Komuz is the most popular and beloved musical instrument of the Kyrgyz people. In ancient times, the komuz was played in almost every Kyrgyz yurt, and in the 20th century, it made its way to the grand concert stage. Kyrgyz komuz players perform abroad, drawing the attention of a wide audience and specialists to the unique sound of the instrument and the distinctive genres of komuz kyuu.
A large and diverse repertoire has been accumulated for the komuz, which is a source of pride for Kyrgyz musicians. Part of this repertoire has been recorded and transcribed by A. Zataevich, V. Vinogradov, B. Feferman, B. Alagushov, T. Medetov, A. Slezko, S. Subanaliev, K. Dyushaliev, and other researchers of Kyrgyz musical culture.
The music performed on the komuz attracts attention with its rich content, genre-thematic and rhythmic features, and the uniqueness of its musical form. It is very interesting for researchers as well.
All of this allows for the consideration of music for the komuz from various perspectives. However, any classification is only valid when it stems from the inner nature of komuz music and takes into account the real context of its existence and its aesthetic super-task.
Following this general principle, komuz music can be viewed through the lens of genre classification, which allows for the characterization of the diversity of artistic content and expressive means of kyuu from both musical and socio-psychological, as well as historical-cultural perspectives. It is also important to consider seemingly purely technical parameters, such as the tuning of the instrument, the system of left-hand positions, and the techniques of sound production in the right-hand part.
In this regard, it is appropriate to distinguish three main genre groups in komuz music. The first group includes kyuu-miniatures of song genesis. The second group encompasses virtuoso-playful, characteristic kyuu. The last large group consists of large-scale classical kyuu. The second and third groups represent genres of concert music in the oral tradition. In creative practice, interaction between these three types of kyuu is possible, leading to the emergence of komuz works of a mixed or transitional genre type.
Let’s briefly examine the features of each of the three groups of kyuu for the komuz.
Kyuu-miniatures of Song Genesis (obon kuulor). This group includes instrumental pieces based on the melodies of certain folk songs, known as "obon." They vary in content, form, and performance technique. They can be performed by someone with a basic knowledge of the komuz: knowing one or two tunings (fourth, fifth) and a couple of sound production techniques is sufficient. Performing folk melodies on the komuz is a typical form of mass music-making.
In terms of theme, song kyuu-miniatures are divided into epic, historical, lyrical, tragic, everyday, patriotic, children's, etc. Vivid imagery and narrative structure create a specific type of programmatic content within them.
The most common are kyuu of an epic nature, which, however, take the form of instrumental miniatures. This reflects the general tendency of Kyrgyz music towards the poetics of epic. The art of storytellers has undoubtedly influenced the formation of instrumental genres. Komuz players developed melodies and narratives from well-known epic and historical songs in their performances, thus becoming creators of a unique "instrumental epic." It differs from its original source not only in its purely instrumental form of expression but also in the concentration and depth of the musical interpretation of epic images. There are many works in Kyrgyz komuz music named after central heroes of epics and dastans, including "Mendirman," "Sary Solton" (or "Solton Sary"), "Janush-Bayish," "Sarynji-Bekey," "Kurmanbek," "Kanykeydin armany," "Gulgaaky," "Ak Bakay," "Ketbuka," and others.
The kyuu "Mendirman" by M. Kureneev is presented in the fifth tuning and in an unchanged two-voice structure, where the widely developed first voice sounds on the tonic organ point. It is characterized by decisiveness and dynamism. The kyuu is performed with a strong upward movement, with almost every note accented. The rhythm is in two beats, and the clarity of movement is enhanced by the strikes of the right hand on the body of the komuz (using the strumming technique), which takes on the character of a special performing stroke of an ostinato type. An individual feature of the piece is its rhythmic-intonational unity.
In the heroic "Kyuu o Semetee" by A. Tynibekov ("Semetey kyuu"), there is a dense three-voice texture with a leading upper voice. This miniature is based on one of the popular heroic march motifs from the epic "Manas."
Heroic strength and a marching rhythm are characteristic of another epic piece — "Large Army" ("Chon koshun") — by the same komuz author. This is also a vivid example of Kyrgyz folk instrumental epic. The kyuu sounds in the fourth tuning, in the character of a marching march. For listeners familiar with the epic, the piece is associated with the image of the military detachment of the hero Manas. The texture is dense and three-voiced. The melody is in the upper voice. The lower voices are subordinate to the tuning of the komuz and serve as a rhythmic ostinato accompaniment.
One of the ancient instrumental miniatures for the komuz is the tragic piece "Karagul, my child" ("Karagul botom"), recorded from the well-known komuz player K. Dosuiev. It sounds on one string of the komuz as a monophonic epic instrumental recitative.
In the typical komuz texture, where the three-voice "tutti" often alternates with a monophonic "solo," sounds the miniature by M. Kureneev "Ketbuka" (the name of a medieval akyn and komuz player) — a piece of historical-tragic character.
Lyrical and everyday-themed pieces are widely represented in the genre of song kyuu-miniatures. They are often associated with female names and images, which are celebrated as symbols of love and beauty. These include the kyuu "Nalima," "Batmakan," "Mistekan," "Sairakan," and others.
Many lyrical instrumental miniatures for the komuz are connected with everyday situations or are closely intertwined with various images of nature. For example, in the kyuu "Stretched Mountains" ("Kirme too"), the majestic image of the Kyrgyz mountain landscape is reflected. In the kyuu "Steppe Black Grass" ("Kara chiy"), a field plant is poetically depicted.
Such kyuu as "Joke" ("Takmaza") and the satirical piece "Greedy" ("Tash jalak") sound like a peculiar instrumental scherzo.
There are many kyuu on modern themes. One of the children's pieces, "Young Pioneer" ("Zhas pioner"), is an example of how folk musicians embody new images in an ancient form.
The form of song kyuu resembles the verse-strophic structure of Kyrgyz folk songs, but in each individual case, it finds its own unique interpretation. In more developed miniatures, variability and improvisation prevail.
