Ili and Karatal - Epic Turkic Music

Music composed by Farya Faraji. This is a composition mostly rooted in the folklore and music of Kazakhstan with elements from Siberian and Altai Turkic music. There is a folk tale in Kazakhstan about a wizard called Balkhash. He had a beautiful daughter called Ili, and he wanted to find a suitor for her. Enthralled by her beauty, many beys and lords approached and participated in a contest to win her hand. Thus came Karatal, most handsome and strongest of all the men, and Ili fell in love with him. Young and strong Karatal won all the contests, but Balkhash refused to have a poor shepherd as his son-in-law, and so he broke his promise and refused Karatal his daughter's hand. Ili was heartbroken, but Karatal offered to elope with her, and so they both fled on horseback. Rageful, Balkhash used his magic to create a great lake, and he turned Ili into a river, and Karatal into another one. This is why, to this day in Kazakhstan, the river Balkhash eternally lies between the rivers Ili and Karatal, and both rivers for many centuries have been seething and rolling, trying in vain to merge into one, but to no avail, and they will never join again, forever kept apart by lake Balkhash.

The composition is primarily rooted in the musical tradition of Kazakhstan, where the dombra is the primary instrument as used here, and I used elements of the heptatonic Aeolian and Phrygian modes, which are indeed very present in Kazakh music, the latter often helping demarcate it from more eastern Turkic traditions like Altai or Siberian Turkic music. Another aspect of Kazakh music I employed is the usage of two-note chords; the dombra is not played in a strictly melodic manner like the Iranian tanbur or Turkish baglama are, but instead, it always uses the thumb to accompany certain notes of the leading melody with consonant harmonic intervals, which gives Kazakh music a distinctive sound. Related harmonic two-note techniques are also found in Turkmen music, at least that of Iran, which I can attest as I grew up around the Iranian Turkmens as a child. The overtone throat singing is more creative on my part, as Kazakh music does not have a native tradition of overtone throat singing in its traditional music., though there is a slight revival with neo-folk bands in Kazakhstan like the Turan Ensemble using it. I used throat singing as a stylistic gesture to allude to the Turkic brethren of the Kazakhs in the Altai and Siberia, as this tale seems to have precedence in those lands which are the ancestral ones of all Turks; therefore alluding to the remote past of the Kazakhs through the usage of throat singing.

[faryafaraji]

Music composed by Farya Faraji. This is a composition mostly rooted in the folklore and music of Kazakhstan with elements from Siberian and Altai Turkic music. There is a folk tale in Kazakhstan about a wizard called Balkhash. He had a beautiful daughter called Ili, and he wanted to find a suitor for her. Enthralled by her beauty, many beys and lords approached and participated in a contest to win her hand. Thus came Karatal, most handsome and strongest of all the men, and Ili fell in love with him. Young and strong Karatal won all the contests, but Balkhash refused to have a poor shepherd as his son-in-law, and so he broke his promise and refused Karatal his daughter's hand. Ili was heartbroken, but Karatal offered to elope with her, and so they both fled on horseback. Rageful, Balkhash used his magic to create a great lake, and he turned Ili into a river, and Karatal into another one. This is why, to this day in Kazakhstan, the river Balkhash eternally lies between the rivers Ili and Karatal, and both rivers for many centuries have been seething and rolling, trying in vain to merge into one, but to no avail, and they will never join again, forever kept apart by lake Balkhash.

The composition is primarily rooted in the musical tradition of Kazakhstan, where the dombra is the primary instrument as used here, and I used elements of the heptatonic Aeolian and Phrygian modes, which are indeed very present in Kazakh music, the latter often helping demarcate it from more eastern Turkic traditions like Altai or Siberian Turkic music. Another aspect of Kazakh music I employed is the usage of two-note chords; the dombra is not played in a strictly melodic manner like the Iranian tanbur or Turkish baglama are, but instead, it always uses the thumb to accompany certain notes of the leading melody with consonant harmonic intervals, which gives Kazakh music a distinctive sound. Related harmonic two-note techniques are also found in Turkmen music, at least that of Iran, which I can attest as I grew up around the Iranian Turkmens as a child. The overtone throat singing is more creative on my part, as Kazakh music does not have a native tradition of overtone throat singing in its traditional music., though there is a slight revival with neo-folk bands in Kazakhstan like the Turan Ensemble using it. I used throat singing as a stylistic gesture to allude to the Turkic brethren of the Kazakhs in the Altai and Siberia, as this tale seems to have precedence in those lands which are the ancestral ones of all Turks; therefore alluding to the remote past of the Kazakhs through the usage of throat singing.

[ashinaltai]

the pre-Islamic Turkish History is a really wonderful period. The efforts of countless nomadic tribes to exist out of nothing, to establish large states while becoming a nomadic community.. How many love stories remain hidden in those deep valleys, rich forests and lofty mountains.. Oh beautiful world, you are too poetic for us mortals.

[bhessence]

As a Turk, I liked this music very much, it has a very pleasant feeling, I can't even explain it.

[sumeyyaozer]

Türkiye'nin canı çok yanıyor farya bu ezgi merhem gibi geldi yaralarımıza Rabbim Türk milletinin yardımcısı olsun 🇹🇷😢

[mazardam]

Love from Kazakhstan barlıq türk baurlarıma salam 🇰🇿

[Suleimenoff]

How could I have missed this. Thank you from Kazakhstan

[eziodafirenze]

As kazaķ I really appreciate this work. This piece of art❤. It's sound is so heartwarming

[edwartvonfectonia]

Thank you for dedicating your work to Kazakh and Turkic culture. Hello from fellow kazakh!

[danbie]

Love this more gentle and melancholic track for Turkic music, it rounds out the Turkic sound you cultivated between the aggressive, generally badass and warlike, the mystic and esoteric, and now the more soft and gentle part of their musical texture. Just lovely. <3

[esoterra]

I feel like galloping on horseback through nature with the watchful eye of Tengri. It's fantastic!

[Zengi_Atabeg]

Farya, your Turkic music makes me feel overwhelmed that I cant even explain and describe how I feel😊

[pajiibmackee]

One of the best artists in the world. I'm so glad to be a fan of someone who pours so much passion and research into the music they make. Truly a master of your craft

[KhansDen]

In these dire times, this is what we needed. From the bottom of my heart, teşekkürler.

[uuuby]

I love Turkic 🇺🇿🇰🇿🇹🇷🇹🇲🇰🇿🇦🇿🐺🐺🐺🐺🐺, I am From Indonesia 🇲🇨😄

[turkicnomad]

We really like every piece of music u make! But please make some more Turkic songs with lyrics. Those are so powerfull..

[TotilaTheGoth]

You really are knowledgeable in histories and cultures of various nations. That's admirable, alongside the great music you make.

[schattenfaust]

Farya thank you, in theese hard times your music heals my weary sould thank you.

[greygamertales]

I love the visual effects and artwork in this video as it evokes the feeling of ancient eternal love unbroken by time. The simple emotional music is also fitting for the story.

[Demirorda]

Var olun Fayra Efendi, harika işler üretiyorsunuz. İlgiyle takipteyiz, asla bu işi bırakmayın. Saygılarla.

[kultigin]

Música Túrquica Cazaque é muito bela em sua melancolia romântica não realizada e em sua devoção à Nação e aos Ancestrais.
Gostei do fato de mencionar o trabalho do grupo Turan pois é meu grupo Neofolk cazaque favorito, você poderia fazer um cover da música Kurmangazy do Turan Ensemble Grup.