Cymbals are a musical instrument. Characteristics of the main Ukrainian folk musical instruments. Meaning of the word dulcimer

Cymbals

- (Polish cymbaly) - a multi-stringed percussion musical instrument of ancient origin. They are part of the Hungarian folk orchestras... Encyclopedic Dictionary

Cymbals

- J. pl. musical instrument: metal strings are struck with hooks; a kind of small harp. | Star. cymbals, a type of copper plate. With cymbals... Dahl's Dictionary

Cymbals

- A musical instrument in the form of a box with strings that are struck with wooden hammers. Ozhegov's Dictionary

Cymbals

- Symbolizes the two hemispheres of the earth, the movement of the elements. Used in orgies along with the drum and tambourine, especially in ritual... Dictionary of symbols

dulcimer

- A stringed percussion musical instrument of the psaltery type, consisting of a small trapezoidal frame with with stretched strings, according to... Collier's Encyclopedia

Cymbals

- Cymbals are a stringed musical instrument, the strings of which are struck with hammers with leather-covered heads. A box containing... Encyclopedia of Brockhaus and Efron

CYMBALS

- Cymbal, pl. Folk musical instrument in the form of a flat box with metal strings, which are struck with two hammers... Dictionary of foreign words

dulcimer

- TSIMB "ALY, cymbal, unit no (from Greek kymbalon - cymbal). A musical instrument in the form of a flat box with metal... Ushakov's Explanatory Dictionary

Their body has a flat, trapezoidal shape with stretched strings. The sound on cymbals is produced with wooden sticks.

Varieties of dulcimer

Currently, dulcimers are used in practice in two ways:

1. Folk-authentic;
2. Professional and academic.

Accordingly, two types of cymbals are used: folk and concert-academic. During their existence, cymbals, of course, were improved; R.V. Podoynitsyna, in the article “On the interdependence of the development of musical instruments and performing style,” compares the shape, size and design details of folk and improved “Prima” cymbals.

The shape of both instruments is a regular isosceles trapezoid. The dimensions of the body of folk dulcimers vary: lower base - 705-1,150 mm, upper 510-940 mm, sides - 255-400 mm, height - 33-95 mm, width - 235-380 mm. Professional dulcimers have other indicators: lower base 1000 mm, upper - 600 mm, side side 535 mm, height 65 mm, width - 490 mm.

Folk dulcimers have three, most often two, stands: on the right - bass; on the left is the voice string, which divides the strings into fourths and fifths. On the voice stand, “middle voices” are located on the right, and “high voices” are located on the left. Thanks to this, a scale consisting of three registers appears. At the top, between the main stands, there is an additional small one, for one row of strings. Professional dulcimers have six bridges: two main, four additional lower and three upper, which divide the strings into fifths, thirds and seconds.

Differences between instruments in the number of rows of strings, the number of strings in one row, their length and cross-section. Folk dulcimers often have 12-17 rows, each of which has 3-8 strings, usually 4-5; length of the sounding string is 630-825 mm. for low sounds and 260-315 mm. for tall ones. Folk performers used strings of different sections - 0.1-1.0 mm. Currently, folk musicians play an instrument with strings of the same section. Unlike folk cymbals, academic cymbals have 29 rows of strings; two strings per row in the bottom nine rows and three in the rest. The length of the sounding string ranges from 680 mm. up to 700 mm. Professional instruments use strings of five sections (from 0.4 to 0.7 mm and twisted with gimp), which affects their timbre in all registers, which is less even.

The volume of the scale of folk cymbals is most often 2-2.5 octaves (C-E2), which are based on diatonicism with chromatization of individual steps. The scale of the academic instrument is different: it is chromatic and expanded (G-B3).

Folk performers most often hold the instrument on their laps, while in professional practice the cymbals are placed in front of the musician.
Sound production, both in folk and professional performance, is carried out with the help of sticks - hammers, which in folk practice have spread as “hooks”.

Musicians from both traditions hold the hammers between the middle and index fingers, forming the rest into a fist. Folk hammers are individual in size, their length is from 140 to 240 mm. The sticks of professional dulcimer players are attached to the right and left hands, which is absent in folk performance, their length is from 125 to 135 mm, weight is 8-9 g.

Folk musicians do not cover the hooks when playing metal with wood. Under the influence of professional music, which requires dynamic and timbral variety of sound, academic dulcimer players began to line their hammers with suede, using large number cotton wool. Sheathing is a matter of exceptional importance. Hard casing produces a harsh, unpleasant sound. Too soft, dull, unclear.

The characteristic features of folk cymbals are:

— no muting of open strings;
— strict functionality: the right hand plays the melody, the left “knocks out” the rhythmic-harmonic filling;
- the sticks have no covering;
- the cymbals are held on a suspension (one of the options) or placed on the knees.

The social environment played an important role in the development of professional dulcimers. In rural areas, the design of cymbals, their interpretation and artistic function remained unchanged. The urban environment, on the contrary, contributed to the introduction of musicians to the professional academic art and “pushed” the reconstruction of the instrument, which subsequently affected the performing level.

Reconstruction of the dulcimer

For the first time, in the 1920s, the dulcimer folk tradition were reconstructed by D. Zakhar and K. Sushkevich in accordance with the standards of concert and stage performance.

The improvement of the cymbals was carried out along the lines of:

1. changes and improvements to the internal structure of the instrument using acoustic data;
2. expanding the overall range of the instrument to three octaves;
3. introducing a full chromatic scale within the entire range of the instrument and arranging its sounds in the order of progressive, incremental movement;
4. changes in the shape and structure of hammers for striking strings;
5. creation of a whole family of cymbals: prima, alto-tenor, bass and double bass.

Reconstruction of the internal structure and external shape of the instrument pursued the goal of obtaining good timbre-rich, strong and soft sounds. During the development, the vibration characteristics of the strings were taken into account, and attention was also paid to the quality of the material used. Rings (springs) were glued onto the resonant deck, the number of strings for one row was reduced from 7-5 to 3, and the use of strings of different diameters increased.

Expanding the range of the instrument and introducing the chromatic scale increased the performing capabilities of the cymbal. The arrangement of sounds in a forward motion facilitated the technique of playing this instrument.

Changing the length of the hammers made it possible to muffle the sounding strings, which led to a more expressive performance. Based on the modified instrument, a family of dulcimers was created, which formed the basis of the State Folk Orchestra created by I. Zhinovich, which now bears his name.

Cymbals of a new design, established on concert stage and in educational and pedagogical practice, which became the basis for the formation of the performing and pedagogical skills of domestic dulcimer players, as well as the creativity of composers who created an interesting modern original repertoire.

By the mid-1960s, the design capabilities of the instrument began to fail to meet artistic needs and performance requirements. The dulcimer repertoire expanded to include classical works of the violin world musical literature, which required expanding the range of cymbals, in connection with this I. Zhinovich and master experimenter V. Kraiko carried out their partial reconstruction. The improvement in the characteristics of the instrument was manifested in an increase in the range by adding two supports - for the scale in the small octave and additional sounds in the third octave.

However, the manner of holding the dulcimer on the knees while playing, which persisted until the mid-1960s, served as a limiting factor in dulcimer performance in general, as it constrained motor activity and did not allow the performer to fully realize his technical potential. The increase in the weight of the dulcimer, the complication of artistic performance tasks, and the change in the contingent of performers due to the increase in the number of female dulcimer players initially led to the natural need to install the instrument on a support in the form of legs. As a result of this, the musician’s body was liberated, and it became possible to use all registers of the instrument equally, which contributed to the further development of performing technique.

Experiments were conducted that involved varying the number of legs and methods of attaching them. This led to the following results. The original instrument was mounted on flimsy aluminum legs that were mounted into the bottom deck. However, flexible and susceptible to external influences, aluminum could not withstand the weight of the tool.

There have also been attempts to mount the instrument on four legs, which provided solid support on a flat surface, but in cases of uneven stage areas this was a serious obstacle. The option of placing the dulcimer on three legs screwed into the body of the instrument was the most acceptable and has been established in the practice of making dulcimers to this day.

History of the dulcimer

The ancestors of cymbals were known about six thousand years ago. And the first images of simple percussive chordophones (rather, theoretically reminiscent of today's cymbals) were preserved on an ancient Sumerian monument - a fragment of a vase from the late 4th - early 3rd millennium BC. e., which depicts a procession of musicians with five- and seven-string instruments. “Reclining harp” (that’s what T. Vyzgo, a researcher of Central Asian instruments, called this instrument).

Another dulcimer-like instrument can be seen on a bas-relief from the era of the First Babylonian Dynasty (9th century BC). It depicts a musician striking with sticks a seven-string instrument, a wooden structure with an attached bow on which strings of varying lengths are stretched. The bas-relief of the royal palace of the Assyrian state (7th century BC) depicts musicians accompanying the procession to the temple of the goddess Imitar. Attached to the body of one of them was a nine-string instrument, which archaeologists later called a “triganon” due to its triangular shape. Sound production on it was carried out by striking sticks. In fact, this instrument was a primitive dulcimer that spread in the East and over time acquired the shape of a regular trapezoid.

IN Ancient Greece There was also an instrument related to the dulcimer. The scientist Pythagoras (571-497 BC) used a monochord to study musical modes and intervals - a one-string musical instrument for studying modes and intervals (“mono” - in Greek - “one”, “chord” - “string” ).

The principle of its operation was based on the gradual movement of the stand along designated points, during which the relationship between the sounds extracted when dividing the string was determined. Sound production was carried out using a hammer or by plucking a string. Later, four strings began to be used, which made it possible to increase the number of tones and their combinations. It was this design that was described by the Roman theorist Aristides Quintilian (26 AD) under the name “helicon”. In this regard, it is suggested that the abandonment of the mobile stand and the transition to the percussion method of playing could be one of the prerequisites for the further transformation of the monochord into a dulcimer.

Cymbalo-like instruments have been known in Asia, India, and China since ancient times. Simple to make and easy to use, they have found life in the culture of different nations.

At the beginning of our era, such an instrument appeared in Ancient China and had the name “zhu”. In 616-907 AD. e. This multi-string percussion instrument was introduced into the palace orchestra "yayue".

Monuments of ancient Indian literature mention ancient instrument vana veena, which researchers identify with the modern Indian dulcimer - santoor. Its strings, made of munja grass, were played with bamboo sticks.

Within the multinational Indian state, gypsies occupied a certain social niche. This nation “belonged to the “house” caste, which was required by law to study music.” In the middle of the 5th century. AD the exodus of gypsies from their historical homeland begins. In this regard, one can agree with the opinion of N. Findeisen that cymbals were brought to Europe by gypsies, and from them passed on to Jews, Little Russians, Belarusians and other Slavic tribes.

In subsequent centuries, cymbals flourished in European countries.

Scientists identify several ways in which cymbals spread. Instrument imported:

- Arabs to Spain, then to Europe;
- Ottomans, gypsies in Balkan countries;
- Crusader knights during the era of the Crusades in Europe.

Simultaneously with the spread of cymbals, a gradual improvement in their design began. It occurred not only due to changes in the shape and volume of the resonator box, but also by increasing the number and quality of strings. On ancient instruments, the strings were gut or gut. In Central Asia, at the end of the 7th and beginning of the 9th centuries, copper wire began to be used for the lower strings. At the turn of the 11th and 12th centuries, devices for tensioning metal wire also appeared in Europe.

Particular attention to cymbals in the XIV-XVI centuries. observed among the nobility. Court society used the instrument for playing music; it was especially fashionable for ladies of the upper class to play it. Paulirinus in 1461, characterizing the instrument, speaks of its “very sweet harmony” and praises its pleasant sound. According to his ideas, the instrument was ideal for court and burgher music. The French hammer dulcimer was described in his works by the composer Guillaume de Machaut in 1375.

Among widespread secular musical instruments In medieval Europe, such an instrument as the psalterium is very common. It was the psalterium, which accompanied the recitation of songs of praise, that gave the name to the eternal book of Psalms. Psalm 150 mentions “sounding cymbals, loud cymbals”... In ancient pictures, the cymbals and the psalterium are very similar and differ only in the method of sound production: on one they played with plucking of a plectrum), on the second - with a blow (with sticks). And the piano is a direct descendant of cymbals, or rather, their variety of psaltery, which had a keyboard.

The period, chronologically designated as the end of the 17th-18th centuries, is associated with the name of the outstanding German cymbalist and composer Pantaleon Gebenstreit (1668-1750). Its significance in the world musical culture is inextricably linked with the pantaleon instrument, the improved dulcimer, of which he was the creator and promoter. It is with light hand King Louis XIV assigned the name “pantaleon” to the instrument in honor of its creator. Pantaleon Gebenstreit left a bright mark on the history of dulcimer art as a virtuoso dulcimer player and improviser. His instrument corresponded to the aesthetic and artistic tastes of the society of that time. I. Kunau called it “charming, the most improved instrument after the clavier.”

There is a growing interest in this instrument in Russia. In 1755-1757 During the reign of the Russian Empress Elizabeth Petrovna, the pantaleon was held in high esteem. Pantaleon virtuoso Johann Baptist Gumpenhuber, having signed a three-year contract and received good content, was Maresh's assistant in improving horn music, played at court, in the opera and often performed in palace concerts, surprising everyone with his own writings, purity of performance, brilliance of cadences, capriccios and trills.” From the research of P. Stolpyansky we learn that in St. Petersburg only clavichords were sold and only in 1765 “pantolons and clavichords” were brought, and “standing pantolons” and “used pantolons” were sold.

The cymbal parts were presented at a high technical level in operas, symphonies, and oratorios of the 18th century. In Spanish opera in 1753, the accompaniment of cymbals is used when the prima donna sings. M. Chiesa, holding the position of second cymbalist at the Teatro alla Scala in Milan until 1783, performs occasional roles. K. Gluck introduces cymbals into the score of the opera “Fooled Cadi”.

In the 17th century, a local variety of dulcimer appeared in the musical culture of Germany - the Hackbrett, which belonged to the dulcimer family. The Hakkbretg was very reminiscent of the cymbals known to many peoples of Europe today.

Since the 16th century, the dulcimer began to be used not only as a solo instrument, but also as an accompanying singing instrument and as an ensemble instrument.

Gradually, dulcimers became entrenched not only in the secular urban culture, but also in the folk rural culture of many peoples of Europe. TO XVIII century stable gypsy ensembles have formed in Hungary instrumental music, where cymbals were used. In the 19th century, the instrument is part of the orchestras of Romania, Slovenia, Yugoslavia and is distributed in the territories of Switzerland, Norway, Sweden, England, the Czech Republic and North America.

As researcher I. Zabelin notes, cymbals appeared at the courts of Russian princes at the end of the 15th century. along with other foreign instruments. So, in 1586, the royal court of Moscow received musical instruments from the English Queen Elizabeth. Tsarina Irina Feodorovna was amazed by the dulcimers decorated with gold and enamel that were presented to her. Among the musicians of the Amusement Chamber under Tsar Mikhail Fedorovich in 1614, dulcimer players Tomilo Besov (1613-1614), Milenty Stepanov (1626-1632), Andrei Andreev (1631) are mentioned. According to N. Kostomarov: “... in the palace there were cheerful goose-players, violin players, domrachei, dulcimer players, and organists. The strict and pious Tsar Alexei Mikhailov, with all his ascetic piety, on the birthdays and baptisms of his children, arranged music in the courtyard from the instruments of that time ... "

The immediate predecessor of the current concert dulcimer, popular in Hungary, the Czech Republic, Ukraine, and Moldova, was an instrument created in Austria-Hungary by Jozsef Schunda. This Pest master, working at the royal court, not only theoretically substantiated the legitimacy of the existence of a new type of dulcimer in 1874, but also mastered their serial production. About recognition in musical world Schunda's invention is evidenced by a respectful inscription on a photograph that Franz Liszt sent to the master six months before his death.

The most recognized cymbalist of the first half of the twentieth century. The Hungarian Aladar Ratz, with whom Ernest Ansermet and Igor Stravinsky collaborated, is considered. We find a positive attitude towards the instrument in the memoirs of I. Stravinsky: “One day in 1914, in a restaurant in Geneva, I heard cymbals for the first time and decided that they could replace the harp. The dulcimer player, a certain Mr. Ratz, kindly helped me find the dulcimer, which I bought and kept during the Swiss period of my life and even took with me to Paris after the war. I learned to play them, fell in love with them and composed “The Tale” on them - with two sticks in my hands, writing down as I composed - as I usually compose on the piano.” I. Stravinsky also used cymbals in the chamber symphonic work “Rag Time”, in the unfinished versions of “The Raskolnik Melt” and “Weddings”. In 1926, Z. Kodaly introduced colorful cymbal parts into the opera Hari Janos.

Dulcimer playing techniques

Creation of the dulcimer various types, the expansion of their general range, the introduction of a full chromatic scale, and the radical reconstruction of hammers made it possible to enrich and expand the methods of producing sound on these instruments. Previously, the folk performing culture of playing the dulcimer was limited only to the technique of “blow” of wooden sticks on the strings. After the reconstruction of the instrument, tremolo, pizzicato, glissando and various kinds of decorations were added to this basic technique - trills, grace notes, mordents, gruppetto, arpeggiato.

Currently, in the performing practice of folk musicians, the main method of sound production continues to be the “blow”, which is used both at slow and fast tempos. The “blow” technique is carried out by a single impact on the strings. The connection of sounds in the melody is carried out due to the absence of jamming. The overtones that appear after the daddy hits are superimposed on the previous ones, which are weaker, but continue to sound. A continuously vibrating, humming background is created, which allows sounds to be collected into a single melody.

The modern repertoire of professional dulcimer players has required them to introduce many new techniques that are not typical of the folk tradition, such as harmonics, mutes, playing with wooden hammers, arpeggios, and glissando with a key on a string (the so-called “ukulele” technique). Let's consider all of the above methods of sound production when playing the dulcimer.

« Hit“Single hammer action is divided into two main types - weight (with the whole hand) and carpal (hand). Each of the varieties is in close relationship with the other, periodically acquiring dominant significance. The blows are made 3-5 cm from the stands. The “blow” technique is designed to extract both individual sounds and chords, which can be complicated by rhythmic, timbral and dynamic aspects. This technique mainly achieves fast movements. Percussion at a slow tempo is possible when the music is solemn and majestic in nature. Covering the hammers with suede or leather gives a softer sound.

At the same time, the folk technique of playing with pure wood hammers was preserved. To do this, you need to turn the hammers in your fingers to strike not with the sheathing, but with curls. This technique was called " collegno» - with inverted hammers (wood). It is rarely used as a coloristic effect, when an image of a special moment in music is required.

IN modern music as a coloristic device they use “ hitting the edge of the deck with the wooden side of the hammer”, resulting in an imitation of castanets or a Chinese box.

Along with the blow, the technique of “ tremolo"- rapid repeated repetition of one or two sounds by alternating hammer blows. It is used to achieve a continuous sound of strings or to prolong large durations. Since the scope of the “stroke” is limited and is most suitable in the field of dissected articulation, a new technique was required to use the “legato” stroke and achieve a coherent, smooth sound. This is how the tremolo came into being (from the Italian “tremolo”, which means “trembling”). In folk instrumental practice it is almost never used, because the use of a “blow” was sufficient to perform folk songs and dances.

Using the technique " tremolo» professional performers were able to achieve a true cantilena sound. This technique of producing sound on the dulcimer is the most difficult; mastering it requires a lot of and careful work from the musician. Tremolding is based on frequent alternation of wrist blows, using ricocheting sticks. The blows should be so frequent and even that they can create the full impression of long-term continuity of sound.

Tremolo it is possible both on one sound and on two at different intervals - octaves, thirds, sixths, etc.; It can be continuous for the entire duration of the note being played and used in a melodious musical melody, or it can be short, abrupt and used in fast movements, often interspersed with a strike. Free elastic tremolding is one of the most important means of musical expression of the dulcimer player and serves to realize many artistic tasks. Professional performers are fluent in this technique.

In addition to the impact and tremolo on the dulcimer, sound production techniques are possible, which are used in performing practice less often, but when used skillfully they are means artistic expression. Of these means, pinch play is widely used.

There are two main types pizzicato- fingernail and fingertip.

Pizzicato with your fingernail involves: 1. plucking one string (occurs often, the sound is of medium volume); 2. plucking a choir of strings (the sound is produced brighter, more saturated).

Pizzicato with a pillow also different: 1. plucking with an elastic finger to extract a dense expressive sound; 2. pluck with a soft, relaxed finger for a soft, gentle sound. "рizzicato" is usually used as a spectacular performance technique. By pinching both hands it is possible to perform two, three or more sounds. Currently, professional dulcimer players have reached the highest level of performance and, along with practicing alternating plucking, have mastered the performance of trills and a kind of tremoling with plucking.

Flajolet- a method of sound production that has become most actively used on dulcimers in recent years. To remove it, you need to lightly touch the string with your finger at the place where it is divided into certain parts, and with the other hand make a “strike” with a stick or pinch, while simultaneously with the “strike” (pinch) your finger is quickly removed from the string. “Flageolets” on the dulcimer can be played in octave (sounds an octave higher), two-octave (sounds two octaves higher), fifth (sounds a fifth through an octave) and third (sounds a third through an octave). Cymbalists will mainly perform natural octave and two-octave harmonics; thirds and fifths sound less expressive and dull, so their use is more limited. The use of harmonics has tempo limits, so their use is possible only at moderate tempos.

Execution with mute — « con surdino"—extracting a dry, muffled sound. This technique of sound production is one of the new ones on cymbals, first used in works Belarusian composer V. Voytika. To perform the “mute,” the performer presses the desired string with his finger (middle or index) at the point where it touches the stand, and with the other hand strikes or plucks the string in the usual place. By slightly moving the finger in one direction or another, dulcimer players can achieve different sound qualities - dull, dull and brighter. The timbre coloring of the mute and its character depend on the register of the cymbal in which it is performed. In the lower register, the “mute” resembles the sound of oriental folk instruments - satur or chang.

In modern music, the mute can appear in a different form. For example, V. Kuryan, in his concerto for dulcimer and orchestra, mutes the entire right bridge (C1 - B1) with the help of braid or ribbon, as a result of which the performer’s hands are freed and it becomes possible to play very quickly with a dry, muffled sound.

One of the sound production techniques often used in folk performance is arpeggio- performing the sounds of a chord, harmony one after another, sequentially, both in order of increasing and decreasing height. In some cases, an arpeggio can contain almost all the chord sounds of the dulcimer's full range. Frequent changes of chords require the performer's sleight of hand to muffle them so that some sounds do not overlap with others.

Bright expressive means when playing the dulcimer is glissando(sliding) is a sliding transition from sound to sound, which is carried out by sliding a finger, nail, or sticks along the strings in chromatic order. When playing with a finger or fingernail, dulcimer players use both an ascending and descending glissando, which turns out to be of better quality within the strings located on the same stand (middle and right). But with the help of a masterful transfer of sliding from one hand to the other, the dulcimer players achieve a long glissando, covering the scale up to two and a half octaves. When playing glissando with sticks, a more effective sound is obtained with an upward movement. This technique of sound production is mainly used in two meanings: more often as a visual and coloristic means and less often as a kind of connection between episodes and phrases.

On the dulcimer you can also play fast chromatic glissando on one string with a key for tuning and in the same way perform any melody within one and a half to two octaves. This playing technique is called "ukulele" because the resulting sound is similar to the sound of this instrument. For the first time, the “ukulele” technique was used by V. Kuryan in a concert for dulcimer and orchestra.

Less commonly used in dulcimer performance is the technique vibrato. To perform this technique, you need to lower the string a little, and then, on the other side of the stand, press the string with your hand so that it vibrates. Depending on the frequency of pressing, vibrato can be rare or frequent. How bright in timbre and color. The vibrato technique is used by V. Kuryan in the piece for solo dulcimer “Chimes”.

Professional dulcimer players can simultaneously use two methods of sound production. For example, one hand plays the “blow” technique with an inverted hammer (the wooden side) or), and the second hand plays the “blow” with the sheathed side of the hammer. A certain difficulty is the combination of different texture options on the left and right hands simultaneously. The performer needs to coordinate the hands, hear and lead both voices performing different functions, i.e. in mastering the elements of polyphonic presentation musical material. This is difficult for dulcimer players, since they mostly play one or two solo voices. Belarusian dulcimer players master different techniques of sound production, masterfully combine and apply them in musical works different eras, styles and genres.

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Trembita

Trembita is a wooden pipe up to 4 meters long. Does not have valves or valves.

It takes 3-4 years to make a trembita. Previously, it was made exclusively from tree trunks that had previously been struck by lightning, which gives trembita unique sound. Carpathian trembitas are made from spruce (smereka) and the halves of the instrument are held together without glue with dense rings of spruce branches. A horny metal muzzle - a pika - is inserted into the narrow end of the trembita. The melody is most often performed in the middle and upper register.

It is used to report various events (the approach of carolers, weddings, deaths, funerals) with the appropriate calling or sad melody, as well as to perform shepherd melodies. Its sound is heard over 15-20 km.

According to the Guinness Book of Records, the trembita is the longest wind instrument in the world.

Trembita is sometimes included in orchestras.

Cymbala

The dulcimer is a stringed musical instrument, the strings of which are struck with hammers with leather-covered heads.

The box, in which metal transverse strings are stretched (usually there are 34 of them), has the shape of a truncated cone.

The string structure is chromatic. The volume in large cymbals is three octaves: from E in the large octave to E in the third octave.

You can only hit two strings at a time with hammers. For the duration of the sound, hammers make a tremolo.

The parts for the dulcimer are written as for the piano, on two lines in the keys G and F. Improved dulcimers have a pedal.

The harmonic is a sound production technique that has become most actively used on dulcimers in recent years. To remove it, you need to lightly touch the string with your finger at the place where it is divided into certain parts, and with the other hand make a “strike” with a stick or pinch, while simultaneously with the “strike” (pinch) your finger is quickly removed from the string. “Flageolets” on the dulcimer can be played in octave (sounds an octave higher), two-octave (sounds two octaves higher), fifth (sounds a fifth through an octave), fifth (sounds a fifth through an octave) and third (sounds a third through an octave).

Performance with a mute - “con surdino” - producing a dry, muffled sound. To perform the “mute,” the performer presses the desired string with his finger at the point where it touches the stand, and with the other hand strikes or plucks the string in the usual place. By slightly moving the finger in one direction or another, dulcimer players can achieve different sound qualities - dull, dull and brighter.

One of the frequently used sound production techniques in folk performance is arpeggio - playing the sounds of a chord or harmony one after another, sequentially, both in order of increasing and decreasing pitch. Frequent changes of chords require the performer's sleight of hand to muffle them so that some sounds do not overlap with others.

A striking expressive means when playing the dulcimer is glissando (sliding) - this is a sliding transition from sound to sound, which is carried out by sliding a finger, nail or sticks along the strings in a chromatic order.

Less commonly, vibrato is used in dulcimer performance. To perform this technique, you need to lower the string a little, and then press the string with your hand on the other side of the stand so that it vibrates. Depending on the frequency of pressing, vibrato can be rare or frequent.

What are dulcimers? This is a stringed percussion musical instrument. It has a flat trapezoidal body with taut strings. The strings must be struck with wooden sticks to produce sound. It's just brief description dulcimer. The history of their development and application is very interesting. Further characteristics of this musical instrument will help to understand in more detail the meaning of the word “dulcimer”.

Varieties

Cymbals are divided into two types: folk and concert-academic. During its existence, this musical instrument changed and improved.

The article by R.V. Podoynitsyna “On the interdependence of the development of musical instruments and performing style” compares the shape, size and design details of folk and improved dulcimers (“Prima”).

Both of these instruments are shaped like a regular isosceles trapezoid. Folk dulcimers can vary in body size.

Folk dulcimers have three, and sometimes two, stands: on the right side there is a bass stand; on the left side - vocal. They divide the strings into fifths and fourths. As a result, a scale appears that consists of three registers. On top, next to the main stands, there is a small additional one, which is intended for one row of strings. Professional dulcimers have six bridges: two main and four additional (lower and three upper), which divide the strings into intervals (seconds, thirds and fifths).

Instruments differ in the number of rows of strings, the number of strings in one row, their length and cross-section. Folk dulcimers most often have a scale of 2-2.5 octaves. The basis is diatonic with chromaticism of some steps. The academic instrument has a more expanded and chromatic scale.

Features of sound production

What are dulcimers in folk and professional performance?

Professional cymbals are placed on the floor in front of them, while folk cymbals are held on their knees. Sound production is carried out using sticks - special hammers, which in folk practice are called “hooks”.

Both professional and folk performers hold the hammers between their fingers (index and middle), the remaining fingers are gathered into a fist. Hammers folk performers They are not covered with anything; the musicians play with wood and metal. Professional music is more demanding in terms of performance. Dynamic and timbral variety of sounds is necessary. Therefore, academic dulcimer players have hammers lined with suede, and a little cotton wool is used. The lining of the hammers is a defining moment in sound production. If it is too hard, the sound is harsh and unpleasant. On the contrary, if it is too soft, the sound is unclear and dull.

What are dulcimers in folk tradition

Folk dulcimers are distinguished by the following characteristic features:

• open strings are not muted;
• the right and left hands have strict functionality: the right hand performs the melody, the left - the accompaniment;
• the hammers are not sheathed;
• When playing, the cymbals are placed on the lap or held on a special suspension.

Need to improve the tool

The design and artistic function of folk cymbals used in rural areas did not change. The improvement of professional cymbals depended on the social environment. In an urban environment, the introduction of performers to professional academic art, as well as the requirements for professional performance, led to the need to reconstruct this musical instrument. This was subsequently reflected in the performance level.

Instrument reconstruction

The dulcimer is a musical instrument that has been modified several times in order to improve it.

D. Zakhar and K. Sushkevich were involved in the reconstruction of the cymbals of the folk tradition in the 1920s. They brought the sound of this instrument in line with the requirements of academic performance.

During the reconstruction process, the dulcimer underwent the following changes:

• the range expanded to three octaves;
• the internal structure of the instrument has changed, the acoustic characteristics have improved, the timbre has become more saturated;
• the shape and structure of the hammers have changed, including the ability to use the technique of muffling the sounding strings, which made the performance more expressive;
• the entire range of the instrument was completely chromatic in forward motion, which facilitated the technical side of performance;
• a whole family of cymbals was created: prima, alto-tenor, bass and double bass.

Definition of cymbals as modern instruments

After reconstruction, cymbals began to be widely used both on the concert stage and in educational and pedagogical practice. As a result of this, the performing and teaching skills of musicians playing this instrument were formed and began to actively develop. Composers created interesting repertoire for dulcimer players various levels preparation.

What are the dulcimers used in modern practice? In the mid-1960s, the need arose to reconstruct the instrument in order to liberate the performer's body. The manner of playing, in which the musician held the cymbals on his knees, limited his technical capabilities. As a result, the instrument began to be installed on three legs, which are screwed into its body. It became possible to fully use all registers of a musical instrument, which contributed to the development of the performing technique of dulcimer players.

Musical instrument: Cymbals

Belarus…. Fairyland, the beauty of which cannot be described in words. It’s not for nothing that they call it blue-eyed: thousands of rivers and lakes of heavenly blue are business card countries. The centuries-old Belovezhskaya Pushcha, Polesie, golden fields, windmills, as well as ancient castles and fortresses - this is a small grain of what can impress a traveler who visits this amazing region. Another striking attraction of the country is its original culture (Belarusians sacredly preserve folk customs and traditions). Melodic folk songs sound very beautiful, especially to the accompaniment of cymbals - a stringed percussion musical instrument that has become a symbol Belarusian culture, whose sound embellishes everything significant events in the life of the people of this country. The Russians have accordion And balalaika, among the Americans - banjo, among the French - accordion, among the Scots - bagpipes, among the Armenians - duduk, and Belarusians have cymbals. This tool is national treasure, which is treated with special reverence in Belarus, and the art of performing it is carefully passed on from generation to generation.

Read the history of cymbals and many interesting facts about this musical instrument on our page.

Sound

Cymbals are unique instrument, possessing rich musical imagery, it can sound like a piano and like bells. The light and delicate timbre of the instrument, its bright, but at the same time gentle and long-lasting sound, are extremely pleasant to the ear. Cymbals resemble a Russian folk instrument - harp. But the significant difference between these two instruments is the method of producing sound: on cymbals, it appears when the strings are struck with special sticks or hammers. However, the performing techniques of playing the instrument today have been significantly expanded and include pizzicato, glissando, tremolo, harmonics, arpeggios and many others, from which cymbal music becomes very diverse.

Cymbals, which have a large number of varieties, can have both diatonic (folk dulcimers) and chromatic tuning (academic concert dulcimers). The range also varies from two and a half to four octaves. For example, for a professional instrument of the “Prima” model, it is located in the range from “G” of the minor to “B” of the third octave.

Notes for cymbals are written, as for piano, in two clefs: treble and bass.

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Interesting facts

• Cymbalist is the name given to a musician who plays the dulcimer.
• During the Middle Ages, one of the most popular secular instruments was a type of dulcimer called a psaltery, which had a small keyboard in its design. It is believed that this instrument is the progenitor of the modern piano.
• The biblical book of Psalms takes its name from the psaltery instrument, which was accompanied by the recitation of Old Testament hymns of praise.
• Cymbals were very popular in France already in the 14th century. This is evidenced by the fact that the famous at that time French composer and the poet Guillaume de Machaut described them in detail in his treatises.
• At the end of the 17th century, the development of cymbals, or more precisely their variety - the psaltery, was closely connected with the name of the remarkable German performer and composer Pantalion Gebenstreit. He performed his improvisations on the instrument he improved so vividly and masterfully that King Louis XIV of France, fascinated by the musician’s playing, jokingly called the instrument a pantaleon, a name that subsequently stuck.

• Outstanding Russian composer I. Stravinsky Once in a Geneva restaurant I heard cymbals. The composer liked the sound of the instrument so much that he bought himself an instrument and enthusiastically learned to play it.
• Famous film composers quite often use the sound of cymbals in their film compositions. For example, K. Coppola (“Black Horse”), D. Horner (“ Star Trek 3: The Search for Spock"), D.T. Williams (“Indiana Jones: Raiders of the Lost Ark”), A. Desplat (“The Golden Compass” and “The Curious Case of Benjamin Button”), L. Shifrin (“Mission: Impossible”).
• The World Dulcimer Association was founded in Hungary on November 3, 1991. main goal whose activity is to popularize the instrument. The organization includes representatives of 32 countries in Europe, Asia, America, and Australia. These are performers, instrument makers, composers, music publishers and musicologists. Association every two years different countries the world holds World Congresses to exchange experience and information.
• National and international competitions and festivals of dulcimer performers are held in different countries of the world: Hungary, Belarus, Australia, Japan, Czech Republic, Slovakia, Moldova, Great Britain, the Netherlands, Mexico and others.
• The word dulcimer has another meaning. This is what is sometimes called sagat - a musical instrument in the form of small metal plates with a diameter of 2 cm, usually used during belly dancing.

Design

The body of the academic dulcimer model “Prima” has the shape of a trapezoid, the lower base of which is 100 cm, the top is 60 cm, and the side is 53.5 cm. The body is covered with a soundboard with several resonant holes located on it. The soundboard is also equipped with six stands - stems that divide the strings into different intervals: fourths, fifths, thirds and seconds. A large number of strings are stretched onto the soundboard: 29 rows of 2-3 strings, the pitch of which is adjusted using tuning pegs - verbiles.

The body of the dulcimer is usually made of maple, and the soundboard is made of high-altitude resonant spruce.

The instrument is played with special wooden hammers - mallets that have a special curved shape, which, if necessary, are covered with leather or fabric to soften the sound.

Varieties

Cymbals, which are very popular in many countries of the world, have many varieties and the most popular of them are:

• The Hungarian concert dulcimer is the largest instrument in construction, the body of which is a heavy frame standing on four removable legs. These dulcimers have an extended range, chromatic tuning and a damper pedal to mute the strings.
• Santur is an instrument that has become widespread in eastern countries: Turkey, Iraq, Iran, India, Georgia, Armenia, Azerbaijan. It has 96 strings and is made from walnut wood in the shape of a trapezoid. The sticks used to play the instrument are called mizrabs.
• Folk dulcimer is a portable instrument that has a small size, diatonic tuning and a range of two, two and a half octaves.
• The Appalachian dulcimer is an instrument that has become widespread among the peoples of North America. It has a narrow, elongated shape in the form of a figure eight or oval. This type The dulcimer is distinguished by the presence of a neck, which is located in the middle of the body and raised above the soundboard by one centimeter. There are from 12 to 16 frets on the neck, and the soundboard of the instrument has two or four resonator holes. The number of strings on such cymbals can vary from three to five. The sound is produced with the fingers or a pick.

It should also be noted that for use in folk ensembles and orchestras were designed different types cymbals that differ in pitch: piccolo, prima, viola, bass and double bass.

Application and repertoire

Cymbals with their unique sound have attracted the attention of composers at all times. Among the famous musical authors who paid special attention to the instrument, including its voice in their works, it is worth noting Ferenc Erkel, Zoltan Kodaly, Franz Liszt, Claude Debussy, Igor Stravinsky, Bela Bartok, Franz Lehár.

Cymbals, which are currently a fairly popular instrument that has a very wide scope of application. They are with great success used as solo, ensemble and orchestral instrument. Cymbals are very versatile; not only the works of composers of past eras, but also modern music, such as jazz compositions, sound great on them.

The music library for dulcimer is very rich and varied - these are transcriptions of wonderful works by great composers different eras and directions, as well as original works, written specifically for the instrument. Musical masterpieces sound wonderful on cymbals outstanding classics: I.S. Bach, A. Vivaldi, G. Handel. V.A. Mozart, J. Haydn, F. Couperin, L.V. Beethoven, F. Mendelssohn, N. Rimsky-Korsakov, P. Tchaikovsky, D. Shostakovich, R. Gliera, G. Sviridova, A. Khachaturyan. Among modern musical authors who pay special attention to the instrument, it is worth noting P. Boulez (France), P. Davis (England), D. Kurtág (Hungary), M. Kochar (Hungary), L. Andrijsen (Netherlands), I. Zhinovicha (Belarus).

Famous artists

Cymbals, which enjoy great popular love, have always attracted both ordinary music lovers and professional musicians. Rich History performance on the instrument revealed a whole galaxy of talented performers who made an invaluable contribution to the development of the instrument with their creativity. One of the most famous dulcimer players of the first half of the 20th century was recognized as the Hungarian musician Aladar Ratz, who, with his magnificent performance, prompted the outstanding Russian composer I. Stravinsky not only to fall in love with the dulcimer, but also to learn to play them.

The foundation of the Belarusian performing school of playing the dulcimer was laid and subsequently glorified by the names of such outstanding performers as D. Zakhar, S. Novitsky, Kh. Shmelkin, as well as I. Zhinovich, who was called the “Belarusian Andreev” for his versatile creative activity. A. Ostrometsky, V. Burkovich, Y. Gladkova, T. Chentsova, T. Tkacheva, G. Klimovich made a significant contribution to the development of performing skills with their tireless creative activity.

Currently, among the famous virtuoso performers who delight listeners with their performances and do a lot to maintain the popularity of cymbals around the world, it is necessary to note M. Preda, M. Lukács , A. Denisenu, M. Leonchika, S. Jurmesha.

Story

The history of cymbals originates in the Middle East in ancient times. Their predecessors were instruments that were in use by our ancestors back in the fourth millennium BC, and we learn about this from images found as a result of archaeological excavations in the territory Ancient Sumer. For example, on a fragment of a vase created sixty centuries ago, musicians were drawn with instruments resembling recumbent harps. The same similar images are found on a bas-relief belonging to the era of the reign of the very first dynasty of Babylonian kings, and they date back to the 9th century BC. e. In addition, instruments that can be called the ancestors of cymbals are mentioned in one of the parts of the Old Testament, in the book of the prophet Daniel. For example, santur, which, according to legend, was created by a remarkable figure in biblical history - King David. Over time, the instrument spread widely throughout the world, occupying an important place in the cultural life of the peoples of Asia, Africa, China, India, and then Europe. In different countries it acquired new names: in France it was called tympanum, in England - dhalsima, in Germany - hackbratt, in Italy - salterio, in Iran - santur, in Armenia - kanun, and in the Czech Republic, Romania, Slovakia, Hungary, Poland , Moldova, Belarus and Ukraine - cymbals.

The instrument, which was winning more and more popular love, was constantly modified, each master added something different to its structure: the shape and volume of the resonator body was changed for the cymbals, in some cases they even adapted the keyboard, and metal strings were installed instead of gut strings. Particularly popular came to cymbals in the XIV-XVI centuries. At this time, they firmly established themselves among the population of both villages and cities, and in high society they were known as a fashionable instrument in home music-making.

Cymbals were considered the best for performing various music and were used not only for solo and accompaniment, but also for playing in an ensemble with other instruments. They were played at various holidays, fair festivities, weddings and even court ceremonies. In the 18th century, composers began to introduce cymbals into the scores of opera performances, symphonies and oratorios. An example is K. Gluck's opera “Fooled Cadi”.

Beloved by many peoples, the instrument was constantly improved, but the real revolutionary changes in the design of the dulcimer were made in the seventies years XIX century piano master from the Hungarian city of Pest V. Schunda. He strengthened the dulcimer's frame, increased the number of strings, added a damper mechanism to dampen the strings, and mounted them on four legs. This instrument became the predecessor of concert dulcimer, which today are especially popular in Ukraine, the Czech Republic, Hungary and Moldova. And at the beginning of the 20th century, more precisely in 1923, on the initiative of the talented musician-performer, teacher D. Zakhar, together with the master of musical instruments K. Sushkevich, cymbals were modernized, which not only enjoyed particular popularity on Belarusian soil, but also acquired the status national symbol Belarus. Somewhat later - in 1925 - a whole family of cymbals was created - piccolo, prima, viola, bass and double bass, which were subsequently included in the ensemble, and then in the orchestra of Belarusian folk instruments.

Cymbals are an instrument that is treated with special reverence in Belarus, so the art of playing it is carefully passed on from generation to generation. However, cymbals, due to their musical appeal, are popular not only among the Belarusian people; they have won love and fame in many countries around the world. Hungary, Ukraine, Poland, Slovakia, Slovenia, Moldova, Romania, Serbia, Czech Republic, Latvia, Armenia, Greece, China, India are small list states where not only professional musicians, but also ordinary amateurs - music lovers, play dulcimers with great pleasure.

Video: listen to the cymbals