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TSERENTULGA TÜMENBAYAR religious musical instruments were used such as bell, double-faced hand drum, large drum (Mong. yeke kenggerge), and clarinet instead of bone-trumpet. The narration of the play goes as follows: A mother is in the hell because of wrongdoing in her former life. Her son tries to save his mother and take her out of hell. Milarepa at dawn at 4 o’clock, destroys all the evils on the earth with saints and monks from all over the world by lighting up the butter lamp. He imagined such a scene. He created the Canto for the mantra of goddess Sarasvati (Yanjinlkham, Tib. dByangs can lha mo), by using extension of vibrate note of long-drawling song with accompaniment of yatga (Mong. yatuy-a), morin khuur, and stringed instruments. Using attuned bell in this song made the mantra melodious. Also, the melody of Inviting the Melodious Mother, which was composed for the repertoire of the conservatoire of Mongolia, is repeated 21 times according to mantra counting: for 7 minutes one can hear a very lyrical and meditational melody. 21 yatga are played for this melody, but one is solo, corresponding the 21 Taras’ dance. In this song yatga plays a key role. The legend about yatga says that once upon a time, after apocalypse and another small apocalypse, three brothers called Fu I, Xian En, and Sun Yang Fu settled the country, established the state, and became the kings. They had attacked the Han country again and again, the fight continued and after 600 years, during the reign of Zhu Han ... and his small queen Deren due to being captivated by the evil, had been executing many best viziers consecutively. Once Bayankhtiti, nephew of Chi Yang Tseren, the former Chin wan of the king, came to the king to save the life of his dad ... and played yarga. The queen by being excited with the melody of yarga immediately ordered him to teach it for her ...the melody is not an ordinary melody, it is created with ancient incarnation. Its high tones are 71, low tones — 51, if joining them in harmony, there would be 36 various melodies to play — by saying so, Bayankhiiti played yatga again which filled the palace and lyrically sang: my thought expressed through melody will be known by heaven, ...blessing by the king will be init, and people living between heaven and hell will have joy and happiness ... There are 6 taboos to learn playing yatga: in rain and blowing wind, when worrying, when wearing incomplete clothing, when getting drunk, when being blunted, and when thinking of strange things ... yatga must not be played®! — said Bayankhüü. This way by teaching the queen how to play yatga he saved his father, simultaneously clearing away the evils from the heart of the queen. In the work of B. Ménkhbold, at the sound of shell trumpet, the Melodious mother goes down to the earth from the heaven by being appeased with the soft melody of the yatga. It reminds us of the tradition of the Yuan Dynasty using melody when inviting ancestors from the heaven. “Khans of the Great Mongol Empire when traditionally worshipping eight white felt gers of the ancestors as shrines on a fixed day, always gave tribute to their ancestors.” It is the same that S. Sorondsonbold said: | Erdenechimeg, L.: Mongoliin giir duu. Vol. IV. Offset Printing, Ulaanbaatar 2015, 71. ® Batsiikh, O.: Khubilai khan, 80. 292
