A short excursion through the world of oriental musical instruments and the origin of the duduk. Musical instruments of Central Asia: gamysh balaman, tuiduk and others Musical instrument chen

At all times, people have devoted part of their lives to culture. Thus, despite the nomadic lifestyle and various difficult times, the inhabitants of Central Asia carried their musical culture through the centuries. Thanks to the akyns and masters of the past, national instruments have survived to this day almost in the same form as they were 100 and 200 years ago. The peoples of Uzbekistan, Tajikistan and Kyrgyzstan today can hear, play or simply hold in their hands unique musical instruments characteristic of Central Asia.

Let's tell you about them in more detail.

Uzbek karnai

Karnai is a massive wind instrument made of copper and brass alloys. The large trumpet reaches a length of up to 3 meters and allows you to create unique melodies.

Modern Uzbek musicians traditionally use karnai at weddings. These deep solemn sounds today symbolize the holiday. You can hear them not only from the next street, you can even hear them from another quarter of the city. At the festival, melodies decorated with karnai loudly and publicly declare that a celebration is being celebrated in this house.

Previously, karnai was used as a tool for convening warriors, as well as to notify the population that an enemy or trouble was approaching. The sound of the karnay was heard throughout the entire village and people were ready for certain actions due to the volume of the national wind instrument.

Tajik rubab

The rubab is a string instrument with a long history. It is made by hand from special types of trees. The process of cutting out a jug-shaped body is very painstaking and requires not only great diligence, but also special skills. The secrets of soaking log houses, stretching animal skin onto the main part of a musical instrument, and tuning strings and pegs in Tajikistan are passed on only from master to student.

Rubab sounds very lyrical. The strings give birth to a wonderful melody or accompaniment for the poet’s song. But real masters of the game can produce national Tajik dance melodies on rubab, many of which are already countless years old, and they are simply considered traditional folklore.

Kyrgyz komuz

Komuz is a national Kyrgyz stringed musical instrument. It has only three strings, but has a very ringing and melodic sound. Real komuz is made from wild apricot (apricot tree). The process of carpentry to create the shape of the komuz, the corresponding recess in the body, the top, the neck and other things is very complex and requires great skill. The cut wood blank for the future komuz must be completely dry; for this, it can be placed in a special dark room for several years.

On the neck of the komuz, like on some other musical instruments of the peoples of Central Asia, there are no frets. One learns to play it by ear, so not everyone can become a komuzchi (master of komuz playing).

The sound of a string instrument is practically not imitable, which is why so many characteristic melodies have been written for komuz, which are performed by national akyns, both solo and in ensemble.

Sources of information, photos and videos

Gijak (gijak, gyrzhak, gizhak, gijjak) - stringed folk musical instrument of the Uzbeks, Tajiks, Karakalpaks, Turkmen, Uyghurs. The design of the gijak is very close to the Persian kemanche, which is common in Azerbaijan, Iran and Armenia.

Folk musical instruments contain all the philosophy and wisdom of centuries. Performed on a gijak folk music, songs, instrumental pieces, makoms(a vocal-instrumental cyclic genre, the melodic basis of which is most often the intonation of crying). Gijak and its varieties, along with other folk instruments, are included in the Uzbek national instrumental orchestras.

Gijak body- spherical in shape, traditionally made from a special type of pumpkin, wood or other material (for example, large coconut), covered with leather on top. Tool sizes vary and often depend on the material from which it is made.

Number of strings modern gidzhak - four, although historically this number was also variable, three-string gidzhaks were most often found. In the old days, the gijak had silk strings, today it has metal strings.

It is generally accepted that gidzhak dates back to the 11th century. invented Avicenna(Abu Ali ibn Sina) - the great Persian scientist, doctor and philosopher, who laid the foundation for the field of science of musical instruments (instrument science), described almost all musical instruments existing at that time and compiled a detailed classification of their types.

At classical gijak playing the instrument is held vertically, the sound is produced with a special short bow in the shape of a bow, although modern performers also use a violin bow.

However there is virtuosos, who play not only classical folk music on the gijak, but also unusually vivid passages. In the video below you can not only listen, what does gijak sound like?, but also to watch a virtuoso playing the gijak master of his craft - Uzbek musician Farkhodzhona Gapparova(work "Storm" by Iranian composer Bijan Mortazavi):

musical folk balalaika

The history of Chinese folk musical instruments goes back several thousand years. Archaeological excavations indicate that more than 2000 years ago, and possibly earlier, various musical instruments were already in use in China. For example, as a result of excavations in the village of Hemudu, Zhejiang province, bone whistles from the Neolithic period were recovered, and in the village of Banpo, Xi'an, a “xun” (a wind instrument made of baked clay) belonging to the Yangshao culture was discovered. In the Yin Ruins, located in Anyang, Henan Province, a “shiqing” (stone gong) and a drum covered with python skin were found. From the tomb of the imperial dignitary Zeng (buried in 433 BC), opened in Suixiang County, Hubei Province, a “xiao” (longitudinal flute), a “sheng” (labial organ), and a “se” (25-string horizontal flute) were recovered. harp), bells, "bianqing" (stone gong), various drums and other instruments.

Ancient musical instruments, as a rule, had a dual use - practical and artistic. Musical instruments were used as tools or household utensils and at the same time for performing music. For example, "shiqing" (stone gong) may have originated from some kind of disc-shaped tool. Additionally, some ancient instruments were used as a means to convey certain information. For example, beating the drums served as a signal to set off on a campaign, beating the gong to signal a retreat, night drums to beat off the night guards, etc. A number of national minorities still have a tradition of expressing love by playing melodies on wind and string instruments.

The development of musical instruments is closely related to the development of social productive forces. The transition from the manufacture of stone gongs to metal gongs and the manufacture of metal bells became possible only after man mastered the technology of metal smelting. Thanks to the invention and development of sericulture and silk weaving, it became possible to make stringed instruments such as the qin (Chinese zither) and the zheng (an ancient plucked musical instrument with 13-16 strings).

The Chinese people have always been distinguished by their ability to borrow useful things from other peoples. Since the Han Dynasty (206 BC - 220 AD), many musical instruments have been introduced into China from other countries. During the Han Dynasty, the flute and shukunhou (vertical zither) were imported from the western regions, and in the Ming Dynasty (1368-1644), dulcimers and sona (Chinese clarinet). These instruments, which became more and more perfect in the hands of masters, gradually began to play an important role in the orchestra of Chinese folk music. It is worth noting that in the history of the development of Chinese folk musical instruments, string instruments appeared much later than percussion, wind and plucked instruments.

According to historical records, the string instrument, the sounds from which were extracted using a bamboo plectrum, appeared only in the Tang Dynasty (618-907), and the stringed instrument, the bow of which was made from a horse's tail, appeared in the Song Dynasty (960). -1279). Starting from the Yuan Dynasty (1206-1368), other stringed instruments were invented on this basis.

After the founding of new China in the middle of the last century, musical figures carried out large-scale work and reform to eliminate a number of shortcomings of folk instruments, manifested in impurity of sound, fragmentation of tuning, imbalance of sound, difficult modulation, unequal pitch standards for various instruments, lack of middle and low instruments register. Musicians have made significant progress in this direction.

Guan

Guan is a Chinese reed wind instrument (Chinese ЉЗ), genus Oboe. A cylindrical barrel with 8 or 9 playing holes is made of wood, less often of reed or bamboo. A double reed cane, tied with wire at the narrow part, is inserted into the guan channel. Tin or copper rings are placed on both ends of the instrument, and sometimes between the playing holes. The total length of the guan ranges from 200 to 450 mm; the largest ones have a brass bell. The scale of modern guan is chromatic, range es1-a3 (large guan) or as1 - c4 (small guan). Used in ensembles, orchestras and solos.

In China, guan is widely distributed in the Xinjiang Uygur Autonomous Region of China. In the south, in Guangdong it is also known as houguan (Chinese: ЌAЉЗ). The traditional Chinese name for this instrument is bili (Chinese ?кј) (it was in this form (vIvG in traditional spelling) that it passed into the Korean and Japanese languages).

Banhu

Banhu is a Chinese stringed musical instrument, a type of huqin.

The traditional banhu was used primarily as an accompanying instrument in northern Chinese musical drama, northern and southern Chinese operas, or as a solo instrument and in ensembles.

In the 20th century, the banhu began to be used as an orchestral instrument.

There are three types of banhu - high, middle and low registers. The most common banhu is the high register.

The music of various peoples and nationalities was formed on a national and local basis according to special rules and regulations. Historical events, revolutions, civilizations... have a key impact on the foundations and foundations of national and traditional music. In terms of music, Iran has a very ancient and interesting history.

According to some historians, the reference point for the musical antiquity of Iran is the period of the Achamenid era and one of the inscriptions of that period, made in the seven languages ​​spoken by the people of that society, apparently, the inscription was a piece of music or a song, such as, for example, a song on the occasion of the mourning of Siyavash, which were sung in the languages ​​depicted on the inscription. Given the ancient history of their music, Iranians have created a variety of musical instruments with which they have created music throughout their history. Let's get acquainted with some traditional Iranian musical instruments:

Lute

Timpani

Gaychak

Santur

Daf

Dotar

Camancha

Sitar

Tambour

Ladies

Do-Table (double drum)
This musical instrument is made of two drums: small and large. This instrument was used by the Kurds during wars. It was hung around the horse's neck. They were used to call upon the fighting troops to take active action, as well as provide moral support to the soldiers and create the appropriate mood. This instrument consists of two metal bowls, which are covered with leather, secured by a rim. The two drums are connected to each other by two leather parts. The larger drum has a deeper sound compared to the smaller drum. The Do-Table is similar to the Indian drum except that it has a louder sound and is struck with the fingers.

Ney

Tar

Tombak

Persian stringed musical instrument. It is believed that this particular instrument is the ancestor of all other types of bowed strings. Nowadays, this instrument is common in Central Asia and the Middle East.
"Kemancha" translated from Persian means "small bowed instrument." Kamancha arose in the 19th century; during this era, historians note the heyday of the performing art of playing the kamancha. This is due to the development of the art of professional singers.
Khanende are Azerbaijani folk singers. They had not only beautiful voices, but also a rare ability to improvise. Hanede was highly respected. It was these singers who “brought to light” kamancha.
The first tools were made from hollowed out gourd or Indian walnut. As a rule, they were richly decorated with ivory.
The body of the kamancha is round. The neck is wooden, straight and round in shape with large pegs. The soundboard is made of thin snakeskin, fish skin or bull bladder. Bow-shaped bow with horsehair.
According to one of the assumptions about the origin of kamancha, it appeared on the basis of a bowed gopuz. Gopuz is an Azerbaijani folk stringed musical instrument. This is a two- or three-stringed instrument, somewhat reminiscent of a guitar.
Knowledge about kamancha is supplemented by information from classical poetry and fine arts. Thanks to this, you can get an idea about it. For example, kyamnacha is mentioned in the poem “Khosrow and Shirin” by the Persian poet Nizami Ganjavi. He compares playing the kamancha with divine music that groans and glows.
To imagine what kamancha looks like, just look at the miniatures of medieval Azerbaijani artists. There she is depicted as part of the ensemble.

- an ancient wind musical instrument. Its origin from the ram's horn is not accidental. The fact is that in Semitic languages ​​the word “shofar” and the name of a mountain sheep are the same root words. The Talmud allows making a shofar from the horns of rams, wild and domestic goats, antelopes and gazelles, but it is still recommended to use the horn of a ram, which is associated with the sacrifice of Isaac. The Midrash states that the shofar from the left horn of the ram sacrificed by Abraham was sounded on Mount Sinai, and the shofar from the right horn will be blown when the scattered tribes of Israel are gathered together.
The shofar is used on special occasions. Thus, in ancient times, the sound of the shofar should have been used to announce the coming of the jubilee year. The same instrument reported the beginning of misfortunes - military operations or any disasters. The shofar is an indispensable attribute of various celebrations.
There are two types of shofar - Ashkenazi and Sephardic. The Ashkenazi shofar is processed on the outside and inside, giving it a crescent shape. Sephardic shofars are long and twisted. Shofars are made by artisans who pass on the tradition from generation to generation.
The shofar has a clearly defined religious character. It is played during some rituals, on days of fasting or prayer. The sounds of the shofar, according to legend, brought down the walls of Jericho (“the trumpet of Jericho”). Not a single Jewish New Year (Rosh Hashanah) is complete without a shofar. In Israel, for example, the shofar can be heard in unexpected places, such as near a train station or near a shopping mall. According to custom, the shofar should be heard a hundred times over the two days of Rosh Hashanah, which is why the shofar is blown multiple times during the morning service. The sounds of the shofar on the day of Rosh Hashanah enhance the solemnity and encourage repentance. According to popular belief, these sounds are supposed to confuse Satan, who acts as an accuser on this day of judgment.

is a festive flute, common in the Near and Middle East, Transcaucasia, India, Anatolia, the Balkans, Iran, and Central Asia. Like any flute, it looks like a tube with holes and a small beep. There are usually up to nine holes on the tube, one of which is on the opposite side.
A close relative of the zurna is the oboe, which has the same double reed. Note that the oboe is still longer than the zurna, it has more side holes, and, in addition, it is equipped with valve mechanics, like a clarinet, flute, and bassoon. However, the structure of the zurna pike and the double oboe reed are so similar that sometimes zurnach musicians buy an oboe reed in a store for their instrument.
Zurna has a special specific sound. Its range is up to one and a half octaves, and its timbre is bright and piercing.
Zurna sounds good as part of an instrumental ensemble. The musicians most often perform as a group of three. The first musician is called usta (or master), he plays the main melody. The second musician, as it were, complements the play of the first and echoes him with drawn-out sounds. The third musician plays a percussion instrument and performs a varied rhythmic base.
The oldest zurna dates back more than three thousand years. During excavations on the territory of the Armenian Highlands, the oldest specimen of zurna was discovered. It is known that a similar instrument existed in Ancient Greece. He accompanied gymnastic exercises, theatrical performances, sacrifices, and military campaigns. True, its name was different then - aulos, but it differed little from the current zurna.
The basis for making zurna is wood - apricot, walnut or mulberry. The diameter of the instrument barrel is about twenty millimeters. The instrument expands downward to sixty millimeters in diameter. The average length of the zurna is three hundred millimeters.
A bushing (“masha”) is inserted into the upper end of the barrel. Its length is about one hundred millimeters. It is carved from willow, walnut or apricot wood. It is the bushing that regulates the adjustment of the plate. The mouthpiece of the zurna is made of dry reeds, its length is ten millimeters.
The performer blows air through the mouthpiece and thus produces sounds. The range of the zurna is quite large for such a small instrument - from “B flat” of the small octave to “C” of the third octave. However, a professional musician can expand this range by several sounds. Experienced performers know how to make the zurna sing softly and tenderly.

Flute is a woodwind instrument. This is the general name for a number of instruments that consist of a cylindrical tube with holes. The oldest form of flute appears to be the whistle. Gradually, finger holes began to be cut into the whistle tubes, turning a simple whistle into a whistle flute, on which musical works could be performed. The first archaeological finds of a flute date back to 35 - 40 thousand years BC, thus the flute is one of the oldest musical instruments.
There is a wide variety of flutes in the world: recorder, transverse flute, pan flute, piccolo flute and others. - This is also a flute, which is common in Arab-Iranian, Tajik-Uzbek and Moldavian cultures. Ney is a type of longitudinal flute, which includes the flute, pyzhatka and whistle. is not the only name for such a flute. Its name depends on the material from which it is made. So, a wooden flute is called Agach-Nay, a tin one is called Garau-NayNay, and a brass one is called Brindzhi-Nay. The longitudinal flute was known in Egypt five thousand years ago, and it remains the main wind instrument throughout the Middle East.
Let's look at ney, about which not much is known. The Arabic flute has eight playing holes, while the Uzbek flute has six. Despite these differences, this does not affect the game, which has many fans. The sounds on the flute are not only “ordinary”, familiar to most listeners, but also chromatic. As for the Moldavian flute, its components are numerous - up to twenty-four pipes. They must be of different lengths, the pitch of the sound depends on this. The tubes are secured in an arched leather casing. Its scale is diatonic.
Nai (or ney) is not a fundamentally new instrument; it emerged from the improved gargy tuiduk, which was known for many centuries among the eastern peoples. However, this ancient wind instrument - gargy tuyduk - has survived to this day. It is made of reed and has six fret holes. There are no specific sizes for it, each piece is cut differently. These instruments are also used individually: some for solo play, others for accompaniment. The longitudinal flute, capable of octave blowing, provides a complete musical scale, individual intervals within which can be changed to form different modes by crossing the fingers, closing the holes halfway, and changing the direction and force of breathing.