In the modern musicology of our country, the issues of the modal structure of national music in its folk and classical branches are the most relevant. And they require a detailed study of the historical and theoretical aspects of fret thinking both in traditional classical and folk Uzbek music, and in the works of composers of our country. The article deals with some theoretical and historical aspects in the use of the means of musical expression of two composers of Uzbekistan: A. F. Kozlovsky and A. Nabiev. A brief comparative analysis of the stylistic features of orchestral and piano processing, its fret and harmonic organization, the sound representation of Uzbek folk instruments by means of a symphony orchestra and vocals, as well as in the piano texture – in two historical periods of the development of the composer's creativity of Uzbekistan is given.
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