mn0flltugftg
urn0frlu: Qrurll.u 0 \upnq t $0hlrlhpg0prug L L{rupg0pug:tlulllru0bpg [r0nr h0 rludnp L ff0np:

TAMMA,IIO MA}ITOP THE SCALEOF C DUR

faulroii naauracftn lloc.'rcaoBarc"rr,locl'r' 3B)'tioB Thc scalc is a scqucncc of sound b1' pitclt ft-orn
||O IJhr|"OlC0T ToHt|ri ;lO torrUir, :roaic'l 6H1-t tonic tn [onic, mav bc asccndingor- disccnrling.
BOCXOJlrqCr"rlr lrrcxoaflucii. l-al rn 6nraror Thc scalcs nay also najol and minor'.
a?IiopHbrllu lr }ruHoprrbrl\ur.

r.ItqbQn
^PIIEA?Iit{O
ARPECCIO

bTLU<I?3NF.I"
TPD3B]\'qIID
TRIAD

Andante
32

c0

x $tllfu]|nu qnlqnrd /}qud

t \r 02ru0[,nF! 4lrqnrut cnmlujhgqbnLquruoLnpLt 02urOrDUnt't
t hotlnroh(Uur ulunrquJlr)
qur ulqn| tFqrlfurgnr ' quluLlubuurhqbtuqnFbnrpJru0
F0nUpbg,qruuruFnll gruGqnrpjnrohg
l, dru2uUhg:
.l)r'l,1r roii

Frx ln.rl /:\ (n \7 i s s i g n o I l i c c c \ l c n s i o n o l l h c v r r l L r co l t h c n o t c . T h i s s i g n i s l ) r t bovc ot undcr thc [otc:rnd

nlc:uslhnlthcnotc(o||,l|U5c)nlUst|Jchck||i[[lc
 LS3nF+
gTK)II ETUDE
Moderato
35
 LS3nF+
3TION ETUDE

ts3nI-+
ETIOtr ETUDE
Andantino
38
iLUf dnI.f}3nI.LLbF nI'fdItOnFAUqUL1,bOn.L
Orpbpnp4ur\u0 frnrnur()1: Ifh[ ullpn42 Gnuru.;[ rlh2 \ru nrp ntphpnp4ru\urti 0nrnur:
{ur2r[[r rih\ prufunr nrl 0rlulhl hplnr httt{ururupnrphpnp4tu\tu00hp:

YIIPA?{THEHI,Ifl B I}OCbMbIX HOTAX EXERCISES IN EIGTITH NOTES

Bocsrrax nora (.l). OAsa qc.ranlora Iiight notc ( .1'). Olc rvholc notc inclurlcs
coAcp;Ku'r'Bocci\rbrlocbrrbr\. I-Ia o11r,rH
v1a;r c i g h t c i g h L - n o t c s . ' f u ' oc t 1 u t tcl i g h [ - r t o t c s
lr|pilroT arlc pal
r rbrc r;ocbrlblc. atlc olavcd :r[ onc bcat.

Moderato

38

39

LS3NF+
sTrOA ETUDE
Allegro moderato
40
 39

LJlfrhlr
IIEPETIEJIIIA QUAIL

Andantino
4l

qUOLUf 'U3 I.l, (htuurtlurb)

BECEI{Hflfl (orpueox)
SPRINGTIME (extract)
fu.Ur[hu[ru;ru0
\.Atcrrrcnrr
Kh:Avclisian
Allegro con spirito
t

40
4U&nF+l,nSU.l' qbsn{
u.rnqr46nrnu0 Uhrnnrl(J) tFgrtrn4ntplulip hur{uurup t
hptp nrpbpnp4rullurGhl'= L^J

IIETBEPTHAfl HOTA C TOI{TIOfi QUARTER NOTE WITI'I A DOT

tlcucprHax no'ra c routioii (J.) paBua rro Quartcr noLc wil.h a dot (J ) is cqtral to
J+lurc.-tbHostllrl)cM uocbnlbrMJ- = UJ Llrrcccight-notcsat dulation ) = W

qr{ rl t
Thrnercrl

r$ruurn{trr{ t

Phtcd

Moderato
43

cntlntluuuLtlfd
t x
UOPOPA CAJIAT.. SHORORA SALAT \nr.iIunuu
Konrrlac
Kornit:u

44

* Ilcuctto,tt t lrt)ltBeacllLl tt coi-(cpi+iilllllll tiltlltll'

'l'hir translliions are in tlre conl('trlsof lllo l)ook'
 1I
OFIlFflSU3t'l,
ITOJILIEEJIbHA-fl LULLABY tI.Uprih6;ru0
I.Aplrcrrarr
Moderato G,ArmcnS'an

15

<n3r,uQuL {ur;[. dnq. hpq

OII, HASAH Apn, rrap. rrccrrn
HOY, NAZAN Alm. folk song U2ur[.'fd.Uurnrti;ur0lr
O6p. T.drrryrarra
Adapl. T.Altunian

46

U'1,+U.|,Sf'1,n
AIItrAI]TI4IIO ANDANTINO U.fuurlurrnp;ru0
A,Xaua'r51rrrr
Andantino A.Khachltt'irrn
47

r S b ' ut g 2 1 5 : C u . c , 2 1 5 . S c cp . 2 1 5 .
 a tempo

ts3nF+
ETIOI ETUDE

UIFUUSSI'q
CBETJIflqOK GLOW-WORM
{ru;\. dn4. hpq
Ap . lrap. rrccrlrl
Alm. folk song
Moderato

* S h ' u t 22 1 8 : C u . c . 2 2 1 . S c cp . 2 2 1 .
* * S h u t g E 4 , 2 1 6 : C r r .c . 8 4 , 2 1 6 . S c cp . 8 4 ' 2 1 6 .
 43
suul,q-b3bt'nF+uqul, Lnsu]'bF
IIIECTHAAUATbIE HOTbI
SIXTEENTH NOTES

Andante

qUU.LI^q
IIYPOIIATOIITTA PARTRIDGE

52
41

Moderato

ts3nI-+
ETIOtr ETUDE

54
 45
bFbq-UlF qI'CbF],bOe
EPEBAHCITI,IE HOTII,I YEREVANIANNIGHTS
U.anlnrluru0;ur0
A.,[,o.u5naunr
Moderatocantabile A.Dolukhanian
'D

$f.f,QUL
OIIHtr?IIAH FINJAN {ug[. dn4. hpq
Apnr. rrflp. rlccrra
Alm. folk song

56

Pntrhq QflI.F UI. EPU

BOBI,IK 'II}I{}TP MI,T 3PA BOBIK JUR MI ERA
{ru;[. dn4. hpq
Aplr. uap. rrccrra
Moderato Arm. folk song

ol

I sh,utP 215: C n r .c . 2 I 5 . Scc p.215.

46
LS3flI.+
ETIOA ETUDE
Moderato

ts3nI.+
ETIO]I ETUDE
Tempo di marcia

rrbLUS bFQ (urltr.dnrr.hnq

SACTOJIbHA-fl Apu. uap. 'cct,'
DRINKING SONG Alm. folk song U2ur\.'fd.Upnrfr;ru0[t
O6p. T.Arr1'rurra .
Adapl. T.Altuniu
 47
+utrch ubq ucb
OIJIflI{I,ICb LOOK ROUND
Qnruru0 Chlrunl
Iyeanr lllcpam
Moderato Gussan Shcram

bFbUQUL {ru.;\. dn4. hpq

EPEM tr}I(AH Aprr. trap. nccrnr
YEREMJAN Atm. folk song
U2ur[.'O.Upnr0;ru0lr
06p. T.A.nr5arana
Adapt. T.Allunian
62

r S h ' ut g 2 1 5 : C u . c . 2 1 5 . S c cp . 2 1 5 ,
48
qf'bU
IIbECA PIECE

Scherzandocon allegretto

63

SULq-nFf'qh IISFf.d
TAJIBOPI,IITI4TTTPI4II TALVORIKIKTRICH
{ru;\. dn4. hpq
Aplr. rrap. ttccttlt
Arm. folk song
Tempodi marcia
64
 49
uI. ebunl uudnfl quuru
TAMMA CI,I BEMOJIb MA?I(OP THE SCALEOF B DUR

uf4rbQn
APnEAiIiUO
ARI'EGGIO

bIlU(L?3nl.l,
TPD3B}\IIIE
TRIAD
 IrS3nF+
ETIOA ETUDE
Moderato

67
t-------------- / a____-_______._/

''--_---../

'-'---------." '- t--____-----.-/

UflI.Fe,UnFFtr
CBflT, CBflT SAINT, SAINT
U.b\ritugur fi
ilLErilriurarr
i\I.Yckmnlian
Andantecantabile
 5I
hu<u3uusur
MOfl APMEIII,Tfl MY ARMENIA
tLnruu0 {ul[ruulr
I'ycnrr Aua<lrr
Gussan lluvassi

69

'l_tl0uFurlh u3l-bFq
TTAPAEAXCT{IIIT
MAPIII KARABAGH MARCH
tL.IIu0uruJur0
f.lllarracflr
G. l\tanasyan

70
 ts3nts+
ETrcA ETUDE

t_t_')-/ -{.-r

7_::)t'/ ---__ -f 1::-_r,/ ----_____:J

-
 5:)
unl ubLnFquuru
TAMMA COJIb MIIHOP THE SCALEOF G MOLL

Uh1n4[t1

hurpd.
ruplr. halm.

raplr. har.m.

,Iht
lrc.'r. mcl.

uo4lbQn
APrrt]Trirro
AITPI]GGIO

bnu<l,Q3nFl,
.TI'II3BTqI,ID
TRIAI)
;)+

hIC lIT. tuL+Ff.O

}IE IIPOCI4 MEFIfl DON'T ASK }IE
Il.Uur.;Iptu0
A.Marr.,rarr
Andantino A.Maillan
{

;))
<I^.|'qULLU {ru.111.
dn4. hpq
XI{I{TAJIJIA Aprr. [ap. rrcclla
HINGALLA Arm. folk song
tl2utq.'fd.Uulnr0.Jru0h
O6p. T,Arr'ryrrrrrr.r
Andantepastorale Adapl. T.Allrrnian
74

ts3nF+
3Trctr ETUDE
Iu.Udhulru;ur0
X.Auc'r'rrcHu
Kh.Avclisian
56
bU Uf'ObAI. {ur;\. dn\. hpq
ECCr,{PEUr,rAplr. rra1l,rrccrrrr
YBS SIRETSI Arm. folk song
II2ru\.' O.UUInr0.tur6l,
06p. T. r\.'r'r'.y
rrarrrl
Adapl. T.i\llunian
Andantino
76

Ulrbfan
CTIEPUO SCERZO

i Shu t? 2t5: Crr. c.215. Sce P.2I5.

;)/
58
ts3nI-+
ETIOA ETUDI]

78

--:-.--/ '--------/ --==.--- -;

1=!--/

----__lI_.

.{nqULf'9
BOItAJII4S \IOCAI-IZE
II.Ilurqrlu0.1ur0
l\{.Marrrarrarr
M.Mazmanian

7!)
'....__-)
'--:--:--/
ntP

<j

---..-_:_..'z
 59
unl- trudflI. quuru
TAMMA COJIb MA}TTOP THE SCALEOF G DUR

ulr4lbQn
APTIEl'IiIIO
.TRPECCtO

brlu<\'?3nFl,
TPD3B}T{IIE
TNIAD
60

Moderato

8l

ts3nI-+
eTro[ ETUDE
Andante
 6t
LS3NF+
ETIOI ETUDE
Allegretto

-j

--______--.- .------../ "'--:--'

"--_------/

QU'I-3I. enl-nf \UI,UQ {urJq.dnnhrq

BCE SEJIEHO BOI{PyT MEJIbHIIIIbI Ap.rr.rrap.rrecua
EYERYTHING IS GREEN AROUND THE MILL Arrn.rotksons
U2urq.'f&.Uglnr0Ju0h
O6p. T.A"rrryllarn
Allegro non troppo Adapl. T.Allrrnian
62
ts3nI-+
STIOA ETUDE
Moderato

ts3nFa
3TIOtr ETUDE
Allegretto
 63
rruFquqbsr'nFu
HA JIYIY ON TI{E MEADOW
U.Furp]unr4up;ru0
C.Bapxy;:rpxrr
S.Barkhudnr5'an

87

qbtQququL qruo
cEJrbcnr4ftTAHEU COUNTRYDANCE
.l-.U.Ungurprn
B.A.Moqapr
Allegro moderato V.A.Mozart

88

' S h u t g 2 l 5 : C r r .c . 2 1 . 5 .S c ep . 2 1 5 .
64

ts3nI-+
STK)A ETUDE

Allegretto
89
- L::_s {____,-
 65
sohnL
Splmp qn1Lu0nLil prudur0hlmg:
t npl,t rn[]r4nrp;ru0' bphp hrurlu,ruuprlu,rubp]r

TPI{OJIb TRIPLET
Tprrorl o6paayerr:r B pe:)'J,,Tare pa34eJellra Triplet is formedby the division, ofany
nanoii-rrr6o ;!'ltrerllroclr lra rpll pallrble durationinto threeequalparts.
qacru.

t-J-------J L- J ----J

Sp[n10hgg$(lmf b0 \bu 0nuu0bpn{ prunnp40bpn{ nLpbpnp4urlu 00hpn{ uIuuorlhgLFnp4ur-

lru 0ohpnr{
Tprro.rrr6rrnarm TIq]ORITIIIIbT]IIT q cTBcPTrrr,rltrt BOCh\nnlrr
ruccTrranuaTbrlrrr
Therearethefollowing half eighth
t)?esof triplets sixtenth

Moderato

90

Moderato
0t
66

Moderato
 67
UUSI-
<3nI.UbUUSt.|,
CEBEPI{Afl 3BE3trA NORTHERN STAR

Andante maestoso
94
\_:j

LFFTIqUqU.t, {ug\. dn4. hpq

JII,IPI4qECItAfl Aplr. rrap. rrccrra
LYRIC SONG AIm. folk song
U2ru[.'fd.tlpnr0;ru0[
O6p. T.A,.ruyrrxrra
AdaDt.T.Allunian
Andante
95

r-J-t

r-J--

r- J --t r- J--l
68
618?uo
PAsMEP 6/8 MEASURE 6/8

ts3nI-+
ETIOI ETUDE

-=.-.=:
--'-J

-,,,_.__------.- -__-_____-:-..-
-- -----..-:_'.-'
 69
'IIUfl
TAHEU DANCE
t|.Ulr0ruu;rufi
f.Mnrracarr
Allegro non troppo G.Minasyan
70
b.t gblr. ftuur[urd)
3[I3E,TI,{ ( o'rpnrnori) ENZELY (exlracl)
U.Uqh04[ttup;tufi
r\.Crrclluaporr
Moderato rt.Spcndiarian

99

<UUPtltrCnFU 3U3LU (<<O0nt2>

oulhpru;fg)
AMEAPIIyM fftJIA (ua onepr,I "A*tytu")
AMBARTSUM YAYLA (from "Anush" opera)
, Il.S[rqpur0;ut0
A.Tnlparurr
Allegretto A.Tigr'&nian
J J I

r00
 7I

<I'1' UUFflA (<<.rhurn[hp0hp

gnrgruhru04hulrg>
N 2)
CTAPbIII 3AMOI{("ttapruHrrr c nrrcr:annn"N 2)
OLD CASTLE ("Pictures from Exhibition" N 2)
ILIInrunpqu!lr
M.Mycoprcnrii
Adagiocantabile M,Musorgsky

l0t
72
ftb Uf'lnn QUUUU
TAMMA PE MI{HOP TIIE SC;\I,E OF D MOLL

hrupfnGlr\
lapuorur.rccsrrii
harmonic

ilh1n4flq

uIr4lbQn
APIIE[]ItI{O
ANPEGGIO

lnI.FIItr-LnFtrUF {rur\.dnnhnq
HyBAP-HyBAP Apnt.rr*r).'cc.t
NUBAR-NUBAR erm. folksons lI2ur\.' fd.Uulnt-0;ur0h
O6p.T.A;r'ryuxrra
Adapt. T.Allunian
Andante con moto
102
 73
{I'QUU
INtr?ITAC HIJAS
U.Uqh04lrurp;ru0
A.Crrcrr4rrapou
A.Spcndialian
Scherzandocon allegretto

+ Sbutg 84,2rG:
Cm.c. 84, 210.
Sccp. 84, 21G.
74
UUfiUl-hrr
MAPAJII{N MARALIK
{ur;[. dn4. qurp
ApM. uap. Tauctl
Alm. folk dance

r04

ts3nI.+
STIO,II ETUDE
Moderato

',.-____;-/ -__;--
 /;)
Ul^l,qn4IU
Cb2nf gnfuur4pntfguu\ufr mdb4 riuu]rg4bq[ pnr.;lrluruQn2rlmrl t ulr0\nqur:
U[0l1nqu0 $0nrUt bphpuhurul;' l) 0hpuru:\urur1]r0,
2) rJfrgrnru\rnu:jfr0,
3) bppunqruurlur0
2h2n[ {n[uu:pb0 4prlnrrlt qrumqur:

CI,II{KOtIA SYNCOPE
flcpclror: anrlcrna c crr.'rhrror"r
Ao,rrrrafiTa SyncoPc is lhc transrnissionof the acccrrt
tta cra6\'ro rta3blBaercactlttttouol"t. from thc strong bcat to the wcak onc.
Crrnriona6rreaclrpcx BrqloB: I ) nrryrprnanronal, Sy'rcopcsnray bc of lhc following tlpcs:
2 )rrcananronu-a,3)riorya nrrccro o rrr;1acrroro I )in bur. 2)inlcr bar. 3) whcn pausc is
alirtcllTa c'IaBltTt:fl na\tsa. Dut instead of thc ncccnt.

<lp{nf t
ILrulerct
\vritten

kuruup{urf t
IIcno.'ruserca
PlaJ'ed

r06

Moderato
107

Moderato
t08
76

Lb.rKn Lts,Lb
JIEIIIO JIE, JIE LEPHO LE, LE
U2ur[.' .\rupur-Unrpqru; [t
O6p. K.Kapa-Nlypst t
Adapl. Il.Kara-Mruza

ll0

<O{I^{
IIACTSTX SHEPHERD
Qhluru\rufitlnn hnq
9curcnar nap. lrccnr
Czech folk song

ltl

' S h u t ? 2 1 5 : C r r .c . 2 1 5 . S c cp . 2 1 5 .
 .[ULU (<0urd qh4hgllnrhlr>>
puqhrn[rg)
BAJIbC (na 6a.ne'ra"Cnaulaa rcpacanrqa")
WALTZ (extract from "Sleeping Beauty" ballet) al.Qu;!ndu![r
II . 9airriorcriuii
Tempo di valse P.Tchaikovsky

U4ITTPUI,CTI,FTIS
ts
ATIAPAH- ITAMEHI4CTbIfrKPAft
STONYAPARAN
{ur;[. dn4. hpq
Ap . [ap. [cclrrl
A-rm. folk sons

rl3
.78
trbUnLrutrnF qUU|ru
UT^
TAMMA MII EEMOJIb MA}ITOP THE SCALE OF ES DUR

rloqbQn
APnE[?fit,IO
ARPEGCIO

bfru<l,Q3IlI.1,
TPD3B}4II{D
TRIAD

SrlUm[f+qUf,a 4IUf e (<<Uldururn>

orqbpur;[g)
TAHEII MyH(qI,IH (r'reonepr,r "A.unracr")
MEN'S DANCE (lrom "Almast" opcra)
U.Uqh04[rurJr.;ru0
A.Crrcrr14rapou
Moderato il.Spctrdialirn

ll4
 79

ts30I.+
ETIOtr ETUDE
80
an uF.t,noquuru
I'AMMA.[O MI4HOP THE SCALE OF C }IOLL

hurprln0lr\
rapnoruruccxrrir halmonic

ilh1n4[\

u4rqcQn
APTIEA}ITUO
ARPDGGIO

brlu<\,Q3nI.r,
TPE3BYTII,ID
TRIAI)

bnq
TIECHfl SONG
tL.Qpgur0
f. rlr.rr I l
Moderatocantabile G. Chtchyan

-_-2
poco r
 <UFU Hf t}lnFlf {ur[- dn+ qq
BbD(Omy SAMylK Apn. uap. rrc.crn
I .fuU GETTING MA,RRIED Arll. fotk sotrs
U2u[-'F-trpnfi;u6lr
@-T-"frr1lralra
Adtpl- T-Altrrniar

lt7

.'-----------. ---...-:

'r-.-:___--: ---___-__------? '-____-/'J

bTIIL
IIECIIfl SOtr{G
ILUqhfi4[up;rnfi
,A.Grerr+r:rfren
Modereto A-Spcndlrian

tt8
82
Utl.FbFF<n.LFt' UbIL],bU
CAPEPI,I OBI{H MEPHEM SARERI HOVIN MERNEM
(.Fru4urguG,rl2ur\.'fd.tlpnr0;ut0[
O.B4{a.rntr, o6p. T.A"rrrYutta
H.Badalya, adapt. T.Allunian
Andante espressivo
 83
ts3nI-+
ETIOA ETUDE
Vivace
120
..--- \..-.-: l------/ T--------

t=----,
'---------t ---------/ \!____--/

--..----------\.-/ -\--/-t-.--------

\-|/
t{----)
{l;, -> -t-:-:---'

\.t;r {-; --::___--,/ t-----------.''

84
Irbr-hgulbo
Uurop rnl,nqnrp;ulip h0gm06hpnrl rlhrlh4fro qurF4urFhu uror[ur0r[mrl t |!\!ql
IItb pur6ur\nrp.lurlp rlLfirqrf0@tr9 pr10 \frprunnplm0 h0 urnurghl Sq'Zruqn ilry1F0r4' uFhg:

NTENI[3MbI r-IEI.ISMAS
*Ie.ugr'm - seyxl orncrrrelsuo ,rrerriofr Melismas arr: sounds of approxinratcly
JfiltTq-rt'u(ETrl' lripall.|arc||uc ('IxCrblrHc short duralion ornamcnting lhc scparalc
sr5'ril- Hal6ancc qacro Bcrllc.mtorctr sound- trIorc oftcn arc ot'curcd thc Grasc-
Notc, thc Monlcnt, lhe Shakc.
Qopmnar, MopAeFr, rperb.

$ff'DLUq. (DOPIII.JIAI. GR,{S8.tr'{OTE.

qryrtqAu+
Kopo, r.rdi Short Grase-l\ole-
el!ts{t
IIn|rF-trt
\vrilLfl

r@lt
llt|rcrrrrcftr
Pl.}td

bp{uahrru+
fomrm Qopnuar- Loud Grase-Note-

IIIII!'IbII'S+ }TOPTIEHT. MORDEN"T.

enrftdrlqqtE|[- rrp{liur![ sqrrrFfi'n: r+bErurtrb

qO{uAt@tt6tl-
Ilcperearw-rrrft !|op;err. Aroirnii vop:err. Ilefxsqrrurf'rroi ptiitntii.
C-flsrd mordenl. Doubl nrordcnl. Iloubt erwtd mordcnl.

SEbL. TPEII'. SIIAIiE.

'S-b-ut2 216: Cv- c-21$- SeeD'!16'

 FLr,ltnltb+UF+U3UqUr,
ilPOCHT{Cb Ot TIAPCTBEHHOT1OCHA
WI.KE IJP FROM THE REGAL DREAM
ar{rF, il2urlt.'lL.Uilmr-0Ju0h
Frnq4ruuurp
BrrArcop trnnp, o6p. P.Aorrluma
B{hdrssr Dpir, adapl. R.flrtmian
Adagio
l2l
-----.7 =r
4

-
'.--i--J-;
86
ILbrrudnPquulru
I.\MMA PE MA}I{OP TFIE SCALE OF D DL-II

un.qbQn b{ru{.|,?3nh],
.\I'IrEITtiIIO TI'E3B}'I IIIE
.\RPECCIO TIIIAD

ts3nI-+
3TIOtr ETUDE u.?hp0[t
fl. tlcptttt
K.Chcrni
Allegro comodo
122

Ltltush {,ur;\. dnq. hpq

JIAXTI{ Aprr,'ap. 'cc'a LAKI{TI ,{r'm. folk sortg
II2ur[.' fd.Upnr0; ut6[
O6p. T.A'trYrrarra
,\dapt. T.Alluni.rn

123
 '87

\r_ _\uv \r -!t tJ \-i -r_J

1_l i
88

L3UUI.f'OO t}IIIruU
rAIIMA JIfl MIIHOP TIIE SA\LE OF A. }IOLL

hupfn6L[\

'Ihnrtr[

uP4ltsQO Etlu{'r,o3nFI,
"{PIIEIUnrIO TPE}BYqIIE
TRLAII
..TRPEGGIO
 89
<nq3uqu
tr}TUEHbI(A SWEETHEART
(u;11. dnr1.hpq
Ap . rrap. rrccrrr
Arm, folk song
Allegro scherzando

r2{

_ \ - - l

LbqnFOf^ (qrup <<aur!ulr>

oqhpur;lrg)
JIEHITPI4 (raHerl r{B orrepbt "[aucu" )
LEKURI (dance from "Daisi" opera )

t25
 9I

L3U trbUnL UU.dnFqUUtrU

|AMMA JI.fl EEN{OJ]b MA?TTOP THE SCALE OF AS DUR

UIrqbQn bILU<IQ3nI.l
APIrElilit{o TPE3B}'ql.tE
ARPECCIO TRIAD
92

Surpphpur\0hp
Buprrarrru V{rlianls

>----:-.'

FUUBUqU<Uq-U (qrup <tlur;urfib purlhrnfg)

CEOP XJIO[[{A (raueq uB 6a^r]era"Iarrre")
COLLECTING COTTON (dance from "Gayane" ballet)
U.fuurlurnp;ut0
A.Xruaryparr
Moderato A.Khachslrian

ts3nI-+
3TIOtr ETUDE
Allegro moderato
128

)--i---------/- --r-...-_--J ), -_-

{j .---1-
 93

trs3nl-a
3TIO.[ ETUDE
Allegro moderato

,,_________-_-.
- --____i--- ''---- '-,____:_--.-' -._____ -_.--
94

t--_____ -
._-- ------ -'...------.---.....-

tS3nF+ (<Uhq;urh>6ur;0ru\upqmrl)
9TIO[ 1u .rra4c"Ccllx") ETUDE (modc "Scgyah")
 95

tS3nF+ (<Qurpq;ruh>
dur;{iurllupqnul)
eTIO.q (n .rra4c
"rlaprax") ETUDE (modc',Chargrah"
)
96
tS3nI'+- Chnurq"dur;fru,\upqnul)
(<Fru;ruplr
STIO[-1n rasc "Eaarr'r Illrrpas" ) ETUDE-1moac "Bavalv Shiraz")

* turJnrnnqndrudt qruuruphturqn1&dru0
4nuprlllr hutdurp:
erroil ttatrtrcatt ;!ltl ycoBcprxclrcrnoBallltol'o iU;lyn{r'
Etrrde is \r't'iltcn fot. ilnptovcd dudrtk.
 E Orr I n O '[. GIL6 ITt' 97

BTOPOft PABtrEJI
SBCTION TI
q-uF+uLbunFnttre
CKOPEb MATBPI4 BAPTAHA VARTAN'S MOTHER'S GRIDF
{ur;[. dnr1.hpq
ApM, rrap, fleulfl
Andante Arm. folk song

\\:

3nFduu
OP}ITAM HORZHAM
U2ruU.'
U.bUrIurUur0h
O6p. M. Er:lra.rrnrra
Atlapl. M.Yckmalian

q-uu.|,rrbon3OFqnl.fdbUl,
BACH MEPOIT ilPH}'TEAH VASNMEROYPRKUTSEAN
U0urG[ruClrpur\urglr(YII rp)
Anarnra llllrpariaq r (VII r.)
Moderato Anania Shitakatsi (VII c. )

.t--::j
98
Ul,CI^f"'P L.Lf'l3UL
AHtr3I4HI( HBI{PflJIK ANDZINK NVIRYALK
IrnrllrmruuU4ghgh(vlt +)
Itorrrrrac Axueqn (VII a.)
Komitas Aghtsetsi (VII c. )
Moderato

9NFU eUSqlUSqbFbnI'U
SOPC bICT TIATKEPI{ KYM ZORS YST PATKERI KUM
(XI 4.)
Qnhqnn Uruq[rurnJrnu
Iplrrop Mnrrrr:rpoc (XI n.)
Moderato Gligo|. l\{agistros(XI c. )

tlttU.L0S LlnI'Un3
APABOT JIYCOIT ARAVOT LUSOY
Lhpuhu Cfinphurflr(xII ry)
Hepr:ecIIInopnrII (XII n' )
Nerses Shnorali (XII c.)
Moderato

0
 99
<UFflI'l,, <tlFOI-l,
AB}'H, AB}'I{ HAVUN, I{AVUN
Qpftqnpl'uph[uSh (x 4.)
Iprrrop Hapexaqtl (X n. )
5 Grigor Narekatsi (X r:' )

ubq-unl.fd uu.rtbo
CEB MYT AMTIEP SEV MUT AMPER
{uq\. dn4. bpq
Aprr, nap. necux
Arm. folk song
Andante
3

lnnquL
MAIIKAil MACHKAL (ug\. dn4. hpq
ApM. Hap. flecr|fl
Arm, folk song

I
t00
tUu. f'If dUUObU
AX, I4M TIAMTIEC AKH, IM TCIIAMPES
(ur;\. dn4. hpq
Apu. rrap.ner:rra
Andante Arm. folk song

t0

osLLFUtru3h dUUObPhq.fu
OTAP AMAI{ IIAMTTEITI4BPA
OTAR AMAI TCHAMPEKI VRA
{ur,;\. dn4. hpq
Apiu. rrap. uecrrx
Arm. folk song
Moderato
tt

uhob3h,3tlFU SUFUL
CI4PEUI,I,flPC TAPAH SIRETSI. YARS TARAN
(ru.;\. dn4. hpq
Aprr. rral). [ecH'I
Andante Arm. folk song

l2
l_r '
 IO.I
QnLhQb30ur,
qOJIII trflTEf,TPAH CHOLI JEYRAN
{ullurulr
ABac||
Allegro Havassi

3U3LUq_nr
3u.ou
flIUJIABOP flPC YAII,AVOR YARS

Moderato
102
gbo3n'Fll, eurrbq-sur
SEIrK)P, BAPEB TAP ZEPYUR,BAREV TAR
{u{uult
ADaon
Andantino Havassi
J

3 3

QU.I-Utubgh UI'F0F]" U{-QFIr

tr?IUBAXEIIII CIIPYH AXIII,TK JAVAKHETSI SIRUN AKHCHIK
{ulluuh
, Anacu
Havassi
Moderato
 103
llitu, [If. ULILUULL SI.QbhF
AX, MtrI AI{IAM 3JI 3II[?ITEI4P AKH, MI ANGAM EL ZIJEIR
{ullurulr
ABacrr
Allegro vivo Havassi

t7

cus bubFqbl-
IIIAT EM EPTEJI SHAT EM YERGEL

Allegro vivo
l8
104
rrl,Qb-1,ull
HASE-HA3 NAZE-NAZ

Allegretto

-gb9 LL QI.If-l'U
ITES3JI III4 MI{A KIIEZ EL CHI MNA

Moderato
20
 105
IunUh'ft, hUUU,Qe
XOCI4P. I,IM CA3 KHOSIR. IM SAZ
{u{uu}r
Arar:rr
Allegretto Havassi

QUFLUL OUrLI'q bU
IAPIIAH IIAXIIK EC GARNAN TSAGHIK ES

Moderato
,,
106
bL n'I'UbOqbU
3JI YM EPTEM? EL UM YERGEM?

Moderato
23

quPnsbLbubu
IIAPOTEJI EM EC KAROTEL EM YES

Allegretto
24
 t07
btLf'qf. qbu 0nl.ft LII'UCb
EIIIIIHI,I TIEC II}? MI{ AIIIE YEGHNIKI PES TSUR MI ASI{E
(un[uu[
r\nacrr
^ rr^--^
Allegro llavassi

95

Ll,.Pn ubfiL L,3t10

3H nO CEPII 3, .flP BN KO SERN E, YAR

Moderato
26
108
qSNSULU fuftNq-bL E
TESAJICXPOBEJI S GYOZALS KIIROVEL E

Dolce

27

ULSU qLUAf.
AHIIA THAUII ANTSA GNATSI

Moderato
28

\.- v
-r./ _:_-- _ - -
 109
L[lFtrBU.|, AULuII el$+t
HAI4PflH AAJIAP BAPtrI{ NAIRYAN DALAR BARDI
Curhh0
IIIareu
Allegro con espressione Shahen

29

UUULU 6NI{t
CACHAUYP SASNATSUR
Allegroconspirito
b
30
\i;
It0
Cnq-nFutr
uLIru.USe
AJIMACT IIIOTXTME ALMAST SHOGHUM E

Allegro non troppo

3l

Qb<D3OFItf'l'truL
SETINPbI HMAI{ ZDPYURI NMAN

Alleqretto con anima

x -- -
32
 IlI
Ul,qf.l' 3tlFU
AHTI,IH flPC ANGIN YARS
Curht0
IIIaren
A!9gro con vivo Shahen

33

q3nAULU, UI.LQ b'OF tuItnq- In UU

TE3AJIC, MI,IHq EPE XPOB MHAC?
GYOZALS, MINCH YERB KHROV MNAS?

Allegretto
112
Onq-UUSthrrU
UOBACTXI{HC TSOVASTGI{IKS

35

Moderato

LlnFU]"t COtndL
JIYCH}I ilOTOB LUSNI SHOGHOV

Allegro con spirito

36
 (LUFNFLL I13

TAP}T{ E GARUN E
II2nrn
AIIror
Andantino cantabile Ashol

Allegretto ..

U3NI-I,3U3 UTIFbF
CIOHflII CAPEP SYUNYATS SARER

Allegretto cantabile
38
111
UNFFtrIru3FbfI
C}?E MAffPEP SOURB MAYRER

ubFUq-u1'nFusuf}b{F
CEPC BAHKYM TATEBI{ SERS VANI{UNI TATEVI

Moderato
.10
 UUFq-0FI'b0qe
CAPBOPI/I EPT SARVORI YERG

Allegro non troppo

at aa

4l

n'I.F L
YP E? UR E?

Andante
{2

._____.zl -lJ
tI6
tL urlftbPe
3H CAPEP EN SARER

Allegretto
43
f

\.--,

otrlltAXyM OJAIilIUM

Allegro moderato

44
 II7
{U3nl.rr
AITPUH HAYRIK
ll2nm
Arrror'
Ash0t
Andante

n ur.on<uutlP
}TO CIIPO AMAP KHO SIRO I{AMAR

Andante
118
uuu,bL?o'F +nI. LOFIL bU
ACA, I4Hrry Ay JryP EC? ASA, INCHU DU LUR ES?

Allegro
47

Allegretto

3t1tr,utuL3-ebg
flP, APAHII I(E3 YAR, ARANTS KIrDZ

Andantino
48
 1t9
<nq_uunbF.unq-uu.obF
oB CAPEP,MOB CAPEP I{OV SARER, MOV SARER
U2nrn
Arrror
Ashot
Moderato
120
rIIUtufiU
IIAXPA PAKHRA

Moderato
50
 121
utrbl, uftuq-os
AMEHAPABOT AMENARAVOT
Chpurrl
IIIepaiu
Sheraru
Moderato

+NFL hUUNFUULbU
[yrr rrM II{YCAH EC DUN IM MUSAN ES

Andante
52

;;--- -
rr)
122
cnonou
IIOPOPA SHORORA
Cbpull
IIIepalr
Sherau
Moderato
53

9nq- qf'Cbn
3OB TI4IIIEP ZOV GISHBR
Chpuli
lllepau
Shelan
Moderato
 123
OLrNFUNLNF
OJIOP MOJIOP OLOR MOLOR
Chpuri
lllepairr
Sheralr
Moderato
;)i)

qULFUbU+nFIt+
IAJII4C EM A}?A GALIS EM DURD
Chpuri
IIIeparr
Moderato Sherarr
124
LLF TUOOUT'FSUqNFLU
SJII{ SCOP CIIPTC KYJIA ELI ESOR SIRTS KUI-A
Chpuril
lllepalr
Sherau
Moderato

Ol,QLhq-In'QLI'q
rrHtrEtJII{K-MH[?nJrI4It PNJLIK-MNJLII(

Moderato
58

UO+bL Unl'fdl' el'qblU

APtrEII MYTII bII{ITEJIA ARDEN MUTN YNKELA
Chpurf
IIIepalr
Shetant
Moderato

59
 UbO hU, UI.F0FI' bU
CEP trIM, CI4PYTIEC SER IM, SIRUN ES

60

uur.bnqurlu?bu
CAPEP IIAXATIEM SARER KAGHACHEM

Moderatoassai

ubohaEnq_u6
CEPI4U SPBAU SERITS ERVATS
Moderato
62
126
f}tltll-ul', fdtul|-u],
TAPJIAH, TAPJIAII TARLAN. TARLAN Chpull
lllepan
Andantino Sheran
63

UFOnI.LLbF
CIIP}'HHBP SIRUNNER Chpurrl
IIIeparr
Shern,u
Allegronon troppo

64
 127
qlUrsf.9ni-U q-U0+btr trU3q-UO
IIAPTIISYM BAPAEP EAUBAU
PARTIZUM VARDER BAZVATS
Chpull
IIIepun
Shcrarr
Moderato
t ,- t
65

ULQf'qgUO 3UIr
AHtr}IiI4TflP flP ANDJIGYAR YAR
Chpuril
IIIepau
Shelalr
Moderato
66
\\--z
128
bQU],f.A truU ?OFL['U
I$3AHI4II MAC IIYTIIIM I{HEZANITS MAS CHUNIM
Chpull
IIIepau
Shetalr
A

67

LUOOUrU9L bU q'LU3bL
SCOP APASH EC THAUEJI ESOR ARAZN ES GNATSEL
Chpull
lllepau
Shelanr
Moderato
 129

<ULULtrFU
AJIAJI SPA TTALAL ERA
Chpuril
lllepalr
Sheralr
Andante t

G9
130
LLf. bFqI.LPL UtIqIbL L
EJIII EPKI4HITH AMIIEJI 3 ELI YERKINKN AMPEL E

70

LTI.Q UrLPf.Ir
HA3 AXIIIIK NAZ AKHCHIK

Moderato
 I:J I
q-UF+ aULbSfi
BAPI IIAHEIII{ VARD TSANETSI
Chpurd
IIIeparr
Sheralr
Moderato

uu'IlbFl" bl-ur,
AMTIEPH EJIAH AMPERN YELAN
Chpurf
IIIeparr
Andante cantabile Shelau
132
U.LUFU3FF+UCS
ABAPAITPU AAIIIT AVARAYRI DASHT
Q[{uti[t
[anunanu
Tempo di marcia Jivani

74

n.L Uf'FnI.L, UbFnI.L

OB CI{P}'H, CI4P}'FI OV SIRUN, SIRUN
Q[{uolt
!,;rilnaurr
Jivani
Moderato
 I3:)
+bIL qf'Cbft E
IEP II4IIIEP 3 DER GISHERE
Q[{u0lt
flaiunaulr
Jivani

r-.-:-'-.'

'-.-:----..-/

eLqbo
TOBAPIIUI FRIEND
Qf{uoft
,II,xrrcaHrr
Andante Jivani
r34
Iru3FI.rr
MAITPI,IK MAYRII(
Q[dufift
[rrlrnann
Jivani
Moderato

uqFsuq uu,QbF
CTII4TAKMA3EP SPITAK MAZER
Q[{u0}t
[;srrrr:uur
Jiyani
Allegro moderato
79
 I:t5
<nq-f.q
OBIIH I{OVIK
.Qll[urnlr
Moderato ,\;rirruarru
J ivuni

80

UUUNF],UUTTF
CAC}TI{ACAP SASUNASAR
Qhrlurlih
,[xirrnaHu
Allegro moderato Jivani
r36
qbtbSqnl-<nFr
TEXEUIIy'aH GEGHETSKUTTUN
Q[{u0[t
fiaillnaun
Jivani
lVloderato

<uutrbFb',
<nqr.u
AMEEPE, OruC HAMBERE,HOGIS
Q[{utfi[t
[;rirrrittrlr
Jivani
Moderato
 137
UIL, LUQI;LI'U
AP, HASEJTI4C AR, NAZELIS
Q[{ufilt
f{;r'irltrnrrrr
Moderato Jivani

84

cutunF+oFbF
ASAXOPI OPEP DZAKHORD ORER
Ah{u0h
,[a.irrnarrrr
Jivani
Andante
138
eLenFLI.<h+
EJIEYJII4ITtr BLBULI HID
Uur3urp-l,nrlur
Casr-Hona
Moderato Sayat-Nova

tlItuLSb9 h'L? qnLr.u

APAHU KEB I,IHq I{OHI{M ARANTS KEz INCH KONIM
Uur;urp-l,nr[ur
Caar-Hona
Sa1'at-Nova
Moderato

--:

--l---tE -
tl
rr-..-__-j
 I:J9
uetuuF<nFIIU
utuQr.uuch
AIIIXAPYIVTCAX IIUM I{AIIIII
ASI{KHARUMS AKH CHIM KASHT
Uur.;urp-I, nrlur
Ca.sr-Iloua
Sal-:rl-Nova
Andante

88

3 f.U qULQ0I.U f'U LULUI,bL

YIS KANCHUM IM LALANIN UC KAHTIYM I,TMJIAJIAHI4H
Uur.;urp-l nrlur
Carr-I{ona
Largo Sa1':rl-Nova

89
 140
0FUSI.qnFqUU tUFf'e FLFIII.L
YCTI,I IWTAC XAPI4E EJIBYJI
USTY KUGAS GHARIB BLBUL
Uur.|rup-I,nr[ur
Canr-Hoaa
Moderato Sayat-Nova
90
\-- _.-=

-..-:_-../ tr--'

,a\

rrbour,QuPut
uctutlF<u
AIIXAPC ME TTAHA?I{APAE
ASHKHARS ME PANJARA E
Uru.;urp-Lnrlu
Can'r-Hosa
Moderato Sal at-Nova
9l
 141
trOn3f'
EPOITI4 BROYIE

Uur;rup-'1,nr[ur
Caqr-Hoaa
Sa)'at-Nova
Moderato
g2
142
UFI'I.LC Ul,tLUd qUL
API4 IIHtr3 AHTATI ITAT ARI INDZ ANGACH KAL
Uru.;rupl"nr[ru
Canr-Hona
Sayat-Nova
Allegretto

+nF1,Ll, <nFFf.LFU
trYH 3H YPI{H I{C DUN ENH URIN IS
Uur;rup-'t'nr[ut
Ca-sr-Hona
Sa;'at-Nova
Moderato

94
 t 1:)
3f.U nbtbffbfdL ?f.Uqf'Sh
UC KY XUMETH [II4M IIITI{
IS KU GHIMETN CI{IM GITI
Uur;urp'1,nr[ur
Caxr-I{oua
Sal'al-No.'a
Moderato
95

3bU lfb rLUfrf.F FIJFI-LI'qbu

I4C ME XAPI,IB BJIEYJIII IIEC
IS ME GHARIB BLBULI PES
Uru;urp-l,nr[ur
Cagr-Hona
Moderato Sayat-Nova
x
 QhU UUNFU
TINC AC}'I{ CHIS ASUM
Uur;urp-1,nrlu.r
Caa'r-Hosa
Sayal-Nova
Moderato
 115
.IlUSIrf'O+ tULUUn q- UCUO
IIATKI,IPKT XAJIAMOB ITAIIIAU
PATKIRKT GHALAMOV QASI{ATS
Uu.;urp-Ln{ur
Caar-llonit
Sayal-Nova

98
 UIruLQU
HAMAHIIA KAMANCIIA
Uur.Jrup-l,nr[ur
Cast-Hoaa
Moderato Sayat-Novn

99

.'G/rsr

!
 147
Lttfl 4lLlP
HA3 IIAP NAZ PAR
U.Ulhpuur[4p;ur0
A.Alexcarr,qpxrr
Moderato grazioso A.Alexandlian

100

espfess,vo
r48
LUQbl-f.
HASEJII4 NAZELI
U.U1hpuur04p3ur0
A.A rt'ricarrgpan
A.Alexandrian
 r49
cuLLltun
IIIAJIAXO SHALAKHO
{ur;\. dnr1.qup
Aptrr. Hap. Talreq
Andantesostenuto Atm. folk dance

_\r/ \+, ,_,...../ -=i e\::

t.....--..--. --.------..-
!_j

\__-- -__i
150
cnPno
{uq\. dnq. qurp
IIIOPOP SHOROR
Apv. rrap. rarreq Arm. folk dance
U2u\.'f}.Upnrti;u0lr
O6p. T.Amylrrrra
Andante sostenuto Adapt. T.Altunian

103
152
SUl,qbgnl-oh
qU'uU3t'4IttO

3AHIE3}?I4 ZANGEZURI
IITEHCKI{ff TAHEU WOMEN'S DANCE
U.lllbpuur[4p3rufi
A.Arericartqparr
Elegante A.Alexsandrian
x
104
 153
trutusuq-uf.h
rl-urprupurrfr\ur 0rugI qurp
EAXTABAP14 BAKHTAVARI
rarre4
Iterpa6axcnuiracellcriul"r Itarabakh women's dance

Allegro moderato

105

chPuqh cnl.pQ rrlu.o

III,TPAITCKUITKPYIOBOIT TAHEII
SHIRAK ROUND DANCE
{ur;\. dn4. ulurp
Apnr. Hap, Tnrreu
Andantino Arm. folk dance
 I ';)

+I'Lf'QUl'
trI4JIII?ITAH DILIJAN
{ur;\. dn4. qrup
A1xr, na1l. riuterl
Allegretto Arm. folk dnnce

x
107

- a' - <
Da capo al Fine
156
9nI'ftLI' SOLqh
3}?HII TPHII{ ZURNI TRNGI
{u3\. dn4. qup
Apu. rrap. ratreq
Arm. folk dance

r08

n?uoh
ullf'snFl,nF
I{OIIAPI4 KOTCHARI
MAPTYHI,TFICI{I4ll ]UARTUNIAN*
{ur;\. dn4.qup
Aplr. rr:rp. tarleq
Arm. folk dance
Allegro marcato
 157
qUSUrr 'IIT.I.tl
IIYTOqHbIIT TAHEU FACETIOUS DANCE
{ur;\. dnr1.qup
Apu. rrap. rarrcq
Scherzando Arm. lolk dance

lt0
158
{bo-q_bFh
BEP-BEPI,T VER-VERI
{ur;\. dn4. qrup
ApM. Hap. Tatreq
Arm. folk danr:e
Andante amoroso
lll

Allegretto con moto

poco tccelerando
 159
1,NFl,NF$UF
HYHY(DAP NUNUFAR
{ur;\. dnr1.ulurp
Apu, lrRp. raueq
Andantinograzioso Arm. folk dance

ObIrI'
IIEPII PERI
{ur;\. dn4. qurp
Aplr. uap. raueq
Allegretto giocoso Arrn. folk dance

rl3
a t!.--__/
r60
ur,u<bs
AHAI,IT ANAHIT
U.llhpur0qnrgurli
A.Mepanry.ran
Moderato A.Melangulian

F -

,:1'----- ':-___-_____--- -
 t6I
LIII'O3UL U'l-QqUqUO
TAHETIHAr4Pr4rtrCHOft
AEBy[rnr4
NAIRI GIRLS'DANCE
U.U1hpuur04p.1u0
A.Arexcan,qpnrr
A.Alexandlian
Allegretto
ll5
162
0uq_EbonI.LQ
UAXHEilYHTI TSAGHKEPUNTCH
tu.U{hur[u;ur0
X,Anerncan
Andante con moto Kh.Avetisian

cnFcuLr'qh
ilIYIIIAHIIITII SHUSHANIKI
{ru;\. dn4. qrup
Apu. nap, raueq
Moderato Arm. folk dance

II7
 163
<NFLP
}IIATBA RDAPING
{urJ\. dn{. qup
Ap . Hap. rarlcq
Allegretto Arm. folk dance
r64
uosucusb
APTAIIIATI4 ARTASHATI
{ur.;\. dn4. qup
Apn. nap. TaHeU
Allegro con moto Arm. folk dance

ubq_uLh
CEBAHU SEVANI
U.U1hpuur04p.;ur0
A.AreHcaHApHrr
A.Alexandt'ian
Moderato
120
-
 f,UI'Fh
HA}IPII NAIRI
tlUlhpuu04p;ur0
A.A.nencaugpan
Allegro scherzando , A.Alexandrian

t2l
r66
CnI.Oh trUr|-+U+nFFI'
ruYPII BAIIAfYPI,I SHURI BAGHDADURI
{u;\. dn4. qurp
Aplr. nap. taueq
Vivo Arm. folk dance

nI.2nI..I,+UOU
Y3}IHIAPA UZUNDARA
{ur;\. dnry.qurp
ApM. Hap. Talreq
Moderato Arm. folk dance
x
t23

Grszioso
I t L
 t F slt F 1[. GIL6h\, 167
TPETIII:il PABIDJI
SECTION III
OnFf.q qI'bU
MAJIEHT,ITA'I fIbECA LITTLE PIDCE
tL.Ulr0uru.;
ur0
Allegro moderato I.MrrHacarr
G.Minasyan

--..--.---.--l.
168
Li[lI.Ul,3Uq qf'CbF
hu;\. dnr1.hpq
J]YCHflIT TIIIIIEP LUSNYAK GISHER
apM. uap. flecrm arm. folk song
U2ur\. td.Upnt0;utfilt
O6p. T.Arqrraxa
h+^ r Adapl. T.Altunian
 169
bu LUbSr'uFu.|"nFccu3],
EC JICEIII4 MI4 AH}'I[ [3AfrH
YES LSETSI MI ANUSHDZAYN
{u;11. dnr1.hpq
Aplr. rrap,ner:trx
Arm. folk song
Andante

qnML ultu
ITY?ITHAPA KUZHN ARA

Naturale
170
uLuq3u'e
AJIATflS ALAGYAZ

'
Moderato

fdNt FLENFLQbFqb
TOX EJIBYJIITEPIE TOGH BLBUL CHERGE
rrnrlfrrnruu
Itornrrac
Komitas
Andante maestoso

p - \--_
 171

lF-

.'--.-----...'..--
-_:__) )_-. - -__
J ' - r

tun0<nl.ft+tunFf.L
XOP}'P[ XOPI4H HHORHURD KHORIN
fu rulurnnrp Surpo0hg[r (XII-XIII rp) {I2url1.'Qnrllruruulr
XtruarXp Tapoueqrr(XII-XIII n.) O6p. Ilolrrrraca
KhachaturTaronetsi(XII-XIII c.) Adapt. Komitas

inD

inD

inA
172
 173
Ul'f. q_OFOQUl, I.U
IIAHII B)TPtr?ITAHIIM KHANI VUR JAN IM
Uru;urp-tnr[ru,rl2ru\.'IL.Upnr0;ur0lr
Caar-Hona, o6pa6, P.A.rr5ruxua
Sayot-Nova, adapt. R.Altunyan

.) \.-j \.----' .-J -\lt .----:, - r-. -.-!

+
#
.J t'
p

A I

a)
174

AJ \---:/' \.._._-.-/'

.) ))

a) \----:-/ ..-_____-.., D

a) P

p
 175

a tempo
176
UNFFE.UNI.OF
CYPE, C}?E
SOURB, SOURB
U.b\riur6ut0
M.Ex,uu.rstI
M.Yekmrtlian
Andante cantabile

Ilass
duduk
< >

a ',.---/ +
f 'D
p
t

a - ? t - J J t e
p p

p f

-<l> >-

1U - + - +
l J [ ] 4
n" PP
>-

-:=- PP
 177

a) e
nf
A

o e e e
mf 3 t
A

mf

Iru3F UOUUbUObFnq_
CJIESbI APAITCA
TEARS OF THE ARAKS
A.USp[surO
II.A{rpnnan
P.Atlikian
178
<us{uo 4rustlFuqha
OTPbIBOIT II3 JII{T}?IIII4
EXTRACT FROM LITU
U.b!rIurgu0
M.Eriua.rarr
M.Yckmalian
Lento

a) e +
o o
z.-

Andante
 179

a)
f

o e

I t) |
d

e 4 --_:__:_-' A 4 4
-

n '
180

np p

o +/ -

') t'..--J'
re}

>------"
 I8I

trU qf'CbP, LnFUL3Urr qbObP

3C frrlrrEP, JrycI-IflK TI4IITEP
ES GISHER.LUSNYAKGISI{ER
knrlfmuru
Itolrrrac
Komitas
Nobile
inD
aJ

inA
d ---

inA
o e e 4 I e e

inA i-..'.......-...-
r82

U --

----/ ---.-_i
--

d 4 . 1
 183
UIrl,U tr[}nF'LIr
AHHA ITPYI{K AKNA KRUNK
U.fdnulurd;ru0
U2ut\.' tIp.Uurfr4ru1gur0[r
M.T;nralainn
O6p. fp.Carrga-rr5aiarrir
M.Turna<:hian
Adapt. Gr,Sandaljian
Andante
inD

inA

inA

inA
184
gu.Ftruuul-r.t bl,c
3APMAHAJI}I E IIHtr3 ZARMANALI EII UNDZ
tunupnrllrqnrlurn(VIII q-)
U2u\. A.Uur04ur1gu0[r
Xocponrr4lmr ( VIII a. )
O6p. f .Carr1.t-'rt;rixua
Khosnovidukhl (VIII c.)
Adapt. G.Sandaljian
 185

'P'=------/
186

___EI-
" i - s .

o f

o . ? G ---_-------------l
f

o+
f
I

167
Q{r e fl {h f,r+- Gur^dF-F\v
IIETPIEE PTlilifi JT
P.I$.BtrB
SECTION IV
ILUUS
PACT RAST
Ad libitum
F urltgnt2rp:Dapduutnt.. Bardosltt '

IIurlh muurp: lllrtri.c Ttttcttt. X[u e rnsl-

'-:_:-'/

II

|--------"'

6
188

fl r2rug:11tr.az.Ushug.

(trutq filt: tri'<,itrttr. ) I ooscyrtir,.

Allegretto

Ad libitum
4 f1ut1tuplu But a n mt.llil tty ttly.

-{--/
a'_---/ -::-=/
 - - a - a a - 2 -
1

A\ry1wurTult. lttuptt:
IIIru;ncnrtu lxtpc. ShiI;rtsluyie .fttrs.

=::-_=-' -,-----i <--:_____----'<--

Uruprupfiquu ll[y6tt1tprtztt..ll[trborrighn.
 t9:l
enI.f'
Ad libitum
 , A

Antplr 2u t\utq: IlIy ltrt-t tttt "trru:t. Sltrtri sht nttz.

Ptulurplt htuoutl: Banttru zadwop. Beyat:ll ltejor,
3 r . t
. Allegro moderato
 t97
ubq3u{
CETflX SEGHAI{
Ad libitum

1-31 ' p-.? p-J1

'a+ .at 1

, fi-_i_-_1--s >-------" +'-/

poco accelerantdo

a tempo
t98

\-.--,
Aftplruurputlt $ruput
Illur;ncmqu Qtapc.Sltil:ustayicJars.
. s A

Iflnryruppfiq1 ut, Mto6op1trrzn. Ilh tbanti gl t tt.

Allesro moderato

: . + . . a+ a+ .*
200
?uoq3u<
qAPTflX SHARGHAH
Ad libitum

a A

.'--.---'-'--

3 )

-;_1;3r r-'--z -=_:_::= aJl!).4 r_,2

lItulh 1uq41tult lllctc'tttpzn.t:. llIu1Jc clttuglt ult.

t-'-2 ,--_:)
accelcrutdo
FlutuEh Afi 7ut1.*E n eura-nu zap. Bya ste-nigl n.r.
 20:i

ltuuwlt \acap. IIassar.,

Ifnlutullg.
Il[y.ta t u Qt. tr[t rI;h o IiJ.
7
Allegretto
 205
ENFESUF
IIIYIIITAP SHUSHTAR
Ad libitum

Itwpplrp:Tapm6.Tarl:ib. I0
 3 3

mf
 207
PU3Uf}T'ebfU9
EAflTbI IIIIIPAS BAYATY SHIRAZ
Ad libitum
 Frulwpf ftu$urhutfi: Dunntr,t uctlxttttn. Dalluly is.fithrn'
7

7
purfru0lur, pu0n0l' ru110):
hrurltup_(purn.
* urlhft rrur0 dru30urourrlruln{0r[u.rqrupruo0hplr
c 6o.ree lrtltporill:\t ;llttlnlrilolloll Il
(rap, tirtrratlra' Iilrlolr 'll)''l'
g,io-rtrrctpyatattton
(lrlr, klnliur<:ltit' k{rlon clc')'
ho" thc insilt,mcnls $ilh NidcI'r'lnge
I
209

a tempo

fuurlhpu(c
\uee1nu.I{huuextn .

\1 ntqqul: Xrosaa t. I lyu zzal.

210
 2II
<nFtru3nI.l'
XYMAFOH I{UMAYUN
Ad libitum

-.1
r-i-t t- J TJ

----.1r- Jr
f- J

Xrblth
212
Ad libitum
e n t2r1tut1
"'
I I Iy u t tt t t t p, Sl rrt sh t ar.

d ruqqutp Xrcaaan.Hyuzzal.
7
Andante
 :.1I5

bOUdCSUqU\, nf'nC {UUr{U3OI-fd3nI.Ll,bf!

HEKOTOPbIE M}t}bIKAJIbIIbIE IOIUITI,I'I
SOME MUSICAL E)GLANATIONS
Crescendo ruunlr6ru0tu\ru 0 prupdpulgnulp 02tu0ur\{nr[ t crescendo
{02nr1nLp3u0nrdq0nr.p..;ur0
pLunn{ (t4h2h0ryr,\pdLuLncresc.)!LurI ul.ltul02ur0n{:
flocteresnoe yBelnqeH[ecl.ulbr3ByqaHuq o6o3Ha.raercscJosov cresccndo(corpaqeHuo
cresc.;IlpoHSHoueHHe - KpeUeHAo) rufi srl.rM3HaKoM.
Cresheudois a signof gradualstrengthening of the sound.

Diminuendo {02nqrrrp1ur0 uuurlrdru0u.rlltu0 0qurqmllp 02ru0url1{mri I decrescendo(4b\ph2h04n. !ldruur'

deruatc.) qlud Din.rinuendo(4[rf[0nLhc4n. lpduur' diz.) punhpm{ [ull ulr]_;u102u0n{:
flocrenesuoe yMeHbueHr{e cuJrbr 3BytraHlr o6o3Haqaerca qJroBaMr dirninuendo
(corpaureHuo dim.; tpouzuoueHr{e - A}rMHHy3HAo)n decrescendo (coxpauleHHo decresc.;
npoH3HoueHtle- qexpeu:euaci), a raKxe ]TlM 3HaKoM.
Diminuendo is a sign ofgradual weakeningofthe sound.

Volta .l]oLSU' \p\0nLp}u0 02tu0 t. npO oqrnu.rqnpbr{mrl t, bpp hpLud2mr.u\r.u0 uurhrl-

Oruqnpdnrp.;nr0g \rurl 4pLu b hrrruqubg l4r\Or{nult rnrunFhnLlhp2u{npnrplnL00hpm{:
<ruulr-luql, npn uthurpt tttr\orlh, umulho u0qruU urLlurpu{nLrlt l-fr0 {npurln{, [ru\
lp\0bgu 1-lr0Llnluu0 prugt pn{0qnlUL r.u{rupr.nr.lmrl
t 214 {n1nru1n{:
BOJIbTA 3HaKnoBropeHrlfl,xoroptrfi ynorpe6,rflercr, KorAa My3btKarbHoenpor{3Be,qeHue
r IH ero orpbrBoK noBTopqercfl c pa3nbrMl-{oKoHgaH[qMn. Orpuroox, roroputfi gonxeH
noBTopurbcr, n nepnsrri pa3 oKaHqHBaercr nepeofi no,rsroii, a npu noBTope oepBiu Bonbra
rponycKaercq u oKaHqaBaercrnropofi roltrori.
VOLTA - is a designation in the note-wdting above the last bars ofany pafi the musical
piece. It is used in the casesofrepeating ofthis part but with different ending. The first volta
designates the final for the first performing, the second one is for repetition.

Accent CbCSQ npl:t dLuJ0hULuUu.r\np4[rrunu-r0d0ugnulg, qurnnrrlp,g04qbmrl0t: L2ru0p

41{m t dLu10!\url u\np4b qbnLmf qrt:f 0hppl,mf:
AI{.pIil BbrAeJrenxe,
noAqepKuBaHneorAe;rbHoro3ByKanJrr.taKKopla. B sorsou nucllre
) aKueHrbl npocraBrcrorcg Har r.r.lrH
noa ror? uoroi Hru aKKopaoM,K Koropor,ry oxlr orHoctrcr.
ACCENT is an apportionment, marking of a separate sound or chord. In note-writing the
accent is put above or under the note or chord to which it concems.

Tenuto Ulduur' ter.) - 62r.nnpb0

SbLnI.Sn (r4urhqr.u0L{ur}, qurhqur0bl 0ntnru0hlfrurLnqm-
pgm00hpp:L2ru0p4prlnrrlt 0nuru0bpfrrltpLrnLri\urrl 0bpphLrl:
TEryTO (asqepxaHHo, /ea. ) - rovuo Bbuepxarb3ByKuno ,&rr{reIrbHocrr.r.
J coKpaueHHo
9eprovra npocraBrqercsxa'quln noAuorofi, x roropoti oHaorHocr.rrcq.
TENUTO (finnly) - you shouldmaintain the soundsexactly at duration. The srnalldashis
put abovc or underthe note to which it concems.

Staccato USII\USI 02u0ru\mri t drul0hpp 0r{ruqb1ru02r.urnh1n{,\rnprnhp{: khrng 4p{mrl t

0nmLulf L{bpLrnI11u: 0bppLn l'
CTAKKATO - o603HaqeHue
J npHeMar{rpbrorpbrBl,rcrbrM
rururog xorofi, x xoroporioHaorHocltrcs.
:nyrov. Tovra nposraBJrrercr
Ha[

STACCATO is a designationof the way of playing with an abrupt sound.The dot is put
abovcor undcrrhenoteto which it concems.

Glissando ALhUU'Lr+n ([p6ruu' g/r3s.)- 0Llurqhlm hu]rnnrU6h, rlfrh05nr0fr94bqf rllnru h01nr-

0p tupu-rquuhnq, 2p04rif2r{nr1
hO1nrOulqlrb: Lnuruqpnrplru0 rib2 02{nrrlt h02;mOurqblr
fr- runuplr0 L Libp2|r0dru1Op,fru[ rlfrgur0\.yru1
du-r10bpp
r r +nluunhOrlnr h0 qblr\m{ \urr]
urfrprudLqbn{:
I IJMCCAIIIO (corpauesuogr:ss.)- oco6bli npgeMHrpbr,:ar,rn,rarculuirca B 6brsrpoM

l-r cKo,rb)KeHurror oAl{ofo 3ByKaK ApyroMy, npuqeM B HorHoi 3anficu o6srvxo uornpyrcrcr llrurs
uaqa,rsssrri t,t roueqsufi 3ByKu naccDKa, npoMexyroqHble 3ByKr{ 3aMeHrrcTcl veproii tlu
sonHr-{cTOri,'luHuei.
GLISSANDO is a special way ofperfon.ning consisting in fast gliding from one sound to
another. And only the initial and thc final soundsofthe passageare noted in note - writing.
Thc intcurediate soundsare changedby a line or navy line.
2t6

SnnCLUqC Uh{hryr nptrt hfui0tullut0 hGlnr0fr0 0urtunpqnrlodu04tu\ h0!m00 t:

Lfr0nul t 2 r,nhuurll'llupd L bp\rup: \tu1td $np2prqp Uuurunqnrf t 2ruur \rup6 t-.qfrurLhg
qbLlLuO t: Qt\rupg' hful0urllu:0 h0gnL0ft mLrnrlnrplu;O hu2r[r0, 0pLullbuft 2rur]r:
OOPIUIAI - yxpaurarouui ecnor4orate'IsHHr,ri :ryx u,rr rplrna 3ByKoB nepeaocHoBHbrM,
yKpauaeMbw:ayrou. O6o:uavaercq Me-rKllMrlHoraMlrH He nplrHr4lraercflB pacqer npr4
pHTMTqHOCTH fpyn[poBKe HCrrB TaKTe.PaUararor roporxrri r.rao,rrsfi Qopru,rar.Koponcm
nfiurgrcqo6rt,lgo B BHAeBocbMoic nepeqepKH)'rbrM BKocblrJrr{JreM.,{on'ri Qopmlrarnuruercr
verroi scnofic HenepeqepKH)'n rMrurt{JleMI.rficnoJrHsercfl
3acqer BpeMeHI.t ocHoBHoro3ByKa.
GRACE NOTB is a kind of melismas(melodic omamentations)to omament the auxiliary
sound,or a group of soundsbeforethe main omamentedsound.It is designatedby small notes
and is not taken into considerationin the rhythmic grouping of thc notesin the bar. There are
short and long GraceNotes. The shorl one is usually writtcn as an eight-notewith thc crossed
out obliquely stick. The long GraceNote is written as a small uote but with the none-crossed
out stick and is oerformedat the expenseofthe main sound'stirne.

Uqr4h0ur IJIlI4bluS t u0r{ru0r{nuJrlhrlh4nrnpl-.t hfitlOtultu0 h01nt0f . 4pu tlbpl,}t lLutl Obpptlt

odu04u\ h01nL0|r L urulu 0nnhg 0nrj0 hlr 0u\u0 hOgmOf uluq
hugnp4ru[ru0nrp.;nr0p: tlnp4h0urp qlh t u:n0{nLf np{ut} 02u0nLl, npp $0nL t 0u-tt.
llpLul[g qd{Lu0:
Un{ngu\ur0 dnp4hOtn u0r{ru0nrrl h0 hpbp h0!nt00hnhg' hltti0tullu-tO h01nt0}t,
4pu0lrg \bu \rurJ rlf urnO0hppl,f odru64ru\ h0gnL0f L tuul.u 0nplrg 0nr10lrfLi0ulu.t0
h0lnLOfrulpuq hugnp4ru!ruOnrplnrOp:
4p !!ttltu} np4b0tnp qrur.nurpbtlu hfui0ur\Lu0 h0r1nL0lrghbrnn rltpg0uL h0 0bppl,lt
odruG4ulIh0gnr0p:
.++,, kn!0utltb dnp4h6utg gnr-19 t r.nrufru h[tl0ur\ur0 h02-;nL0[tL hurtluru.ltumuulutu0
odu:041u!h01m0f \p\Onr\fr hLu2np4ru\uOmp.;nr0:
4* h02qbu rlnp4b0urp,t11l\0ru!f ilnp4bOug 0nL10u1hu $OnL t qb{u} tr 2q}t[utt:
Mopaenr MOPIIEIIT - MenoauqecKoeyKpaueHl.te,3aKfiorraouleect s 6rtcrpov qepeAoBaHt'II4
ocHoBHoro 3ByKaco cMexHbtMc Hl,rMno BblcoTeBePxgIrM l-t,nnHuxHltMBcnoMo,faTqnbHblM.
+,? Ilpocroi uopnear cosrour l: Tpex3ByKoB:ocHoBHoroMeroAriqecKofo 3ByKa,orcrosu{ero
oT HeroHaToHt,nu norlToH BePXHefo BcrroMoraTenbHot'or loBTopqnuefocqocHoBHofo.
4/? Ilepevepuyrrrfi vopnenr rapKe cocronr H3Tpex3ByKoB, reprstir l.tnocreauni x3 Koroptlx
qBrttorcqocHoBHblMt{, HoMexqyHuMLI ne><urue tepxtt-li,a xnxHrrrjecnoMoratertsxstii.
.1..,v Apofuoi MopAerrrcocroHT r.r3fiqrx 3ByKoBiaByxKparHor-o eepeloBaHrt ocHoBHoron
BepxHero BcnoMoraTerhHoro 3ByKac ocraHoBKoi HaocHoBHoM.
4t+ Ilsofuofi repexepmyrrul vopqerr no crpoeHuro cxoxeH c Henepe\epKHylbrM, Ho
gcnouorare,'rrsrrin xen 6epercaurxxt.tft.

Mordent MORDENT - is a rnelodic omamentationconsistingin fast interchangeof the main sound

with the next to it upper or lower auxiliary sound.
+? Ordinary mordent consistsof 3 sounds:the main melodic sound,the upper auxiliary sound
which is a lone or semitonenext to the main sound,and the repeatingrnain soundagain.
* Crossedout mordent also consistof 3 sounds,the frrst and the last ofwhich is the main one
but betweenthem there is the lower soundinsteadthe upperone.
++t Double mordent consistsof 5 sounds: that is twice interchangeof the main and uppcr
auxiliary soundswith the stop at the main one.
4? Double crossedout morde,ntis like the double mordentby structurebut the auxiliary sound
in it is lower.

SObL (!ndurn' tr:) ur0rlru0{nLrit hqh4nt nplrt hlttJ0u:\ur0 h0lnt0ft l' 4pLu0}tgtih\
ururnfrdur0r{bpl,qur0rln4 odtu04tull h01nL0lt tupLuql, htu tu2urf !p\0mp.1m0p:
TPEIIb (coxpaureHnotr) - MenoAHqecKoe yKpaueHxe,cocroquee n: qayx 6stcrpo sepegy-
loulrxcs 3ByKoB,ocHoBHOnO A BepXHerOBCnOMOrarenbHOrO, Ha,\OACUeI.OCC rOHa
Ha paCCTOCHtIH
r,rJtl.no,tyroHa or ocHoBHoro :nyxa. flpoqonxurerbHocrb 'Tpe.'llt
paBHa!rr,IrerbHocru ocHoBHoro
3ByKa.
SIIAKE is a rnelodic omamentation consisting of two fast interchanging sounds, the main
and the upper auxiliary one, which are in the distancc at a tone or semitonc from the main
sound. Tl1e duration of the shake is cqr.ralto thc duration of the nain sound.
 217

bnUdC SUI{U! SbnuT'f'f,bll

thluubqu3h quu nl.dqlnl.fd3uu lcul,Lbo

hwutlhph? ubptrt0Abp Qpdutu 02{aul t hal4ug[aul t l4w0w|nt t

piano-pianissirno pgp qlrur0n-qfrur0frulnln lurdruqur0g ilb4tl

pianissimo pp qlru0[ufuln 2ruu ilhr1il-
piano p q[ru0n tlhqti
merzo-piano np rlbgn-qltu:On lhu tlhqd
mezzo-forte nf rlbgn-$nprnh lhu ntdq[0
forte f $npub ntdqh0
fortissimo E $nprnfufliln 2urn ntdqfO
forte-fodissimo ffi Qnpurb-Qnlurlrululn lu.ulruqu0g ntdq[0

+fr0urlfr\Lu1fr02ur00hnhhhrn hurdru]uqnJr]tu]tlnul h0 pii (u1nr.'ru{hft) l, meno( h0n' qu\uu)

purnhpp:

SbIFtle bq. UnU \rCnFIIe

blurd2rnu\tu0 uurE40urqnplmplur0 ltruruluprluO rupurqnrp;m0g ru0tlu0nt h0 rnh u4:
purnhpnLl:L[r0ntrl h0 4ru0qruq, lu+ru{hp t u.rpruqurhrlqhp:
Sbrlql 02mrlt0 rlh& rltuururlpJruru:1hph0

+uu+u1 sblrtlbrr
4p{atuft' kutp4wgntault l4uAutSntt
Largo lunqn 2urm4ul04ur4tu.u0
Largetto lurlqhum Largo-lrgilh qrnpnurnuq
Lento th0mn 4u04uq, dqrlur0
Adagio ul4rulhn 4tu04u:r1
Grave qntx{h btu0p

ououq.nnsbunrbn
4p{mtt Qutptlutgtault l4tudwlpilt
Andante ruO4urOmh hu:04urprn
Andantino ur04ru0ur[0n Andante-fgrlh rhnpnu:nuq
Moderato n4hnuun lur+ulrlnl
Sostenuto unuub0mrnn qntuul
Allegretto rulhqphtnn pullu\urO ru2|um1d
2t8

ueuq sblFtbo
4plntt Stuppagtnf t l4u0ulnuI I
Allegro urlhqpn upruq, ur2funtld
Vivace rlhtlurh tu2funLld
Vivo ${n ru2|un11d
Presto qptuurn zul'n tuluq
Prestissimo qlhuurfru[ n 2rutlurqu0g tupuq

SbtItIIn LCIIITUqUIr1, U3L SbfiIlhl,Lbf'

4p{ntt Qtup4utg{nul t I'2utfiuQauI t

Accelerando (acc.) rulb tLFu 0rln Lnh q}r ruuufr6tu0ruprupr-upu_rqu_rgnul
Ritardando (ritard.) pfLnup4ru04n nbf qf uuLnfr6u0upup 4ru04LuqhgnrrI
Ritenuto (rit.) pILnh0mrnn Lnh[qI ruurnfrdu-rOuprup 4ru04tu4hgnrrI
a tempo ru mbUuln OtufuQf0rnhrlq
non troppo 0n0 upnqqn n2 u:30pru0
poco a poco qnLln u qnln {rnpp urn rfrnpp,uurnfrdu,r0rupu:p

brtUdCSUqU\r Usbrloqqneonl.fdStn' eLqtnrnFn Alnl.Afde

8nF33 Sq.nfLl,cnFtnrbrr
4p{aul t Qup4ug{ntt b2tu0utlnuf f
Animato ruOfulu:urn ru2pm3d,nqLnp{u0
Appassionato u:qruuIn0runn \ppnn, furu04urlrun
Brillante Fnh1tu0uh rJnu11m0
Cantabile \ru0Lnruplrlh bnqhshLl
Dolce 4nuh p0pm2,rih4rl
Energico t0b19[t1n hnur0rpr0
Eroico tnnh\n hhpnuur\Lu0
Espressivo turryrhuu[{n urprnulhru.;
nlr2, ruq4m
Feroce funn{ruhnr1q,rlnlhqfr0
Grazioso qpurg[nqn 0uqhg, 0ppuqb4
Leggiero lbg2hpn pbpl,
Maestoso rluhur.nnqn tlhh, hru04frurutlnp
Mesto buurn ulluml
Morendo npt04n 0rlur4h1n{
Patetico qLunhnflln |unp hntq nt0pn{
Pesante urbqru0rnh btu0p, bruOpull12fn
Scherzando u!hp9ur04n dlrp, L1ru1mu:n,lrumu\ru1fr0
 2t9

u3L Sbnuhl'rrbn
4p{n[ t ttryt4ug{nuI t T4ut0tulpttl t
Ad libinrm u4 frpfrmnLr-l puurgru0\nrpp:O
Agitato r.ulhulumn hmq{ru}
Allargando upupqru04n 4ruO4ru4hgObprl
A1 segno u-r1ub01n riir02Lr
02u-r0g
Amabile u urp[1h u|nrutrl
Amoroso ru npnqn uFFrl
. Assai u.ruuurjf 2ulul
Brio, con brio pplrn, \n0 ppfrn Qprulnur,nqLnpnLpSurlp
Calando l1ur1u04n 0,1-qhg0h1n{rupruqmplnrop
Cantilena \urOmlr1h0ru hpqul]r0 rlL4h4fr
Capriccioso lruu4rfr22nqn prluhrud, qru rultnnntpJuliF
Coda lln4* Qn4ru,rlhlprurlnpntplnr0
Con anima \n0 ru0firlu nqt,npnrplullp
Comodo \nrin4n hru0qfrutn
Elegante tlhqruOmh Onpruqbq
Espansivo tuqru0ufr{n uprnruqh4,upurupmfu
Espirando tuqfpur04n 0{urqblml
Fine q,hoh {hng
Giocoso 2n[nqn ru2fumdnph0, ntpurfurufir
Gioviale pnL[lu1b ru2]unt1d,
mpru]u
Lacrimoso plpfulnqn rupuruu{rufr, lugu\mrlur}
Libero thphnn ruqum
Lieto firhun nrpru]u,qrlu:pp
Marcato rlupl-1urun 2h2rn{rub
Marcia rlLuJr2[lu pulJthnq
Marciale rirup2frulh nuq ur2nt02
Mobile rlnpfilh 2ru1dm0,phpL
Molto nlnn 2rurn,2uln ru{bfir
Mosso dnuun ur2]umdugrub,2rupdnL0
Moto, con moto rlnrnn,!n0 rlnmn 2updmrl, 2u:pdmrintl
Naturale 0rurnnrprulh p0tu\ru0
Nobile 0nFhtb u:q0{ruprupn,{bh
Pastorale ulruuutnpulh hnrl{hpqrulur0
Poco ulnlln phl
Pocoa poco qnln ru qn\n hhurqhhurh
Rubato nnrFrurnn u:qu_lnr-nhrlq
Segno uh0;n 02ru0
Sforzando u$npgru0qn unrufidfr0h05nr0fr\u_ll u\np4fr
hru011ru1dru!fmdhqugmrl
Simile ufnlf1h 0m;0 dt n{
Smorzando urlnpgru04n 0quqbg0L1nq,rirupbln{
Sottovoce unr.nmnrlnlh \]rurudrul0
Spirituoso,con uulhnlunrnqn, llnO nqLnpnrplrurlp
spirito uqlrpfrLnn
Tutti mnrnurlr pnlnppdlruulr0
Valse r{urlu {u_rtu
Vibrando,vibrato rlfrpnuOrp,Llfrppururn pnpmug0blnr{
220

MY3bIKAJIbHbIE TEPMI,IHbI
MUSICAL TERMS

IIIIHAMTIECKI4E OTTEHKI4
DYNAMICNUANCES
llrarnmcroe rqlr,mr Corqlaqemo 3sacemre Meaning
Italian terrns
piano-pianissimo ppp vpeaasrvaftHo
rnxo very silently
pianissimo pp oqeHbrrlxo veryquietly
piano p rHxo quietly
mezzo-piano mp HeoqeHb middlesoftly
mezzo-forte mf HeoqeHb middle loudly
forte f rpouro strongly
fortissimo E oqeHbrpoMKo very strongly
forte-fortissirno ffi vpe:suruafiuorpovro extremelystrongly

Hnoraax alrnaunqecKuM
orreHKaM croaa piur (nsro- 6o,,ree)
npficoejluHrrorcr - lteHee).
rr meno(ruleuo
With dynamicnuancesoftenareusedthewordspiur (more) u meno(less).

TEMNOBbIE OBO3HAqEHI4JI
TEMPO DESIGNATIONS

CKopoclb HcnorHeHr,rqMy3brKilJIbHofonpon3BeaeH[r Ha3brBaercqreMno[a. B oct{ogHov reMnbr o6o3Haqa}orcq

yMepeHHbte H 6blc"rpble.
cJrogavn. Tevnn 6slearctr Me,qneHHbte,
HTaJTITHcKHMH
The speedof themusicalwork'sperformanceis calledtempo.Generallythe temposaredenotedwith Italian
words.The temposmaybe slow,moderateand quickly.

MEiUIEHIIbIE TEMIIbI
SLOW TEMPO

Teptmt Tetms 3sacefirc Meaning

Largo ot{eHbMeArteHHo, trnpoKo very slow

Largetto 6urcrpee ver'.rLargo quicker thaa Largo
Lento npqrDKHo
Me[JteHHo, slow, lingering
Adagio MeMeHHo slowly
Grave hard

YMEPEIIHbIE TEMIIbI
MIDDLE TEMPO

Tepvssu Tetms Snacewe Meaaing

Andante o6uKHoeeHHsrM uaroN{ by normalstep
Andantino 6rrcrpee,qeu Andante quickerthanAndante
Moderato yMepeHHo rnoderate
Sostenuto c[epxaHHo with restraint
Allegrefto aoBoJIhHooxllnrleHHo ratherbrightly
 22t

EbICTPbIE TEMIIbI
QI,NCKLY TEMPO

Tepuos*r Tetms Szaccme Meaaiag

Allegro cKopo vividly
Vivace XI{BO quickly
Vivo OXI{BJIEHHO brightly
Presto o.renr 6urctpo very quickly
Prestissimo vpesouvaftuo 6stcrpo extremely quickly

FTNT,C OEObHATIEHI'IgTEMIIA
OTIIER IEMPO DESIGNATION

Tepwt Tetms Szacewe Mcaaiag

Accelerando(acc.) ycKopf,t accelerating
Ritardando(rr'&rd.) 3aMeArtt retarding
Ritenuto (nZ) c[ep)KaHHo with restraint
a tempo B npexHeM TeMne in a formertempo
non troppo He oqeHb not very
pocoa poco nocreneHHo gradually

OBOT}HAIIEHI,I,'XAPAKTEPA I{CIOJIHEHH' MX}bIKAJIbHOTO IPOIfiIBEIIEHI{'I

DESIGNATION OF CHARACTEROF MUSIC WORKS'PERFORMANCE
Tqw Taas Sncwe Mearing
Animato Bog.Q/rrreBneHHO enthusiastically
Appassionato crpacrHo with passion
Brillante 6lesrsue brilliantly
Cantabile neB) re melodiously
Dolce HEXHO tenderly
Energico sHepfHrrHo energetically
Eroico rePouqecKu heroically
Espressivo Bblpa3lrTerbHo eexpressively
Feroce cBnpeno
ar,rKo, wild, savage
Grazioso rpaqr{o3Ho gracefully
Leggiero JIETKO easily
Maestoso ropxecrBeHHo,BerrnqaBo majestically
Mesto neqaJbHo,rpycTHo sadly
Morendo 3aMnpafl dying away
Patetico cTpacrHo passionately
Pesante TH)KEIIO hard
Scherzando EYTJIHBO wittily
222

iIPYTI'IE TEPMI{HbI OTIIER TERMS

Teptrnpry Tetms 3saccwe Meaaiag
Ad libitum no xenaHuto at your wish
Agitato B3BoJrHoBaHHo with agitation
Allargando 3aue4rss slowingdown
Al segno Ao3HaKa till the sign
Amabile npuqrHo pleasantly
Amoroso rrc6oBHo amorously
Assai oqeHb very much
Brio, conbrio ao:61nx.[eHHo excitedly
Calando JmeHbuarccruIyH cKopocrb decreasingstrength and speed
Cantilena neByqasMenoEue melodioush.rne
Capriccioso Kanpr.r3Ho capriciously
Coda 3aKfltot{HTerbHa9 qacrb final part
Con anima c ryurofi, c t{}tsc'ItsoM soul,heartily
Comodo cBo6oaHo,Hecneua freely,not hurrying
Elegante H3CUIHO, n3bICKaHHO elegantly, delicately
Espansivo 6ypuo stormily
Espirando 3aMI{paq dying away
Fine KOHEII end
Giocoso rxyrJrHBo,I.IfpHBo wittily, playtully
Gioviale 6ogpo,seceno cheertully,joytully
Lacrimoso c]Ie3nnBo tearfully
Libero cso6oaHo freely
Lieto Bece[o merrily
Marcato noatrepKxEaq, Bbl[entt markingout
Marcia MapIx march
Marciale vaprueo6pa:xo marchingly
Mobile no[BIt)KHO mobile
Molto MHO|O, OqeHh much,very much
Mosso OXHBJICHHO lively
Moto, con moto aBr.rxeHI,Ie, c ABI.DKeHlleM movement
Naturale ECTECTBEHHO naturally
Nobile 6rar0poaHo nably
Pastorale nacTy[recKLI asa shepherd
Poco MAJIO little
Pocoa poco nocreneHHo gradually
Rubato cso6oaHolftrenn freetempo
Segno 3H K srgn
Sforzando BHe3anHOe yc[neHHe 3ByKa suddenincreasingof the soundor chord
r.rjlHaKKopla
Simile noxoxHI resembling,alike
Smorzando 3aMnpaq dying down
Sottovoce BnoJlforoca in an undertone
Spirituoso, BOOlyrxeBneHHo, enthusiastically
con spirito c Boo,qytIIeBJIeHI{eM with inspiration
Tutti BCE BMECTE all together
Valse BZut
bc waltz
Vibrando,vibrato nH6pnpya vibrating
 22:t
enqUL+UI{nI.ra3nI.L
ul}u9ueu! 5
< U U U f } OS Sb n b q n F 6 3 n b l L b n + n h + n F t r h t f U U h L . . . . . . . . . . . . . ll
lfttfdn+UqU\, 3nF3n hU-tbn ll
qb3q-uoQ+nt.tnt q LquqbLnt dutruLuq ll
cricuftnFo3nF.'u 12
hL?r\bu ulsqu3LbL uGuQhL rluubnc l3
{ . r J ? 3 n t ' u ] J b nLhn s u c l F n F r d 3 n F . ' u. .e. . . . . . . . . . . . . . . . . . .
t4
uLsbnushu3hLcul,t bn ....... 14

16
26

36
35. tS3nl.'l 36
36.ts3nt .t
3 7 b. s 3 n r . + . . . . . . . .
TUUSIItsF3nFlr'bC(l}rabeff.Lutrllrrlbcnq. .................. 38
rJrrrnrr ?t ?O
3t
4 0 t. s 3 n b . r . . . . . . . . 3t
41.Lnnhl{ I}.IIh[rp;ruG ......... 39
42.qUnLUlU3hL (hururlurd) frr.Urlhrnlruluro 39
tUMlF+ \,nStn' qbsnrl .. 40
.ttupd.43 ........ ... .
40
/|4.CnnnFU UULUO rmrlluauru 40
45.Onnnngu3frL <l.U1rthG;urc 4l
46.<n3 TTUQUL {ur1U. dnq.blrq Ir2urtt.'b.uuta.0Jutafi
. .................... 4l
it?.UL+UfJShLn U.ilu2ulap;uro ..._.......... .. 4L
, f 8 t. s 3 n b + . . . . . . . .
42
49.LnFUUSShT{ {ur3l1.duq.hpq
Suut'rtbgbenr4tlquu LnSUubIr .. .. . .. . . 43
43
52.lruUqf'q lmrltltauru........... 43
44
5 4 .b s 3 n F . r. . . . . . . . 44
55.bnlrquLh qhobnLbf'C llrlqulurucjurc 45
56.$h'uQU! {uJlt.drq.hFq...... 45
57.enehq Qnl.OLrh hnU {,uJU.ds4.hlrq 45
5 8 .b S 3 n t ' + . . . . . . . . 46
46
60.qbrruS bnq 4ruJ\.d!q.hnq (Dutr.'G.WnAJutAl............ 46
61.+UnCh Llbrr UCb clmuur0Chgurrl 47
62.bnttu QU! {urJl1.dn4.bpq U2.utt.'IAU rDrilutqi 47
63.'rlhbu U.euduqqruruur0 48
64.SUL{nFhqh qsFhd {rutlr.dn{. bnq 48
uh AbtmLuudnr quuuu. 49
49
tl.urFd 66
50
6 7 .b S 3 n r - + . . . 50
68.Unl'nF. Unl.nA ll.bqUluuuro 50
224
69.ht-r {U3UUSUL qnluru0<uquub 5l
70.tul.uPu'th pu3lboq q.tfulcurujurc 5l
7 1 .b s 3 n h . r . . . . . . . . 52
unl- LntunrqutJtru.............. 53
. l - u n d7.2. . . . . . . . . . . . . 54
73.hr,C Uh tu!+nh0 U.UuJIUuro 54
74.{hIrqULLU .(ugU.dn4.hpq IDurlt.'O.UIpaAt.uAh . . . ....... )l
75.tS3nl.+ Iu.UqbuhuJur0....... 55
76.bU Uhnbgh {ru1[.dn4.hpq U2ul1.'ft.Apafi1u0l 56
77.UqbnSn lu.Uqhurhujurli 56
7E.tS3nr.+ 5t
79..{nqulhe U.Uuqlu6;ru6 58
unl rrudnll quuull .............. 59
Ltruld.80........... 59
q u r t d .8 1 . . . 60
E 2 .t S 3 n h + 60
8 3 .t S 3 n h + . . . . . . . . 6l
E4.QU't3h enlnl. quluC {ut1\. dn{. hpq U2utQ.'@.UynfiFtt0lt.. ....... 6l
E5.bS3nr.+ 62
8 6 .b S 3 n F + 62
87.UUnqUqbS'LnFu Ucurnlurqu{Uur6 .................... 63
EE.qbnQqUqUL 'rlUI' .I-U.Ungurpu 63
8 9 .b S 3 n F + . . . . . . . . 64
s n h n L. . . . . . . . . . . . . . . 65
.turpd.90.9l .. 65
.Lu-rpd.92.93 66
94.{3nl'Uhuu3hl, UUS'I. U.q}Glrur 67
95. Lhnhququl, {utt\. dnq.blq II2uQ.'b.UpmAptAI.. ..... .... 6'1
6 / tc u o . . . . . . . . . . . . . . 68
. L L r p9d6. . . . . . . . . . . - . 6t
97 bs3nl.+........ 6t
98..[Un q.Uhourujuro 59
99.tf,Qbl.h (hrumr{urd) MrqbG4lturlryrud 70
100.{UtJFunCnbU3U3LU ((U0n2DoqhltuJhg) U.ShqtruroJurc 70
- l0l. {hl, UUFOSQ (<alurur\bnlibn gntguhuo4huitg>
^/ 2) IJ.unlunnquUh 7L
rlb lrhl,nequuuu..............
102.'unFAun-r,nl.Aun {urJq.dD4.hnq U2uU.'G.WWAJUdb...... 72
103.thQuu U.UurhG4lurf1ur0 73
104.truI' uLhq <urjlr.d!4. tqurn 74
1 0 5h. s 3 n l . +. . . . . . 74
'15
tltll'I{naru
. L u n d1 0 6l ,0 ? .l 0 E . . . . . . . . . . . . . . 75
't6
.lur1d.109
110.Lbrrl{n Lb, Lb {u1\. dn4.bpq U2urlt.'Q-qryru-Uaryqwlt . .......
1I l r.n qhq. Qhluurlruodtr4.hFq 76
't7
1l2..lulu (((Bourdqb4hgqnfih)Furthuthg)irl.9ur;\n{u$t
113.U'qUnuLC Puons t <tuJU. d!4. Enq 71
ull ebtml lrudnc quurl . 7E
1,14. SnUUUn+qUL8 qIInC (((Ulduuur> oqhluJbg) U'Uqh$luLp0 78
1 1 5b. s 3 n h l . . . . . . . . . . . ... .j . . . . 79
+n utluonquuuu............. 80
116.bl'q q.?prju6 . ........... t0
1t?.{UFU bLI qlnl'U {rui1.dn{.b1q IQutll.'b.UwnAyah-.- ----.-.--.. . t1
118.bnq U.Uqh64ltutPlur0 8l
119.uul'bPh <n.U'! IJbNbu - -- -- .
4-tru.r4urguro tI2tul1.'@.Upa61w0F T'

120.ts3nl.'I 83
UbLr,SIILbo . ..... 84
121.h 1,1,Otrul,lr't III'AU3UI{U'L eurq4u.tuurF+ql+ A2wU.'ILWmolutAIl 85
Ilb ulrdnP surnru .. 86
1 2 2t.s 3 n f ' I q . Q b c h . . . . . . . . . . . . . . 86
123.Luhrsh {ru1l1. da4.hp U2u\,'ft.UUtat0Ju0l1 .... . 86
L3U Uf'r,nlr +Ulnru' ..... ......... 88
124.{nq3uqu 4u1q.dnq.h1q 89
125.Lbknl'nh (utun(+urhuhDouthltu.thg./Q.rlqhuzqbh 89
(luufll , ot
L3U Fbrml- Irudne
.Lu1d.126 9r
127.Fulreuq U{u.tl] (rqup<Qr.ujtu0h)) Furlhuhg) U.hturSutnrutuG 92
1 2 8t.s 3 n b + 92
1 2 9b. s 3 n F + 93
l3O.L-S3nf+ ktwqtwb, duJAuqqtqnut) . . 94
l3r. ts3ot'+ (<9wlq1whttduryAutwaltqDuI) . 95
132 LS3nl'+ kAutluPlt CJUutqD dulaullu)lrqnul) .. ... 96
I
225

b nr{ IrOF+ FUdbf,

1.rlUI'+UtJh Ltne O1FC {urJ\. daa.hllq 97
2.3nndUU l,Gghghtng {urur{ur0rquruu1ttuqlgIQutU'UbQut.tugtu0............... 97
3..IUU'L UbFn3 onqnr-rdbul, {,urnnpJuro 2urturquo U0ru6[rur Clrlur\urgh ffUil.......... 97
'Uqhnbulp-
4. ULCh'L Curnuquc &b+uh'lur69 lrnuuhlf rm{tutuu lkphg[ (Vtr a.) ..... . 98
5.9nnu CUS .\USqbCh Pn I.U- CurFurl+uoefiqqr Uurqlunntru CJC4)......... 98
6. UJIU.InS LOFUO3 L'hguEuCoryfiur r CJ(tr4.) dtr4. rnuFFbnurq 9E
7.{UlnFL. {UFnFL Su{ qfilqqr \'unhUrugh Gil................... 99
8. Ub.L un l.fd U[I'tlbP {urJ\. dnq.hpq 99
9. (rudqu|- {ur;11.dn4.fuq 99
10.Utu, hu'duuobu {,u:lr.doq.bnq..... 100
11.OSun uuLt3h duuotth {rru {uj1. dq.$q...... 100
12.UhnbSh,3UnU SUFU'U {urJ!. dn4.hpq 100
1 3 . C n L hQ b 3 n U ! < u r q u r u h . . . . . . . . . . . . . : . . . . . . . . . . . . . . . . . . . . . . . . . l0-
14.3U3LU.tnn 3UnU {uqruuh 10.
l5.gbo3nan, euebll SUO <urquruh.. . .. .... .. .. 102
16.QU.LUtub3h UhrlnF! U'!Qr'q {u{ll|uh 102
1 7 .U t u , u h U r r q U U t L t h Q b h l ' , ( r u r l r u u l r . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1. 0 3
lt. CUS bU bnqbL (ru{urub 103
19.rruQb-t UQ {,urquruh. . .. . . . . . . . .. ... 104
20.bg tL ?h t-nrU {ullruuh . 104
2l.tunuhn, hLr UUQe {uqurub . . . . ... . .. . .. 105
22. qUn\,U\, 6u1t'r{ bU {ur{urub .. . .. . .. ... .. 105
23.bL n"FU bcqbu {u{urub 106
24,qUFnSbL bU bU {ur{uuh 106
25.b'I\,hqh qbu 6nFI! tlh ucb {urquuh 107
26.br, sn UbFr.,h, 3Ue {urquuh 107
27.S3nQULUtunnq.bL t Cuhbo l0E
2 8 .U r r S Uq r , U 3 h C u h h 6. . . . . . . . . . . . . . . l0E
29.'l,Uhn3u\, +ULLF truF+b cluhbo................ 109
30.UUU'[,U DnFr} Culhbo 109
3t. ULLTUSe Cn'lJlh.U b Cuhhc r10
32 Qb<D3nl.nhU(ruL CurhhG 110
33.Ur,qh! 3UnU Curhh0.... 111
34.q3neU'LU, utr'UC b"Fe tufLn{ n'UU Cuhbo................ 111
3 5 .b n { U u s . l r ' t j u l l z n n . . . . . . . . . . . . . . , . tl2
36.LnFU'l,h Cflnfi{ II2nu tt2
3 7 .q U o n F U L 1 l 2 n u . . . . . . . - . . . 113
3t. U3nlL3Ug UUJ1bIa U2nt! 113
3 9 .U n l . I a et r u 3 l r b l r U 2 n u.l . . . . . . . . . . . . . . . . 114
4 0 .U b n U { u ' u n F u S U r d b { F U 2 ! . . . . . . . . . . . . . . . . . 114
41.UUJarmFbboqe U2nul n5
42.n"l.n E II2nn .. . . . . . . .. .. . . .. . ll5
4 3 .h ] , U u n b n e U 2 n n . . . . . . . . . . . . . . . . . ........................1 . .1. .6.
4 4 . O Q U t u n F UU 2 n u . . . . . . . . . . . . . . . . . 116
4 5 .{ U 3 n h q I I Z n u.r. . . . . . . . . . . . . . . . tt7
46.n Uhnn {Utrun U2ntn tt7
47.UUU,h\,?n"F +nr.. LnFI! bU U2nu 118
48.3Un, UJrUrrS bQ U2nl! llE
49.4n{ UUnbF. Unq- UUnlrn thnrn..... 119
5 0 .q U t u n U U z n r n. . . . . . . . . . . . . . . . 120
51.ULIb'I,Uf}UrLnS Cbpull ............... 121
5 2 .+ O F l , h t l - U n F U U L b U C h p r U. . . . . . . . . . . . . . . tzl
5 3 .C n t n n u C h n u . d. . . . . . . . . . . . . . . t22
5 4 .9 n q . q h o b f r C h n u r .f . . . . . . . . . . . . . . t22
55.OLn| LrnLnF ChJlurf 123
5 6 .q U L h U b u ' I n b n + C b l u r r l. . . . . . . . . . . . . . t23
57.tlh LUOF UhnSU ITnFLU ChFurf..... 124
58.oLQLhq - uuQlhq chlluru .. . . . ... . .. . .. . t24
5 9 .U n + b L t m F f d ' UC L U b L U C h 1 [ u .f . . . . . . . . . . . . . . . t24
60.Ubrr hL-I,Uhf'nb'L bU ChIlulU............... t25
6 1 .U U n b n ,q U T L U C b U C h n u r .u. . . . . . . . . . . . . . 125
62.UbOtrS bO.l-Ub Cblrurd t?5
63.rdUOLUL,OUnLU'L CbFurf. ........... t26
6 4 .U h e O l . ' U L b n C b p r f . . . . . . . . . . . 126
65.olunshQnl.U L[Un+bn eUSqUO Dhllrurl .... 127
66.UUQhq3Un 3UO Chnuf
67.bQUUha (ruU Cnl.Lhtt Chpurl .. 128
226
6 8 .L U O C U n U e L b U q L U S b L C h n u r f. . . . . . . . . . . . 128
69. {ULUL bnu Chlrurf r29
7 0 .b L h b n q h l L U L r q b Lt C q r u r u. . . . . . . . . . . . . . . r30
71.'l,UQ Urlthq Chprurl.... 130
7 2 .q u r q S U L t t S h C h n r u f. . . . . . . . . . . . . . . 131
7 3 .U u q b m r b L U ' U C h n u r u. . . . . . . . . . . . . . . l3l
74.uquou3nh +UcS Qluluob 132
75.nq Ubonl.U,UhPnbL Ahquroh t32
76.+bn qhobn t Qhquob........ IJJ

133
7E.tru3nh'r Ahqurob.............. 134
79.U.\hSUq truQbn Qflur6[r 134
8 0 .r , o q b q A h q u r G h . . . . . . . . . . . . . . t35
135
82.qbtbSqn F{n I'L ab{uroh 136
83.?.ULrFbnb', {nShU Ah{urolr.... 136
84.U(}, \,uObLhU Ab{uroh t3'l
85.eUtunn.l Onbn Qhqut0tt 137
86.FLAnI'Lh <h+ UurJurp-\mrlur . l3E
87.UIIULS pbQ h-LC qnLhU UurJup-\,nqu1 .. 138
88,UCtuUIa4nFtIlJUtu QhU UCh Uur;urp-'t-'a{u . ......... 139
89.3hU t{U\,?nhu hU LULU'LrIU Uru.lup-Ln{u 139
90.nFUShUnl'qUU tunhe ALenFL Uu{urp-l,nqu 140
91.UChrUf'4U ulr OUIjQUFU t Uurlurp-\rutlru 140
92.trnn3h Uulrup-Unr{ur l4l
93.Unh hLC ULqUd qUL UurJurp-lDrlru 142
94.+nfL E! {nhl.f'L hU Uurjujp-'Unrlu 142
95.3hU nF rlhubrdL ChLr qhsh UuJurp-\-'4ur 143
96.3hU ub '[Unhe FLenbUr.rIbU UuJurp-lnqu t43
97.ChU Uunhu UurJurp-ln{ur 144
98..\USqhFS rIULU(m{ UCUD Uulurp-\,nqur 145
99.UUU\,?U Uuuurp-lmqur 146
100.],UQ .rlu.o U.IlthpuuorUrtruc.. 147
l0l. rru9ttlh ll.utbpuu6rytJuro 148
102.cUll.ltun {u1\. dq. quqr .... 149
103.Cnnnn <ruJU. dDq.qun .... ,150
104.euLqbQnl.nh U.qhpuuroqlrjruo ..... ............... 152
105.eutuSu{Ul1h 'LulurFuqbUruough q*t.. ....... 153
106.ChCUqf' CnbeQ .IIUP <uJ\. ds4. qurF 153
107.+hLhQU], {ur:\. dnrt.qun r55
108.QnFN,h SPr:qh {u.t!. drq. qurn ... ... .. .. . 156
109.nounh Lfurtmnr0nr {urtll. dnrt.qu.rlr.. . .. . 156
110.trusuq rqun <u{q.dn{.ulun ....... t5'1
I 11..l.bc - qbnh 4u111.dn4.qu1 158
I12.LnFLnF$Un {u{q. dD4.ulultrl 159
I13.obnh (u3\. dq. qrulr.... 159
l14.Ul,U{,hS U.Ubpuoqnrgut6 160
115.!Ur'O3Ur, Ur[QqU .qul1 (LllqhpuurtugrJluo 161
116.ount{bOnFlQ tu.U{hlnhuluro 162
I17.CnFCUl,hqh {ur:!. dnq.qun.... 1,62
l1E.{nb'UC <u{lf. dq. rqutn 163
119.UnSUCUSh {utU. dnq.urun .. . . 164
120.UbqUl,h U.U1bpuur6ryt3u6 164
l2l.l,UhFh U.Il1bpuur6rylu0 165
122.cnl.Oh eu.l'lu.InFnh <ruJq.dDq.ululr. loo
123.n bQnlr\,+UnU 4ur;\. dn4.rqurl .. 165

bnFnfl+ trudbL ut uuupLT,b"

168
t69
169
t70
t70
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176
177
178
181
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UtrluqtlnFLrr tlfdnrlur6;ur6 Ib.alf.'4.Au]64tttl2Jur0lr. 183
QultruluLh h hrro hrnqlnqlt4nluu (VItr +) IQutQ.'4.UuAry421uAp 184

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193
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205
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bnUdCS UIrUtr nnnC {.Uut{U3nl.fd3nl"l,!b0 .......... 215

bnUdCSUl{Ut SbF[.rh],],b0 217
Fnqul,+uqnFrd3nbu ................ 223

COIEPXAH}IE
IIPEtrI,ICJIOBI,IE 7
K P A T K T ACEB E l E H r 4 rO [ v [ } K E . . . . . . . . . . : . . . . . . . . . . . . . . . . . . . . . .1 t
METO,trHTIECKI,IE YKA3AHI,I' .. . .. ... . 1t
NOJIOXEHI4ENPI,I I4IPE ITA IIyII},IG l9
[bIXAHI4E l9
IPOBEtrEHI4ENEPBbIXYPOKOB.... ......... l9
3AIMCb 3B}'KOB 20
trJII4TEIIbHOCTb 20
3 H A K I 4N I b T E P A I I V f.l.i. . . . . . . . . . . . . . . . . . 2l
TAEII'IIIA AIIIIJII4KATYPbIIJyIIyI(A ............. l5
CEMEffCTBOJn lyKOB .. ..... ... 16
26

[EPBbIft PA3[Efl

EATIAJIHEIE YIIPAffiEtr',.. N
Y u p .l { . . . . . . . . . . . . . n
Y n p . 7 - 1. 0. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2. t.
YIIPAEIEIII,!' B TIETBEPTIIED( IIOTAX....,......... 29
Ynp. 11-13 29
Y n p .1 4 . 1 6 . . . . . . . . . . 30
u. ofi HAP Aprrcar E poFar qc@r..... 30
Y n p l.t , 1 9 .:....................... 31
m.Oh wM HA3AHI4 flP (ort, MOt HEKIIAT BOA|IIoEqEHIL4,) (orprrror) Aprr.ury. EccEr .... 3l
2t.3TrO[.......... 3t
YTIPAXHEH'I'I B MTPIDIE JIETATO.............. 32
Y n p . 2 2 - C. .A. . . . . . . . 32
Ynp.25-28 33
rIOJIOBI,'HIIA' HOTA C TOIIKOfi 34
Ynp.29-31 Y
rAMMA IIO MA:KOP.............. 35
Ynp.32,33 35
Ynp.34 .............. 36
3s.3TrOIl 16
36.3Trotr 37
37.sTrO[.......... 37
yTrPAXHEHr4g B BOCbMED( HOTAX............... 38
Y n p3. 8 , 3 9. . . . . . . . . . 38
40. 3Troil
4I.IIEPEIIEIIKA P.I\.leIKs............ . . . . . . . . . . . . . . . . . . . . . . . . . .3 9
42.BECEHHT-fi(orprrrox) X-Arsrecsr.......... .. . ... . .. .. .. . .. .. . . .. . . .j 39
ITETBEPTIIA.g HO{A C TOTIKOfi .......................... 40
Vnp.43.............. .......:.................. 40
44.IIJOPOPA,CNlA"l (CAJIAT(uuz leDyarKn), MSIIM, Ilnflnn) Korcrac..... ... ...... 40
45. KOJIbmEIIbHAfi r.Apxcau 41
46. Off, HA3AH ApM.Eap.necr O6p Tra.nJ/-.Ft.... 41
4 7 .A H t r A H T I , I H O A X s s s r r T q . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .4. l
48.3TrO[ 42
228
49. CBETntr{OK Apx. aap.recre ..... L7
rmcTr{AflIATbrEr{oTbr................ 43
Ytrp. 50, 5l 43
52. KyPOIT.A-TOTIKA Ko nac . . . . . . . . . . . . . . 43
Y n p .5 3 . . . .. . . .. . .. . . . 44
54.3Tlotr 44
55.EPEBAHCKI4EHOr{[ AJloqyrans... 45
56. OI4HIIXAH ApM.EEp.trecEc.. . . 45
57. EOEI4K !)(yP MI,I 3PA (HE nOnABAfr EOCUKOM) ApM.E8p.trees .... 45
5t.3Trotr
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59.3TrO[........... 46
60. 3ACTOJIbHA' Apn. xap. rccEr O6p. fAnywa .. ... 46
61. OfJI.fiHI,ICb flcar Itrepau 47
62. EPEM IXAH Aprr. aap.ueor Odp.T-AnJ,NEa..... 47
63. nbECA C.Eap;rf2aps........ 48
64. TAJIBOPHKI.I KTPIt{ UIA EII Il3 TA'TBOPI4KA) ApM.Esp.trecn ..... 48
IAMMA CI{ EEMOJIb MAXOP 49
49
Vnp. Oe. . . . . . . . . . . . . . . 50
6 7 .l T r O [ . . . . . . . . . . . 50
68. CyP6, CyPE (CBflT, CBST) M.EIo'{arrI 50
69. MO-f, APMEHLIT fycsE Aracr 5l
70. KAPABAXCKIAft MAPIII TJ\{AXACE..... tl
7l.3TrOJl 52
| A M M A C O J r bM I , I H O P . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1. . . . . )J
54
73. HE flPOCI,{ MEHS AlvlasjEl 54
74. XI{H|AJIJIA Apx. Bap.lecEr ..-..
OOp.1:JamJrytEs ))
75.3TIOtr X.{aqzcnr............ ))
76. EC CI4PEUII (q fiOnnEEE) ApM.Eap.trecEr @.f*nywa.... 56
77. CKEPUO X-ABerucrf,.. ... . .. .. JO
7E.3Trotr
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79. BOKAIIh3 MMr${aEE . .. . ... . 5t
rAMMA COJIb MA:KOP.............. 59
59
60
8 2 3. T t O [. . . . . . . . . . . 60
8 3 g. T r o t.r. . . . . . . . . . 6l
84. BCE 3EnEHO BOKPyT MEnbHHUbI Apr'r.rap. necur Odp-fAtn wa. ... 6t
E5.3Trotr 62
t6. 3TtOtr oz
87. HA JIITY C.Eapxgapm 63
88. CLIIbCKI,III TAHEU BJA..MOqAgI ,, 63
89. lTtoit 64
T P I { O I I b. . . .. . .. . .. . . o)
Ynp9 . 0 ,9 1 . . . .. . .. . . 65
Ynp.92,93........... 65
94. CEBEPHAT 3BE3.UA M,fi@(a .. .. ... . . 67
95. JII4PHr{ECKAJI Apr. rap. uecrr O6p. I'J4nJ'uEa .. .. . 67
PA3MEP 6/8 68
Y n p .9 6 . . . . . . . . . . . . . . . 68
97.3Trotr ... . ...... . 68
98.TAHEU t lt/fnacs . ... ..... .. 69
99.9H3En[ (orpueor) A.Cueqapor . ....... 't0
100.AMEAPIMVI tfrn{ (nECHt HA BO3HECEHHE)(ua oneprr"Anyr") A.Tnpanm ............ 70
',I
101.CTAPbIR3AMOK (<Kaprrnrr c ar,rcraoxrD N 2) M.MycoprEd
r A M M AP E M I , I H O P . . . . . , . . . . , . . , 72
102.[I]'BAP- IIyEAP Apv. rap.uecur Odp.T.Arn\,wa..... 72
103.ffitrXAc A.Cue@apoa ..
'14
104.MAPAIII'IK ApM.Eap.raEeq.....
105.STIOI 74
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clfiKonA
Y n p1. 0 61, 0 71, 0 E... . . . . . . . . . . . . . . . . t)
Y n p 1. 0 9. . . . . . . . . . . . 76
110.JIEnnO TIE,IE Apu.E8p.g.ec{a 6p. KI{apa-MJpLL............ ..
111.IIACnTX 9eocrar nap.qecsr 76
112.BAJIbC(u3 6a,1era "Cnquar KpacaBuqa') n- hxorcld 77
l13. AnAPAH- KAMEHHCTbMKPAIi Apu.aap.necnr 77
rAMMA MH EEMOTIbMAXOP 78
114.TAHEUM)rKqI.|H(rc onepbr "Arrrracr")A.CrcwaPoB
.......... 18
I15.3TIOtr 79
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rAMMA [O 80
116.nECHt 80
I17.Bbrxoxy 8l
I 18.nECH.fl 8l
I I9. CAPEPI4 82
Ito qrr n 83
MEIII{3I\{bI
......... 84
121.flPOCHI4CbOT IIAPCTBEHHO|O CHA Ea$acapEEp Odp.P-a.n Ma,.., 85
rAMMA PE MAXOP............. E6
1 2 2 3. T I O [ K r I e p E . . . ............. ... 86
123.JIAXTI'I Apu. rap. uecar Odp. TJan wEa-.. E6
rAMMA Jr.'l MI{HOP .. .. . ....... . . 88
I24.D{XEHbKA Apu. aap.uecar 89
125.nEKyPU (rareu n: onepu "[arcu") 3.Ilaruamru 89
rAMMA JI' EEMOJIbMAXOP.,........... 9I
Ynp.126..........-.-. 9l
l2?. CEOPXJIOnKA (ranequr 6arera"fa.he") AXararypm. 92
l2t.3Tro.q._........ 92
1 2 93. T I O I .I . . . . . . . . . 93
l30.3TIOI (a t44e "Cerzx")... 94
l3l.3TIOtr (e narc "Vapnr') . 95

BTOPOfr PAStrEJI
1. CKOPEb MATEPI4 BAPTAI]A 97
2. OPXAM
(KOrnA BoWEInb HA CBtT-ort tu7TAPb) Orpruox re nrqprm O6p.M-8wsma......... 97
3. BACH MEPOfi NPKYTEAH
(BO IIMU IIA]IIETO CIIACEHUT) mapaxar u& Bocrcpe.eEe Anw mtpanw (Vtr r.) ......... 97
4. AHII3I,IHK HBI4P'JIK
(It1nfi, UOCB.4TEBIUHE CEE$ ) frapwaa pstrcmrncsf AeBaxKowncAacry (Ynt\........ 9t
5.3OPC bICT NATKEP}I KYM
Qbr, KO1'OPbIE CO3IAII nO fiOIOEnfO CBOEMy) ItrspsxsE fFEop MalrcTpoc (Kr.)... 9t
6. APABOT JWCO
(CBETO3APHOE YTPO) (tlecrta aa3ayrpenro) HepcecItrxopae (Xtr B) Hapollbri Bapuanr..... 9t
7. AB)'H, AB)'I{ (mAXA, lTlA}A ) Tar fbFop Hapcf,ary (X r.) ..... ...... ....... 99
8. CEB MyT AMIIEP (I{EPH6IE, MPA|{I{6IE TyttIt Apv. E p. Df,;,t:N. 99
9. MAr{KAJI @AXAPD ApM. Eap.uecst 99
10.AX, I,IM tIAMmC 6X, MOg nOPOfA) ApM.EaIr.recgf,..... 100
1I. OTAP AMAI,I qAMNEKII BPA GTAEB ONH6IX.qoPorAx qw(EuHbI ) ApM.Eap.uecEf,...... 100
12. CI4PEUI.I,tPC T APAH (nOlInEI{n, HO JIIOBEITIt IO WEnq Apr,r.rap. neee .. ... 100
13.qofl.nuIIXE'TPAH (CTE1HO IIX<EfrpAH) r.u,a/I............_....: 101
14.qftIABOp .spc AlacE...... l0l
15.3EnrcP,EAPEBT AP (BETEPOK, nOHECn MOfr fipt{BEn Ar4,r.................. to2
16.JKABAXEUI4 CI4PyHAXqI4K (I@ACABI4IIA IB 4X(ABA-XI(A) Arlac\..... to2
17.AX lll{ AHrAM 3II3HIDKEHP (AX, yCTyTTHJIA EhI EIIIEpAi) AlacE............................. 103
I t . I I I A TE M E P T E I I ( . 9M H O 1 OI I E J I ) A r s c s . . . . . . . . . . . . . . . . . . . . . . . . . . . . : . . . . . . . . . . . . . t03
19.IIA3E-}IA3 (KOKETKA) Aracs ... ............. 104
20. KE3 3JI qI,I MHA (B TEEEHE OCTAHETCT) A\scs 104
21.XOCHP,L.lMCA3 (fiOn, MOfr CA3) Aracr.................. 105
22. |APHAH TIAXHKEC (Tbt BECEHHEft IIBETOK) Aracs . . . . . . . . . . . . . . . . . 105
23. 3JI )1v1EPrEM? (KOMy X( EIIIE fiEl-b?) Aracs . .. . . ........... .. 106
24.KAPOTEnEM KE3 (t COCKt4{UJIC.q AuacE.................. 106
25. ETHLIKI4nEC TIyPMr.I AIIJE (HE CMOTPII, KAK OnEIrB,UCEOIfiOE'q) Aracs................ 10't
26. 3H KO CEPH 3, 9P (3TO TBO.$,1IOEOBE, MI.IJIAS) Atscs ..... . . .. . . 101
27. |E3MC XPOBEn 3 (Mot KPACABI.IIA OEHIEIAC6) IIIares .... ... .. .. .. 108
28. AHTIA|HAIIH IIIares..... ..... 108
29.HAllPtH IIAJIAPBAPIJ'II (HAItHIfrCKI.rfiMOJIOqOTTOnOnD marE............................ 109
30.CACHAU)? GACyHCKHfr yIAJ|EI l[ares................. 109
3 L AJIMACTIIIOryM 3 (CBEPKAETAJIMA3) mareE .. . ._.... .. I l0
32.3EnIOPbI HMAH (nOnOBHAt BETEPK, IIIarps . , .. ... .. .. .. .. .. 110
33.AHfl4H gPC (EECAEHHATMOt) ItrarE . . . .. . .. .. . . .. .. 111
34. |E3AIC, MLIHII EPB XPOB MIIAC? (KPACABUUA, KAKIOTTTO EWErIrb OEU)KEIIA?) fraret 111
35. UOBACTXUKC (MOfr MOPCKAT 3BE34OVM) Amgn........ 112
36.nvCHI4 II]OrOB (nO JIyHHOMy n>4I') Aqor .................. 112
37. fAP)'Il 3 (BECHA) l\E,or ... llJ

38. CIOHTU CAPEP (CIOHHKCKHErOPbI) Aruor....... I l3

39.C)?E MAHPEP (CBflT6IEMATEPH) AEdr....... l14
40. CEPCBAHK)'I\4'IA'IEBV (AIOSIIOEOB, B TATEBCKOMMOHACT'IqE) AEqr... ......... ... ll4
230
41.CAPBOPIIEPf (IIECHSKPECT6SHUILA B .OPAX) Amm............ t 15
42.W)? [nE ?) Amot..... 115
4 3 .f H C A P E P ( T E f O P b I ) A E s r . . . . . . . . . . . . . . . . . I l6
44. OIXAXyM (B OTqEM4OME) AEsr ................. 1t6
45. Al4PllK t EAToIIIKA) AuoI ................. 117
46. KO CI4POAMAP eAnII TBOEEEIOEBH) AECn .. . .. .. . . .. .. . . t17
4T.ACA,HHr{Y.Uy[Y?EC? (CKDKH, IIO|{EMy TbI MOJ| rlUrrrb?) An.sr 118
48. tP, APAHUKE3 (EE3TEE ,J' OEI4MA,4) AEqr.................. 118
49. OB CAPEP,MOB CAPEP (4AIOAUE nPOXJU.qy roPbt AEqr..... ....... 119
5 0 .n A X P A l K O C y I t ) A E o r . . . . . . . . . . . . . . . . 120
51. AMEH APABOT (IGX4OE WPO) Itrcpax . . . . . . . . . . . . . . . l2l
52.[vH I4M MyCAH EC (TbI MO.SMJ3A) mepau................ t2l
53. IIIOPOPA (EWb BEru'I.fABA) mepa}| . . .. . . .. .. .. . . . r22
54. 3OB flllIIEP QPOX,ILAIHA' HOtIb) frepau ... . .... 122
55.OJIOPMOJIOP (II3BII ICTO) mepaM................ 123
56. |AJIHC EM .qvP! (nOIXOxv K TBoEMv nOPOrv) mepaM . . . . 123
57. 3.[fi SCOP CUPrC KynA, (ontrb CETOIHfi CEPQAE fi. A rtET) ItrepaM.. . .. .. . t24
58. nH[XJII4K - MHIXJIHK ltrepaM.. ... . .. 1,24
59. APtrEH MyTH bIHKEJI.A Ory<E 1-EMHO) ItrepaM .. . .. .. t24
60. CEPlIM, CllP)'H EC (l7IO6OBb MO.g, TbI IPEKPACIT4 lllepanr . . 125
61. CAPEP,KAXAr{EM (MO O BAC rOPbI) frepaM... t25
't25
62. CEPIIU SPBAU (OIIAIEHH,II,I JTIOEOB6IO) frepau
63. TAPJIAH, TAPIAH ltrepaM 126
64. CI,IPyHHEP (KPAC4BIIA6I) mepaM.......... t26
65. nAPTI43vl\4 BAPtrEP EAUBAU (B CA,qy PACUBEUU PO3bI) Weput ta1
66. AHnXt'lFqP tP (EE3qvIIIHAfl tt'tot) ItrepaM....... .. ... 12',1
67. KE3AHI4UMAC trYHHM ltrepaM 128
68.3COP APA3H EC fHAUEn (CErOnHt TbI IIOIUIA K PEKEAPAKC) Itr"pa.. . .... . ........ . 128
69. AJIAn ?PA mcpaM. . . . . . . . . . . . . . . . 129
70.3n EPKIiHKH AMflEJI3 (OIItTb HEEO UOKP6IIIOCb OEIAKAMU) IIIcpau .. . . . . . . . . . . . . . . . .. 130
71.HA3 AXqI4K (KOKETKA) mepaM............... 130
72.BAPIIIIAHEUI,I (nOCA.qI r PO3v) mepa. ................ l3l
73. AMnEPH EIIAH (nO.gBnJTI[Cb TWq frepAr,r ... 131
?4. ABAPAI1PI4qAIrrT (ABAPA,frPCKOEIIOJIE) lruas .. . . t32
75. OB CI4P]'H, CI4PYH (O KPACABhAA, KPACABLIL{A) E,rusg .. .. . .. . . . t32
76.trEPfullIEP 3 @OK4 En{EHO'tb) JIruam............. 'IJJ

77.TOBAPhIU IIrcaE ......... 133

78.MATIPIZK(MATWITKA) [EEam........... 134
79. CII'ITAK MA3EP (CE4IIIIA) lruaM .. 134
80. OBVK (BETEPOK) Ilr@as . ll)

81.CAC)'IIACAP IOPA CACvH) ]Ima.q ............. 135

82.fEXEUKy)fi (I<PACABuqE)[t@sM ............. 136
83. AMEEPE, OrfiC (flOTEPuH, .4nnA tutott) EwtEm . . 136
84. AP, HA3Enl4C OEEE, OELIMAT) IIncBas. t37
85. A3AXOP! OPEP (HEWALIH6IE nHn IIt@s .... ... t37
86.EJIEynI4UII (C COnOB'EM) Casr-Hosa............ 138
87. APAHU KE3 llHr'l KOHI4M? (qI-O EbI t IEJIHI BE3 TEEE?) Ca.rr-Hoga. 138
88. AIIIXAPyMC AX qI4M KAIIJH (HLIKOT4A HE EWYXAIIOBAT-6Cfl) Carr-Hosa .. 139
89. l4l,lc KAHq)^4 I4M JIAJIAHUH (t 3OBv MOn nvIIIEHbK, Carr-Hosa . 139
90. yCTI4 KITAC, XAPI4E EJIByJI (OTKvnA T bI IPuIETFJI, CO OBEIV-CTPAHH K) Casr-Hoga 140
91. AIIXAPC ME IIAHIIXAPA 3 (BECb CBET - 3TO OKOIIIKO) CarrFHoEa ............ 140
9 2 .B P O W U C a r l H o l a . . . . . . . . . . . . 141
93. API4 I4H[3 AHfAq KNI @OC"rynIIAn MEHS) C:aEt-HoPa. 142
94..[]tI3H yPI4H IIC FbI HACrOtUe,g @E ) Ca'I-Hor.. t42
95. I\I,IC KY XI4METH qI,IM |I{TI4 (' TEE' HE 3HAIO,) CAST.HOSA ., 143
96. I;II4CME XAPIIE EJIEYJII,I|IEC (' KAK CO'1OBEE-CTPAHHNN CA'FHOBA 143
97. ql4c ACIM (HE fOBOPnInb) Carr-Hors . . . . . . . . . . . t44
98. flATKI4PKT XAIIAMOB KATIAU GBOE IIOPTPET HAru{CAH 4EPOM) Cstr-HoEa . . . . .... . . . 145
99. MMAHT{A C.arr-Hosa.. 146
100. HA3 nAP (KOKET"|IIIB6IIV TAHEIT) AAnerraryptr t47
l0l. HA3EIlu (HErGAr) ASteKcassptr 148
102.IIIAJIAXO ApM.sap.raEeq..... 149
103.tllOPOP ApM.Eap.TaEcq 6p. T.4nJMEa ... . 150
104. 3AHlE3)?l{ Xeacrd raaeq A-AreKcaqptr 152
105.EAXTABAPI4 Kapa6srcd xeEcld rirseq................ 153
106.I]HPAKCKI,Ifi KP]TOBOft TAHEU Apu. aap.raaeq .... 153
107.trunl4xAH ApM.EaP.ra.Eeq. l))

108.3)?HI4 TPH|H Apu. rap. raueq 156

109.KOIIAPI4 Maprywqd ApM.Bap.raaeq . . . . . . . . . .. t56
110.uIyTotIHblR TAHEU ApM.Eap.Ta8eq... ....... 157
I l l. BFP-BEPI4 Aprq.rap. raqeq t58
ll2. Ilyll) OAP ApM,Eap.Ta.se[ 159
rt

2:ll
t59
160
l6t
162
t62
163
t64
t64
165
loo
r66

TPETHfi PA3trEJI AECAMEJIII

MAJIEI{bKAJI IIbECA fME8cffi 167

JTyCH'K fHIxEP (.tMlHAt HOt{b) ApM.Eap.leEs O6p. fAnTzwa.... 168
EC nCEUl4 MH AHyIII [3AfiH (MHE fiOAT6IIIIA"ICS CJIAnKEfr fonoq ApM.rap.uecne......... 169
KDKH APA (B3.q,tIA KyBIIIIIH Korsrac . . .. .. .. . . . . .. 169
AJIAIf,3 Korqrac l7O
TOX MByJI r{EPfE (nycTb HE IIOET COfiOBEE) Kor,srac.............. l'70
XOP)?tr xOPl4H Xaqarr? T8poEerF (JCI-)fltr rr.) O6p.Kor,maa........ 171
KAHII ByPIIXAH uM (IOKOEE t XI'IB) CaaI.HoBs 6p.P,an1zw.... I'13
C)?8, C)?E (CBST-,CBqT:) M.Erq'rsmE.......... 176
C J I E 3 bAI P A K C A r l 4 Q p 8 s . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .. . . . . 1 7 7
OTPbIBOK lI3 JIIITyP|ZU M-EIc{arE ...........................178
3C fl[IIEP, JIyCH'K fI4IxEP (B 91-y HOt{b, ]IyT#InO HO.IB) Kowzzc ... 181
AKIIA KP]'HK M.lyMarE Odp. Ilcaw)wqa 183
3APMAHAJII4 3I4Htr3 (MHE CTPAHHO) Xocporryrr (VItr a.) @p. fCaqpwa 184

T I E T B E P T b I f f P A 3 t rE J I MYTAMhI
PACT 187
llD?... .. 193
cEf.'Ix . ..... 197
qAPT'X , 200
U.\'IUTAP 205
EA'TbT IIII4PA3 207
KYN4AIOH 2tl

2t5
220
227

CONTENTS
PREFACE 9
SHORTINFORMATIONABOUT DUDUK ,., ,.,.,.,.,, )7
METHODICALNSTRUCTIONS
POSITIONWHILE PLAYING DUDUK ))
BREATHTNG
HOW TO CONDUCT THE FIRST LESSONS 23
MUSICNOTATION 24
R H Y T H M I CV A L U E , , . . ,, . . , . . . 25
S I G N SO F A L T E R A T I O N. . . . , . . . , , . . , . 25
TABLE OF FINCERING OF DUDUK 15
FAMILY OF DIJDUKS 16
FROM THE AUTOR 26

S E C T I O NI
ELEMENTARY E)GRCISES
'r1
28
EXERCISES IN QUARTER NOTES 29
E x .I l - 1 3 ,a
E x 1 4 - 1 6 .. .... 30
17. HOY. NAR Armenianfolk song. 30
232
E x .l E .1 9 . . . . . . . . . . . . 3l
20.HOY, IM NAZANIy AR (HOY,My TENDERLOVE) (extract) ArE. folk sorg .............-. ..... 3l
2I. ETIJDE 3l
D G R C I S E SI N L E C A T O. . . . . . . . . . . . . . . . . . . . . .
E x .2 2 - 2 4. . . . . . . . . .-. .
E x -2 5 - 2 8. . . . . . . . . . . . .
IIALF NOTE WTIH A DOT . . .. . .. . ... ... . 34
E x .2 9 - 3 1. . . . . . . . . . . . . 34
TIIE SCALE OF C DI,'R 35
Ex.12,33............ J)
E x .3 4 . . . . . . . . . . . . . . . . . 36
35. ETUDE 36
36. ETI,DE
3?. ETUDE
EXERCISES IN EIGIITII NOTES 3t
E x .3 E ,3 9 . . . . . .. . . . . . 3t
40. ETUDE 3E
41.QUAIL RMclikian 39
42. SPRINGTIME(extract) KhAvetisiaa-........ 39
QUARTERNOTE WTIII A DOT ................ 40
E x .4 3 . . . .. . . . .. .. . . . . . 40
,t4.SHORORASALA'l (DANCE,SALAT(agirl'sname),DANCE) KoDitss.............. 40
45. LULLABY GArmeuyan......... 4l
,+6.HOY, NAZAN Aro- folk song AdqtfJuntnisa .... 4l
47. ANDANTINO AXhachatrian 4l
48. ETUDE
49.GLOW-WORM Arm. folk song......
SD(TEENTH NOTES 43
E x .5 0 , 5 l . . . . . . - . . . . . 43
52.PARTRIDGE Komit8s. ... .. . ... .... 43
E x .5 3 . . .. . . .. . .. . . .. . . . . .. .. .. .. .. . . . . .. . . .. . . . 44
54. ETUDE 44
55. YEREVANIAN NIGHTS ADolnkhanian . ... .. 45
56. FINJAN Arm, folk rog .. .. . . 45
57.BOBIK ruRMI ERA (DON'T GO FOR WATERBAREFOOTED)ArE-fotkwnS...................... 45
5t. ETUDE ,46
59. ETUDE 46
60. DRINKING SONG Arm. folk song AdaptT-Altutiat .... 46
61. LOOKROUND GussarSheran . .. .. . 4'1
62. YEREM JAN Arm. folk soag AdsptT-Altwiaa 47
63.PIECE S.Barkhudarian...... 48
64. TALVORIKI KTP.ICH (DARING FELLOI4. FROM TALVORIK) ArE. folk song 48
THE SCALE OF B DUR 49
E x .6 5 . . . . . . . . . . . . . . . . 49
E x .6 6 . . . . . . . . . . . . . . . . . 50
67. ETUDE 50
6E.SOURB,SOURB (SAINT,SAINT) M.Yckneliaa......... 50
69. MY AtuVENlA GussanHBYassi 5l
70. KARABAGH MARCH GMausyan . . . .. ... . 51
71. ETUDE 52
THE SCALE OF G MOLL 53
E x - 7 2. . . . . -. . . . . . . . -. . 54
73.DON'T ASK ME A.Mailyan............ 54
74. HINGALLA Arm. folk song AdqtTAhniaa ... . 55
?5. ETUDE KhAvetisian......... ))
76. YES SIRETSI (I FELL IN LOW) Arm. folk song AdaplTJ4lt@iaa. .. . 56
77.SCERZO KhAvetisian........ 56
78. ETUDE 5t
'19.vOC ALIZE MMaznsaisu 5E
THE SCALE OF G DIJR 59
E x .8 0 . . . . . . . . . . . . . . . . 59
E x .8 l . . . . . . . . . . . . . . . . . 60
82. ETUDE 60
83,ETUDE 6l
t4. EVERYTHING IS GREENAROUND THE MILL ArB. folk sotrg AdaptTAJdmian ... 6l
85.ETUDE 62
8 6 .E T U D E . . . . . . . . . . . 62
87. ON THE MEADOW S.Barklrudarian . .. .. . 63
88.COUNTRYDANCE V.A.Mozart.......... 63
89. ETUDE 64
TRIPLET............ . . .. . . . . . . . . . . . : . . . . 65
E x .9 0 ,9 1 . . . . . . 65
 Ex.92.93.
94. NORTHERN STAR M.GliDks ... 6'I
95. LYRIC SONG Arm. folk song AdaptT.Altuaian...
M E A S I J R E6 / 8 . . . .. . . .. . . . . .. . .. . 68
68
97. ETUDE 68
9t. DANCE G.Mirasyan .. 69
99.ENZELY (extract) A.Speodiarian.. 70
100. HAMBARTSUM YAYLA (SONG FOR THE ASCENSION) (from "Anush" opera) ATig"ai8D 70
101.OLD CASTLE ("Picturesfrom Exhibition" N2) M.Musorgsky 7l
T H ES C A L EO F D M O L L . . . . . , , , , , , , 72
102.NUBAR-NUBAR Arm. folk sotrg AdaptTAJtmiu ... 72
103.HIJAS A.Spcndiadan ....... 73
104.MARALIK Arm. folk daft 74
IO5.ETUDE 74
75
Ex.106.107,l0t 75
E x .1 0 9. . . . , . . . - , . . . . . 76
110.LEPHO LE, LE Arm. folk song Adsptl<I<sn-Muz 76
I I l. SHEPHERD Czcchfolk eoog.... . 76
112.WALTZ (extractfrom "SleepingBeauty" ballet) P.Tchaikovsfy.......
I13.STONYAPARAN ArE" folk sorg 17
T I I E S C A T ; E OE FS D I J R . . . . . . . . . . . . . . 78
l14. MEN'S DANCE (from'i{lmast" opera) A.Spndiarie.. '18
I 15. ETUDE 79
THE SCALEOF CMOLL ........ 80
l 1 6 .S O N C G . C h t c h y a n . . . . . . . . . . 80
ll7.I AM GETTING MARRIED AIm. folk soDg AdaplTAlturiat .... 81
I lE. SONG A.Spsndiarirn....... 8l
119. SARERI HOVIN MERNEM (I ADORE MOWTAIN COOLNESS) H.Badslysn Adapt TJ4lhmist 82
I2O. ETUDE E3
ORNAMENTATIONS.......,,.. 84
121. WAKE UP FROM THE REGAL DREAV Bagh<hsarDpir Adapt RAInmie ... 85
THE SCALE OF D DUR 86
122.ETUDE l<Aemi .. ... . .. .. . . . 86
123.LAKHTI Arm. folk sorg AdaptT-4limiaa ... 86
THE SCALEOF A MOLL ., ,.,.. 88
124.SWEETHEART Aro- folk song 89
125.LEKURI (dancefrom "Daisi" opera) Zlaliashvili . . . . . . . . . . . . . . . . . . . . . . . E9
T I I E S C A L EO F A S D U R , . . , . . . . , . . 9r
E x .1 2 6. . . . . . . . . . . . . . . 9l
127.COLLECTINGCOTTON. (dancefrom "Gayane"ballet) AJthachatian.................... 92
l 2 E .E T U D E. . . . . . . . 92
1 2 9E . T U D E. . . . . . . . . 93
130.ETUDE (mode "Segyah')... 94
l3l. ETUDE (mode "Chargah') . 95
1 3 2E . T U D E ( m o d e" B a y a t S y hinz')....................... 96

SECTION tr
1. GRIEFOF VARTAN'S MOTHER Arra folk soug... .. . 9't
2. HORZHAM
(W{EN YOU ASCEND TO THE HOLY ALTAR) Exts8ctfron Litur5| Adqt M.ycbafiaa..... 97
3. VASN MEROY PRKUTSEAN
(IN TtlE NAME OF OUR SALUATION) Sharakan for ResurregtionAtstia Shinks$i (Vtrc.)...... 97
4. ANDZINK NVIRYALK
(SOULS WIIO DEVOTED THEMSELVES) Sharakanto Ripsimevtgirs Komitas ASbtsetsi (Vtr c.) 98
5. ZORS YST PATKERI KUM
(THOU wHO CREATEDBy YOURLIKENESS)Sbarr&n Grigor Msgiskos (XI c) . . . . . . . . . . . . . . . . . . . . . . 98
6. ARAVOT LUSO (BRIGHT MORffIVdJ NcrsesSbnorali e<n c.) . . .. . .. . 98
7 . H A V L N ,H A V U N ( B I R D I EB T R D I E ) T a g G r i g o r N a r e k a (r X
s ic . ) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99
E.SEV MUT AMPER (BLACK CLOUDS) Arm. folk song. . . . . . 99
9. MACHKAL (PLOUGMAN) Arm. folk song. . .. .. 99
10.AKH, IM TCHAMPES (OH,My WAy) Arm.folksong...... t00
I I. OTAR AMAI TCHAMPEKI VRA (ON THE LONELY RoADs oF STRANGE Z,4ND)ATn. folk song 100
12. SIRETSI,YARS T AP.AN (I LOVED BUT My SWEETTIEARTWAS GONE) Arm, foft song ..... -. 100
13. CHOLI JEYRAN (STEPPEDEER) Havassi . . . . . . . . . . . . . . . l0l
14.YAILAVOR YARS Havassi.. 101
15.ZEPYUR,BAREV'l AR (CARR y My REGARDS,BREEZE) Havassi...........,... 102
16.JAVAKHETSI SIRUN AKHCHIK (BEAUTY FROMLAVAKHo Haya$si 102
1 ? .A K H ,M I A r . \ G A ME L Z I J E I R ( t T V I S H y O U G A V E I/ O N C EM O R E ) H a v a s s i . . . . . . . . . . . . . . . . . . . . . . .103
18. SHAT EN,lYERGEL (l SANG A ZOt Havassi 103
234
19.NAZE-NAZ (COQUETTD Havassi. . . . . . . . . . . . . . . IM
20. KHEZ EL CHI MNA (YOU WON'T HAVE EITHER) Havassi.... 104
21. KHOSIRIM SAZ (SING,MYSAZ) Havassi. . . . . . . . . . . . . . . r05
22. GARNAN TSACHIKES (yOU ARE A SPRINGFLOWER) Havassi.. . r05
23. ELUM YERGEM (WHOM ELSE SHALL ISINGFOR) Hevsssi..... t06
24. KAROTEL EM YES (IHAVE MTSSED YOU) }Iaya5F,i 106
25. YEGHNIKI PESTSURMI ASHE (DON'T LOOK AT ME SULLENLY LIKE A DEER) }Jvassi ... l0?
26. EN KO SERNE, YAP. (THIS IS YOURLOVE, MY DARLNG) Hwa-+sr to'7
2'1.GYOZALS KHROVEL E (MY DARLING HAS BEEN HURT) Shahsn. . . . . . . . . . . . . . . . 108
2 8 .A N T S A G N A T S I S h a h d . . . . . . . . . . . 108
29. NAIRYAN DALAR BARDI (NAIRI YOLTNGPOPLAR) Shahen 109
30.SASNA TSUR Shshcn..... 109
31. ALMAST SHOGHUME (DIAMOND IS SHINING) Shahco....... 110
3 2 .Z E P Y U R IN M A N ( L I K EB R E E Z E ) S h a h e.n. . . . . . . . . . . . . . . .................................. 0
33.ANGIN Y ARS (MY PRECIOUS) Shahea................ ln
34. GYOZALS,MINCH YERB KHROV MNAS?
(M Y BEAUTY HO W LONC WILL YOU BE HURT?) Shahen.............. 1u
35. TSOVASTGHIKS (YOUAREMYSEA STARJ Asliot t12
36.LUSNI SHOCHOV (BY MOONLIGHT) Ashot....... tt2
3 7 .C A R U N E ( S P R I N G ) A s h o t . . . . . . . . . 113
38. SYLNYATS SAP.ER (SYUNTCMOL/N7'A.NS) Ashot .. .. .. .. . . .. . . . .. . 113
39.SOURBMAYRER (SAINTMOTHERS) Ashot ................. 114
40. SERS VANKUM T ATEVI (MY LOVE IS IN TATEV CONVENT) Ashot. .. ll4
41. SARVORI YERG (HIGHLANDER FARMER,SSONG) Asbot,,.,.... 115
42.UR E ? (VTHERE IS SHE ?) Ashot ..... ......... . .. ll5
43. EN SARER (THOSEMOWTAINS) Ashot ... .
44.OJAKHUM (AT HEARTHAND HOME) Ashot. ,...... 116
4 5 .H A Y R I K / F A T H E R ) A s h o t. . . . . . . . . . . . . . . . . tt7
46. KHO SIROHAMAR (FOR THE SAKE OF YOUR LOVE) Asho/- 1t7
47. ASA, INCHU DU LUR ES? (WHYARE YOU SILENT'?) Ashot .. ........ l lt
4t. YAR, ARANTS KHEZ (MTHOUT YOU Mv LOVE) Ashot....... It8
49. HOV SARER,MOV SARER (COOL, COOL MOWTAINS) Ashot . .. ... .. .... .... 119
50.PAKHRA (ROE) Ashot..... 120
51. AMEN ARAVOT (EVERY MORNING) Sheram . . . . . . . . . . . . . . . t2l
52. DUN IMMUSANES (YOA ARE MY MUSE) ShersE. . . . . . . . . -. . . . . . tzl
5 3 .S H O R O R A S h e r a s. .. . . .. . .. . . .. . 122
54. ZOV GISHER (COOL NIGHT) Sheran . . . . . . . . . . . . . . . 122
55.OLORMOLOR (HESIIATING) Sheram............... 123
56. GALIS EM DURD (I AM GOh|G UP TO YOUR DOORS) Sheram. .. 111

5 7 .E L I E S O RS I R T SK U L A . ( t u l Y H E A R T I SC R Y I G A O A I N T O D A Y ) S h e r a m . . . . . . . . . . . . . . . . . . . . t24
58.PNJLIK-MNJLIK Sheram....... t24
59.ARDENMUTN YNKELA (DUSKHAS FALLEN) Sheram...... .... 124
60. SERIM, SIRUN ES (DARLING, YOUARE WONDERFUL) Sheram . 125
61. SARER.KAGHACHEM (IBEG YOU, MOWTAINS) Sheram t25
62. SERITSERVATS (BURNTBYLOVE) ShEram.... 125
63.TARLAN,TARLAN (BELOVED) ShersE............... 126
64.SIRUNNER BEAUTIES) ShraB...... 126
65. PARTIZUMVARDER BAZVATS (THE ROSESHAS BLOOMED IN THE GARDEN) ShetEfi ...... t2'l
66. ANDJIGYAR YAP. (HEARTLESS) Sheram. . . . . . . . . . . . . . . 127
67.KEZANITSMAS CHLTNIM ShcrsD............... 128
6t. ESORARAZNESGNATSEL (YOU WENT TOARAKS RIUER TODAY) Sheram.................. l 2 E
6 9 .H A L A L E R A S h e r a m . . . . . . . . . . . . . . . 129
70. ELI YERKINKN AMPEL E (THE SKYHAS BEEN COUEREDBY THE CLOUDS)Sbqsn .......... 130
71.NAZ AKHCHIK (COQUETTD Sheram............... 130
72.VARD TSANETSI (I'VE PLANTEDA ROSE) Shsram............... 131
73. AMPERN YELAN (CLOUDSAPPEARED) Shsr8m. . . . . . . . . . . . . . . . 131
?4. AVARAYRI DASHT (AVARAYR FIELD) Jivad . . . . . . . . . . . . . . . . . . 132
?5. OV SIRUN,SIRUN (OH, MYBEAUTY) Jivani . . .. . . . ... . . . . . . . . 132
T6.DERCISHERE (IT IS STILL NIGHT) \vaoi 133
7 7 .F R I E N D J i v a n. i. . . . . . . . . . . . . . . . . r33
78.MAYRIK TMOTHER) Jivani........ 134
7 9 .S P I T A KM A Z E R ( G R A YH A I R ) J i v a n .i . . . . . . . . .. . . . . . 134
70. HOVIK (BREEZE) Jivatri. . . . . . . . . . . . . . . . 135
81. SASLNASAR (MOUNTAIN SASLIN) JiYani. . . . . . . . . . . . . . . . . 135
82. GEGHETSKUHUN (TO THE BEAWY) Jivani . . . . . .. . . .. . . . .. 136
83.HAMBERE,HOGIS (HAVEPATIENCE,MY SWEET) -Jivad. ............... 136
t4.AR,NAZELIS (TOYOU,DARLING) Jivaui r3't
85. DZAKHORD ORER (HARD TIMES) Jivani . . . . . . . . . . . . . . . . . r37
86.BLBULI HID (WITH NIGHnNGAZE) S8yat-Nova.. 138
87. ARANTS KEZ INCH KONTM Sayat-Nova. 138
88. ASIIKI'IARUMSAKH CHIM KASHI ('LL NEVER COIVPL.4 /N/ Sayat-Nova... . 139
 235
89. YIS KANCI.IUM IM LALANIN O AM CALLING MY SWEETHEART)Sayat-Nova. . . 139
90. USTIKUGAS GHARIB BLBUL I4O
(WHERE HAVE YOU COME FROM. STRANGE NIGHTINGAID Sayat-Nove ..
91. ASHKHARSME PANJARA E (THE WHOLE WORLDIS A WIMDOW) Sayat-Nova 140
92. BROYIE Ssyst-Nova 141
93. ARI INDZ ANGACH KAL (LISTEN TOME) Sayat-Nova......... . 142
9 4 .D L N E N H U R I NI S ( Y O U A R E A F A I R r , S a y a h N o v a. . . . . . . . . . . 142
95. YIS KU GHIMETN CHIM GITr (I DON'T KNOW YOy, Sayat'Nova ... 143
96.YIS MEGHARID BLBULIPES (l AMAS A STRANFENIGHT-INGAZE)Sayat-Nova.... r43
97.CHISASUN4 (YOL|DON'T SAY) Sayat-Nova ........... 144
98, PATKIRKT GIIALAN,IOV KASIIATS (I.OLIRPORTRAITIS RITTEN,BY A TEACHER) ..
SAYAT-NOVA. 145
99.KAMANCH.A. Sayat-Nova 146
100.NAZ PAR (COQUETTEDANCE) A.Alexsndriatr.-...... 147
101.NAZELI OENDER) A.Alexsndrisn ...... 148
102.SHALAKHO Arm. folk da.oce t49
103. SHOROR Arm. folk dance Adapt- T-4ltuti8t .. 150
104.ZANGEZURI Womeo'sdatrce A:Alexaldrisn....... 1,52
105.BAKHTAVARI Karabakhwomcu's dance. . . .. . .. .. . .. . . 153
106.SHIRAK ROLTNDDANCE Arm. folk dance..... t53
107.DILIJAN Arm. folk daoce.. . 155
108.ZURM TRNGI Arm. folk dance 156
109.KOTCHARI Martunian Arm. folkdaDce..... 156
l l 0 . F A C ET O U S D A N C E A r m .f o l k & ! c e . . . . . . . . t5'7
111.VER-\'ERI Aro. folk da.nce 158
I12. Nl-fNUFAR Arm. folk darce 159
113.I'ERI (FAIRY) Arm. folk daoce 159
ll4. A\AHIT A.Mcraogulian. . . ... 160
:ii:
#' I15. GIRLS'DA-NCE A.Alexaqdriar !61
ni$ I 16.TSAGIIKEPTTNTCH (B UNCH OF FLO IL/ERS) Kh.Avetisi6.s...... r62
117.SHUSHANIKI Arm. fo& dance..... 162
I lE. REAPING AAlexandrian r63
l19. ARTASHATI Arm. folk dauce l&
I20.SEVANI Arm.folkdancc 1g
l2l. NAIRI AAIxEdriED.. . .. . 165
122.SHIJRIBAGHDADURI ArE. folk daacc.................. r66
123.UZUNDARA Arm. folk dance 166

SECTION III BNSEMBLES

L I T T L EP I E C E G . M i o a s y a n . . . . . . . . . t61
LUSNYAK GISHER (MOONLIGHT NIGHT) ArE.. folkforlg Adspt TJ|lfrDiu . . . . . . . . . . . . 168
YES LSETSI MI ANUSH DZAYN a1 HEARD A SWEET VOICE) Arm. folk song . . . . . , , 169
KUZHN ARA (ITOOKA JAR) Komitas........ 169
ALAGYAZ Komitas..... 170
TOGH BLBUL CHERGE (LET THE NIGHflNGALE NOT SING) Komitas....... 1'70
KHORIIURD KHORIN Khacbatur Tarotretsi CJflI-Xm c.) Adapt Komitas... t'7 |
KANI VUR IA\ lM (IVHILE I AM ALIVE) Sayst-Nova Adspt RAltnDW..
SOURB, SOURB (SAINT, SAINT) M.Yekmalian 176
TEARS OF THE ARAKS P.Afrikiatr t1'l
EXTRACT FROM LITURGY M.Yeloralis! t'78
ES GISHER LUSNYAK GISHEP. (THAT MOONLIGHT NIGHD Komitls . 181
AKNA KRUNK M.Tumachian Adapt. G.Saadatdli'an 183
ZARMANALI EH INDZ (IT IS ASTONISHING TO ME) I<hosroid\Yht Nfrc.) Adapt c.Satdtldjin 184

SECTION ry MUGHAMS

187
193
197
200
205
20'7
2t1

SOMEMUSICAL EXPLANATIONS 215

MUSICALTERMS 220

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MANUAL FOR DUDUK

Editors R.Altunyan
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Artist M-Minasov
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