Russian folk instruments occupy a special place in the musical culture of our country.

They are distinguished by their timbre diversity and expressiveness: here there is flute sadness, and dancing balalaika tunes, and noisy fun of spoons and rattles, and the dreary shrillness of the pity, and, of course, the richest bayan palette, absorbing all the shades of the musical portrait of the Russian people.

On the issue of classification

The well-known classification, developed at the beginning of the 20th century by K. Sachs and E. Hornbostel, is based on the source of sound and the method of sound production. According to this system, Russian folk instruments can also be divided into four groups:

1. idiophones(self-sounding): almost all drums - rattles, rubel, spoons, firewood (a kind of xylophone);
2. membranophones(sound source - stretched membrane): tambourine, gander;
3. chordophones(strings): domra, balalaika, harp, seven-string guitar;
4. aerophones(wind and other instruments where the sound source is an air column): horn, flute, snot, pyzhatka, pipe, zhaleyka, kugikly (kuvikly); this also includes free aerophones - harmonica and button accordion.

How was it at first?

Many nameless musicians have entertained the people at fairs, folk festivals, weddings in time immemorial. The skill of the gusliar was attributed to such annalistic and epic characters as Boyan, Sadko, Nightingale Budimirovich (Sadko and Nightingale Budimirovich are heroes), Dobrynya Nikitich (a hero-hero from). Russian folk instruments were also an indispensable attribute in buffoon performances, which were accompanied by svirts, guslyars, and horns.

In the 19th century, the first manuals for learning to play folk instruments appeared. Virtuoso performers are becoming popular: balalaika players I.E. Khandoshkin, N.V. Lavrov, V.I. Radivilov, B.S. Troyanovsky, bayan players Ya.F. Orlansky-Titarenko, P.E. Nevsky.

There were folk instruments, they became orchestral!

By the end of the 19th century, the idea of ​​​​creating (on the model of a symphony) an orchestra of Russian folk instruments had already taken shape. And it all began in 1888 with the “Mug of Balalaika Fans”, organized by the brilliant balalaika player Vasily Vasilyevich Andreev. Instruments of different sizes and timbres were specially made for the ensemble. On the basis of this team, supplemented by the gusli and the domra group, in 1896 the first full-fledged Great Russian Orchestra was created.

Others followed him. In 1919, already in Soviet Russia, B.S. Troyanovsky and P.I. Alekseev created the future orchestra named after Osipov.

The instrumental composition also varied and gradually expanded. Now the orchestra of Russian instruments includes a group of balalaikas, a group of domras, button accordions, psaltery, percussion, wind instruments (this sometimes includes oboe, flute and clarinet close in order to the folk ones, and sometimes other instruments of a classical symphony orchestra).

The repertoire of a folk instrument orchestra usually consists of Russian folk melodies, works written specifically for such an orchestra, as well as arrangements of classical pieces. Of the folk melodies, the people are very fond of “The Moon Shines”. Listen to you too! Here:

In our time, music is becoming more and more non-national, but in Russia there is still interest in folk music and Russian instruments, performing traditions are supported and developed.

For dessert, today we have prepared another musical gift for you - the famous hit of the Beatles performed, as you may have guessed, of course, by the orchestra of Russian folk instruments.

A gift is also in store for rest after dessert - for those who are inquisitive and who like to solve crossword puzzles -

String folk instruments. Video lesson.

When asked which instrument was the prototype of the first stringed folk instrument , usually from children you can hear that this is a balalaika or a guitar. Very few people realize that it was a simple hunting bow. Indeed, many times before hunting, checking whether the bowstring is well stretched, the person noticed that different bows do not sound the same and people decided to use the bow as a musical instrument. It is inconvenient to play different bows, so the person pulled not one bowstring, but several. And as a result of this, an instrument very reminiscent of a harp in appearance was obtained. It can be assumed that in this way a third group of musical instruments appeared - stringed musical instruments. But a string stretched over a bow will sound very soft, and if you bring this sounding string to a hollow tree or to an empty wooden box, the sound will increase. Thus, apparently, people came to the invention of the resonator - an integral part of any stringed instrument that amplifies the sound.

One of the most famous and ancient stringed instruments are harp. The first mention of them dates back to the 6th century, and their name comes from the ancient Slavic word "thick" - to buzz, so the sounding string was called "gusla". Thus, the harp is buzzing strings.

Moreover, it does not matter what material the body of the musical instrument is made of. The body of the harp resonator was usually hollowed out of pine or spruce, and the deck (deca means cover) was made of sycamore. This is where their name came from - the gusli "Yarovchaty" (distorted "Yavorchey").

Currently, there are three varieties of harp: voiced or "spring" harp, plucked harp and keyboard harp. Let's look at these three groups in order.

1. The gusli are sonorous.

Voiced gusli is the most ancient type of harp. You see them in the picture above.

This is an instrument that is a wooden box of a wing-shaped or trapezoidal shape, on top of which strings are stretched. They are played by plucking the strings either with both hands or with the fingers of the right hand only. At the same time, the left hand serves to muffle the sound of a certain string (strings that should not sound are pressed against it). On these harps, you can play a melody and rattling with a pinch, like on a balalaika, and extract chords arpeggiated, like on a harp. In the old days, folk storytellers and performers of epics often played this instrument, accompanying their singing. Boyan was one of the most famous ancient Russian storytellers.

The disadvantage of these harps is a small number of strings (usually 12-13), which limits their capabilities.

But the plucked harp (the next type of harp) significantly expanded the technical and artistic capabilities of this instrument.

They are a large rectangular table-shaped resonator, standing on legs, on which metal strings of various lengths and thicknesses are stretched (more than 60 in total). They are pinched with the fingers of both hands, which is why they are called pinched. To make it easier to navigate in such a number of strings, they are pulled in two rows. In the upper row are the main sounds of the scale, and in the lower row are the intermediate chromatic sounds.

In the end XIX century, another type of gusli appears - keyboard gusli. The mechanics of this instrument was largely borrowed from the piano. In appearance and size, they are similar to the plucked harp, but a special box with a piano keyboard and mechanics is installed on the left side of the harp.

I think you understand that the string only sounds in a free state. If you touch it, it will not sound. If on the harp of the sonorous performer he presses the strings so that they do not sound, then on the harp of the keyboard this is done by the mechanics. When not a single key of the harp piano keyboard is pressed, the mufflers (dampers) that are above each string press all the strings and prevent them from sounding. If you press, for example, the notes “do”, “mi”, “sol” on the piano keyboard, then the mufflers of these notes in all octaves will rise (and there are more than five octaves and in each octave there are these notes, but of different heights), making it possible these strings to vibrate (i.e. sound). If after that you draw along all the strings, then all the notes "do", "mi", "salt" will sound, freed from mufflers in all octaves (more than 15 notes will sound).

Thus, the process of playing due to the mechanics is simplified, and at the same time the sound becomes richer and more saturated (due to the large number of strings).

Single-voiced melodies on the keyboard harp are rarely performed, chords are often played on them, but one-voice melodies can also be played on them, and if necessary, you can unfasten the box with the piano keyboard, turning them into gusli are plucked.

The next stringed instrument we will be introduced to will be balalaika.

The first mention of this instrument dates back to the end of the 17th century. Until the 19th century, it was a very primitive but common instrument. He could be met not only, as they said, "between the common people", but also in rich houses. The popularity of this instrument is evidenced by its frequent mention in songs, proverbs, sayings, and riddles.

Remember the popular folk song "There was a birch in the field":

“I will make myself three beeps,

Fourth balalaika.

Or an example from proverbs:

"Our brother Isaiah is a balalaika without strings."

There are many references to this instrument in the works of Russian literature. Here, for example, lines from Eugene Onegin A.S. Pushkin:

Other pictures I need:
I love the sandy slope
In front of the hut are two mountain ash,
Gate, broken fence,
Gray clouds in the sky
Heaps of straw in front of the threshing floor
Yes, a pond under the canopy of thick willows
Expanse of young ducks;
Now the balalaika is dear to me ...

And here are the lines of Lermontov:

So before the idle crowd
And with folk balalaika
Sitting in the shadows a simple singer
And selfless and free!

Where did the name of this instrument come from?

Many researchers note that the root of the words "balalaika", or, as it was also called, "balabayka", is related to such Russian words as balakat joker, i.e. chatting, empty calls, therefore, in ditties, sayings, this very meaning is often emphasized, for example:

Balalaika - beep

Ruined the whole house...

Such popularity of the balalaika continued until the beginning of the 19th century, until the appearance in Russia first of the guitar, and then of the accordion, which forced it out of use.

And it is not known how the fate of this instrument would have developed if Vasily Vasilyevich Andreev had not paid attention to it. Here is how Andreev himself described his first meeting with this instrument:

“... It was a quiet June evening. I was sitting on the terrace of my wooden house and enjoying the silence of a village evening ... Quite unexpectedly, I heard sounds hitherto unknown to me ... The player played a dance song at first at a rather slow pace, and then faster and faster. The sounds flared up more and more brightly, the melody flowed, full of rhythm, irresistibly pushing to the dance ... I took off from my seat and ran to the wing, from where the sounds rushed; in front of me, on the steps of the porch, a peasant was sitting and playing... the balalaika! sounds! .. Having looked closely at how Antip (the name of the worker) played, I asked him to immediately show some of the tricks of the game. Andreev began to learn to play this instrument and soon felt that the possibilities of this instrument were very limited: there were few frets on it, and they were not fixed, but were imposed, so they often slipped, they had to be corrected. Andreev studied various balalaikas for a long time (at that time they were of different shapes and designs) before making the final drawing of the balalaika, with which he went to the violin maker with a request to make a balalaika according to his drawing. Making the first balalaika was not an easy task. Here is how Andreev describes it:

“When in the 1880s I first turned to an instrumental maker, very talented, known for the special manufacture of bows and repairing old instruments, with a request to make a balalaika according to my instructions from the best types of wood, at first he took my offer as a joke; when I assured him that I was speaking quite seriously, he was so offended that he stopped talking to me and went into another room, leaving me alone. I was very embarrassed, but nevertheless decided to insist on my point; in the end, I managed to convince him not with words, but with deeds ... I brought him a simple village balalaika, which cost 35 kopecks, on which I played myself at that time, made of simple spruce, with imposed frets, and played him several songs on it. My game surprised him so much that he agreed to make me a balalaika so that I would give him my word to anyone and never tell anyone about it, since such work is humiliating for him and can seriously damage his reputation. I sat with him for long hours, watching the work ... and repeatedly witnessed how, at each call, he quickly jumped up and covered the workbench with a handkerchief right there, so that one of his customers or strangers would not see the balalaika lying on the workbench. .."

Andreev's first concert was a great success.

In 1885, a new balalaika for Andreev was made by the famous St. Petersburg master Franz Stanislavovich Paserbsky.It differed from the first balalaika, for the first time embedded sills appeared on it, thanks to which its system was much better. There were five thresholds, which is why it is sometimes called the "five fret". There are more than 20 of them on the modern balalaika.

Let's take a closer look at her device.

The balalaika consists of a body, a neck, on which the nut and headstock are embedded, it is also called a shoulder blade. There is a peg mechanism on it, with the help of which the balalaika is tuned. There are 3 strings on the balalaika: 2 of them are tuned the same (to the note “mi”, the third string is tuned to the note “la”). They play the balalaika with a finger, most often with a technique called “rattling”, but sometimes they also play with a “pinch”.

Andreev's next step was the creation of a balalaika ensemble of 8 people, then of 14. He ordered different types of balalaikas: I will accept, second, viola, bass and contrabass and gave concerts with this ensemble.

In 1892, during a tour in France, Andreev was awarded the title of Academician of the French Academy "for the introduction of a new element into music." Andreev's ensemble began to be invited to the most honorable stages of St. Petersburg. He was listened to and admired by many Russian musicians. In particular, P.I. Tchaikovsky said: “What a charm this balalaika is! What a striking effect it can give in an orchestra! In terms of timbre, this is an indispensable instrument!

And so, thanks to the efforts of Andreev, who was called the "father of the Russian balalaika", this instrument was revived and is now, perhaps, the most famous Russian folk musical instrument in the world.

The next tool is domra.

Musicians-scientists suggest that the Egyptian instrument "Pandura" was a distant ancestor of our Russian domra. Some peoples have instruments with similar names: Georgians have chunguri and panduri, southern Slavs have tanbura, Ukrainians have bandura, Turkmen have dutar, Mongols have dombur, Kyrgyz and Tatars have dumra, Kalmyks have domra.

In ancient Russia, buffoons were very popular among the people. They, as we would now say, were professional artists; went to towns and villages and earned their living by giving performances. Their art was synthetic: they sang and danced and acted out various skits, in which they often ridiculed church ministers, merchants, and boyars. One of the favorite musical instruments of buffoons was domra .

In the art of buffoons, not only churchmen saw harm, but also princes, boyars, and then tsars. This was the main reason for the persecution of buffoons that soon began.

One of the royal decrees of the 15th century says: “Where domras, surnas and harps appear, then order them all to be washed out and, having broken those demonic games, order them to be burned, and which people will not lag behind that ungodly deed, order to beat the batogs.” And according to one of the royal decrees XVII century, 5 loaded carts with musical instruments were brought to the outskirts of Moscow, which were burned. As a result of these actions, the domra was forgotten for several centuries, and only thanks to the efforts of V.V. Andreev at the end of the 19th century, this instrument was revived.

If you look at the device of this instrument, then we will notice that, unlike the balalaika, the body of this instrument has a rounded shape.

They play it not with fingers, like on a balalaika, but with a plectrum (a bone or plastic plate), due to which the sound is extracted louder, but harder, compared to a balalaika. There are two types of domra: three-string and four-string. The four-string has the same tuning as the violin, so you can play all the works written for the violin on it. The sound of the four-stringed domra is quieter, so it is rarely used in an orchestra, but mainly it is used as a solo and ensemble instrument. Let's hear how domra sounds.

Both balalaikas and domras are part of the orchestra of Russian folk instruments. There are different types of these tools: balalaika prima, balalaika second, balalaika alto, bass balalaika, double bass balalaika, domrapiccolo, small, mezzo-soprano, alto, tenor, bass and contrabass. In the orchestra of Russian folk instruments, piccolo domras, small, alto and bass domras became widespread.

And in conclusion, I would like to say a few words about folk instruments accordion and button accordion , although they are not strings, today we have the last lesson on folk musical instruments and it is impossible not to talk about them.

It is impossible to say for sure exactly where the hand harmonica was first invented. It is widely believed that the accordion was invented in Germany, at the beginning of the 19th century.

But there are other data as well. For example, according to the research of academician Mirek, the first accordion appeared in St. Petersburg in 1783 through the efforts of the Czech organ master Frantisek Kirsnik (he invented a new way to extract sound - using a metal tongue vibrating under the action of an air stream).

Russian accordions can be divided into two types according to the type of sound extraction: accordions, in which, when the bellows are stretched and compressed, each button, when pressed, gives a sound of the same pitch, and accordions, in which the pitch changes depending on the direction of the bellows.

The first type includes such accordions as "livenka", "Russian wreath", "khromka" (the most common in our time).

To the second type - "talyanka", "turtle", "Tula", "Vyatka". Harmonies can also be divided according to the type of the right keyboard, depending on the number of rows of buttons. In general, it must be said that in appearance the accordions are very different. The most common harmonium in our time is the two-row "khromka", but there are also three-row instruments and instruments with one row of buttons.

What is the main difference between an accordion and an accordion? On the harmonica, the system is diatonic. To understand what a diatonic scale is, imagine a piano keyboard. It has white and black keys. If the piano had an accordion-like tuning, it wouldn't have black keys. You can easily play Russian tunes on the harmonica (there are no chromatic sounds in them).

But there are melodies in which there are chromatic sounds (like black keys on a piano). It is impossible to play such melodies on the harmonica; Harmony's possibilities are limited.

To get rid of this shortcoming, a harmonica with a full chromatic scale was invented, and it was designed by the Bavarian master Mirwald from the city of Zieletue (Germany) in 1891. This instrument had a three-row push-button right keyboard with a range of four octaves. The sound during unclamping and squeezing the fur was the same. The accompaniment of the left keyboard at first consisted only of major triads, but it was soon improved. That is, it was already a button accordion, only it had not yet been called that way.

Around 1892, such a harmonica became known in Russia, where the scale system of its right keyboard was called “foreign”, and later, in the 20th century, these instruments began to be made by Moscow masters, and then Tula and others. In Russia, the Moscow layout has been the standard layout for button accordions to date.

Since 1906, three-row button accordions with the Moscow layout were made at the Tula factory "Brothers Kiselev".

The Russian harmonica makers made an important improvement to the design of the left keyboard of the Mirwald harmonica.

In September 1907, the St. Petersburg master Pyotr Egorovich Sterligov made a button accordion, on which he had been working for more than two years, for the outstanding harmonist Y.F. Orlansky-Titarenko, and gave this instrument a name in honor of the ancient Russian singer-storyteller Boyan (Bayan), mentioned in the poem " The word about Igor's regiment ”, this name was first used on posters in early May 1908 in Moscow. Thus, an instrument now popular in our country appeared - button accordion

In 1913, P.E. Sterligov made the first in Russia, and possibly in the world, a five-row button accordion with two auxiliary rows of buttons in the right keyboard, like a modern button accordion. Following Sterligov, other masters began to make five-row button accordions.

Bayan consists of three parts - the right and left semi-hulls, between which there is a fur chamber. The sound in the bayan arises due to the vibration of the reeds in the openings of the voice bar under the influence of an air stream from the fur chamber or into the fur chamber.

The right and, to a lesser extent, the left keyboards may have a number of register switches, depending on the number of simultaneous voices when pressing one button.

Bayans have a 3 or 5 row right keyboard. In the 5-row keyboard, the first two rows (from fur) are auxiliary, they duplicate the notes located in the other three rows.

Let's listen to how the modern button accordion sounds. The laureate of international competitions, professor of the Voronezh Academy of Arts Alexander Sklyarov will perform a play by Evgeny Derbenko "Gallop".

Today we talked about the main stringed Russian folk instruments (gusli, balalaika, domra) and popular folk instruments accordion and button accordion.

Our next topic will be the instruments of the symphony orchestra.

Wind folk instruments. Video lesson.

Wind folk instruments can be divided into 3 groups:

1. Whistling

2.Reed

3. Ear pads

whistling wind instruments are the most ancient representatives of this group. The sound in them is formed due to the fact that the stream of air that is blown into them is cut into 2 parts. Perhaps, which of you had to blow air into a bottle to make it sound? The sound in this case is obtained due to the fact that part of the air jet is directed into the bottle, and part is past it, and thanks to this it begins to sound. On the example of a whistle, which we will talk about a little later, we can see that part of the air, when blown, enters the whistle, and part goes past. The sound of all wind whistling instruments is based on this principle. The only difference is that when playing on some of them, the performer himself has to direct the air stream in this way, and in some of them a special whistle is inserted for this, thanks to which this stream is divided.

One of the most ancient instruments of this group are coogicles, which can be called the Russian version of the Pan flute.

In Russia, a variety of the Pan flute exists mainly in the southern regions (Bryansk, Kursk, Belgorod) and in different villages has its own names - “kuvichki”, “kuvikly”, “pipes”, “tarsals”, but its most stable name is “kugikly ". Cookies are called so because they were made from reed stalks, which are called kugi. Reed pipes are harvested in late autumn, when the bulrush stalks are fully ripe. At the junctions of the tubes, the so-called "joints", cuts were made around the tube with a sharp knife. Slightly broken, they were separated from one another. Tubes were obtained, tightly closed at one end and open at the other. Then the inner walls of the tubes were cleaned of deposits either with a goose feather (a folk tradition of making) or with a round stick. Sometimes other plants that had tubular stems were also used to make kugicles. Usually the googicles consisted of 3 -5 tubes the same diameter, but different lengths (usually from 10 to 16 cm). The upper ends of the tubes were open, the lower ends were closed. The trunks, unlike the Pan flute, were not fastened together. Open tube ends brought to the mouth, blew on the edges of the slices, thus extracting sounds. You know that by lengthening the tube, we will get a lower sound, and by shortening the tube, we will get higher sounds, but in this way the coogicles were not usually tuned, because by mistakenly shortening the tube more than necessary, it turned out to be unusable. Instead of shortening the tube, a pebble was placed in it at the bottom or wax was poured, that is, in case of an error, it could be corrected. Sometimes the lower ends were plugged with plugs that could be moved up and down to change the volume of air in the tube and thus adjust them.

Men didn't usually play coogicles, that's clean female instrument. They were usually played by an ensemble of 3-4 performers.

Quite often, coogicles act as an accompanying instrument.

The next representative of this group, whom we will meet, will be whistles.

A characteristic feature of which is that many of them are not made of wood, like most Russian folk instruments, but of clay. In many countries of the world there is a tool called akarina, which means goose in Italian. Initially, it really looked like a caterpillar, but later these instruments began to be made in the form of various animals.

In Russia, such instruments were simply called whistles. In different areas they had different shapes, but most often they were made in the form cockerels with 2-3-4 holes. The coloring of the whistles had its own symbolism.

I must say that some masters, making whistles, cared only about their appearance, and then, playing this whistle, it was only possible to create a certain background.

And some masters, on the contrary, did not care too much about the appearance of the whistles, but carefully worked on their system.

Many whistles have only two playing holes, and they extract 4 different sounds from the instrument.

If you clamp both holes, the lowest sound will sound, if you hold the left hole, and if you release the right hole, the next sound of the scale will sound. By changing the fingers, i.e. by holding the right one and releasing the left one, one can extract the third sound of the scale, and by releasing both holes we get the fourth sound.

Perhaps the next most common tool is flute.

This instrument has different names: pipe, duda, snot, sipovka, squeaker, pyzhatka, etc. The structure of all these instruments is the same: a hollow tube with holes made, on one side of which a whistle is inserted. If you clamp all the holes and blow into the flute, then the lowest sound will sound. Releasing all the holes in turn, we will shorten the sounding column of air and each time the sounds will be higher and higher.

They make a flute from various materials (it can be made from oak, pear, acacia, bamboo). However, they will sound slightly different.

The material from which a flute is made does not affect its sound as much as, for example, the material from which stringed instruments are made. The people sometimes made it from a branch of a tree. Remember the words of the famous folk song “There was a birch in the field”: I will cut three rods from a birch, I will make three horns out of them. This is sung about making a flute. In the spring, during sap flow, they took a branch, pulled off the bark from it, thus obtaining a tube and made a flute out of it (in the song it is called a “horn”. A flute can also be made from some kind of metal tube (for example, from a ski pole), drilling holes in the right places, and inserting a whistling device on one side.

The next group of wind folk musical instruments is reed wind instruments.

The very name of groups of musical instruments tells us how to produce sound on them. If the whistling sound is extracted with a whistle inserted into the tube, then in the reeds a tongue sounds, which vibrates when air is blown into the instrument.

The most common tool in this group is pitiful. The name of the instrument comes from the fact that it makes a rather pitiful sound (albeit a bit harsh if played indoors).

It consists of tubes with holes made in it, at one end of which a cow horn is planted, and a mouthpiece is inserted into the other, on which there is a tongue that vibrates when air is blown into the instrument. Because of this cow horn, this instrument is sometimes mistakenly called a horn.

The longer the tongue was, the higher the pity sounded, and vice versa, the shorter the tongue, the higher the sound of the pity. Previously, the tongue was tied to the mouthpiece and it was very inconvenient to tune the pit. For more than 30 years, the well-known performer and master of wind folk instruments N.Z. Kudryashov, who came up with the idea of ​​attaching the tongue with a ring made of polyvinyl chloride insulating tube, which is used by electricians. Thanks to this, the process of setting up a zhaleyka has been greatly simplified. By sliding this ring back and forth, you can change the length of the sounding tongue, thus adjusting the pity

They play not only one pity, there are also ensembles of pityers, in which they play on pityers of different lengths, having a different system. Just like the parts of the choir, they are called: stingy soprano, stingy alto, stingy tenor and stingy bass.

And the last instrument of this group (reed wind instruments), which we will get acquainted with, is bagpipes.

It is believed that the name of the instrument comes from the name of the place of its appearance - Volyn, which was part of Kievan Rus.

On ancient maps you can see where it was located.

Many peoples of the world have an instrument of similar design.

In Belarus it is called a duda, its English name can be translated into Russian as a game bag, in the Netherlands it is called (translated into Russian) a buzzing bag, in Ukraine, Moldova and Poland it is called a goat, etc.

Why does it have such strange names?

The fact is that it was made earlier, usually from goat or calf skin, sewing a bag out of it, into which, most often, zhaleyki were inserted. A tube was inserted into one hole, from the front legs in the skin, through which air was pumped into the skin. There was a non-return valve in this tube that did not allow air to escape from this bag. A stinger was inserted into the hole from the other leg, and one or two more stingers were sewn into the neck opening, which sounded, always making the same sound. These lingering sounds are called bourdons, they sound continuously, creating a harmonic background of the melody. They hold the bagpipe, more often, under the arm, periodically pumping air into the bag. When you press the bag, air comes out of it through the vents, making them sound.

This instrument is especially popular in Scotland, and is considered a national relic.

In Scotland, this instrument is even included in military bands.

I must say that now, in the manufacture of bagpipes, most often an inflatable bag is made not from a goat skin, but from an oxygen medical pillow, into which the pity is sewn, and then this pillow is covered with a goat skin. It's easier and more reliable to make a bagpipe.

Well, the last group of musical wind instruments that we need to get acquainted with is embouchure musical instruments . The most famous instrument of this group is horn . The name of the instrument comes from the French wordbouche- the mouth, since the sound on them is formed from the vibration of the lips themselves, folded in a certain way. At the end of the instrument, into which air is blown, there is a special cup for the lips, which is called a mouthpiece, therefore this group of instruments is sometimes called mouthpiece.

Horns were made in 2 ways.

The first method consisted in the fact that two halves of the horn were hollowed out and cut out from two blanks in a longitudinal section, and then glued together and tightly wrapped with birch bark.

In the second manufacturing method , the horn was turned on a lathe from a solid workpiece, inside which a hole was burned.

The mouthpiece was sometimes integral with the horn, and sometimes inserted into it. The first professional ensemble of horn players was created at the end of the 19th century by Nikolai Vasilyevich Kondratiev, who was called the Vladimir horn players choir. This horn choir performed with great success not only in our country, but also abroad.

The ensemble consisted of 12 horn players, which were divided into three groups: high, medium and low. Therefore, the size of the horns was different (from about 40 to 80 cm). Later, similar ensembles arose in other cities.

Nowadays, there are quite a few groups of horn players who carefully preserve and develop folk traditions.

History of musical instruments. Video lesson.

When did musical instruments originate? You can get very different answers to this question (from 100 years to tens of thousands). In reality, no one can answer this question, since it is unknown. But it is known that one of the most ancient tools found during archaeological excavations is more 40 thousand years(it was a flute made from an animal bone, the femur of a cave bear). But wind instruments did not appear first, which means that musical instruments appeared even earlier.

What was the first instrument?

The first prototype of a musical instrument was human hands. At first, people sang, clapping their hands, which were, as it were, his musical instrument. Then people began to pick up two sticks, two stones, two shells, and instead of clapping their hands, they hit each other with these objects, while receiving various sounds. The toolkit of people largely depended on the area where they lived. If they lived in the forest zone, then they took 2 sticks, if they lived by the sea - 2 shells, etc.

Thus, instruments appear, the sound of which is extracted by means of a blow, therefore such instruments are called percussion .

The most common percussion instrument is, of course, drum . But the invention of the drum belongs to a much later time. How this happened, we cannot now say. We can only guess. For example, once, having hit a hollowed tree in order to drive out bees from there and take honey from them, a person listened to an unusually booming sound that comes from hitting a hollowed tree, and he came up with the idea to use it in his orchestra. Then people realized that it was not necessary to look for a hollow tree, but you could take some kind of stump and hollow out the middle in it. Well, if you wrap it on one side with the skin of a dead animal, you get a tool very similar to drum. Many peoples have tools of a similar design. The only difference is that they are made of different materials and slightly different in shape.

In the music of different nations, percussion instruments play a different role. They played a particularly important role in the music of African peoples. There were various drums, from small drums to huge drums, reaching 3 meters. The sound of these huge drums could be heard for several kilometers.

There was a very sad period in history associated with the slave trade. Europeans or Americans sailed to the African continent to capture and then sell its inhabitants. Sometimes when they came to the village, they did not find anyone there, the inhabitants had time to leave from there. This happened because the sounds of the drum that came from the neighboring village warned them about this, i.e. people understood the "language" of drums.

Thus, the first group percussion instruments .

What group of instruments appeared after the drums? These were wind Instruments, which are called so because the sound is extracted from them by blowing in air. What led a person to the invention of these tools, we also do not know, but we can only assume something. For example, one day, while hunting, a man went to the shore of a lake. A strong wind was blowing and suddenly a man heard a sound. At first, he was wary, but upon listening, he realized that it was a broken reed that sounded. Then the man thought: “What if you yourself break the reed, and blowing air into it, try to make it sound?” Having successfully done this, people learned to extract sounds by blowing air. Then the man realized that a short reed makes higher sounds, and a long one lower ones. People began to tie reeds of different lengths and, thanks to this, extract sounds of different heights. Such an instrument is often referred to as the Pan flute.

This is due to the legend that a long time ago in ancient Greece there lived a goat-footed god named Pan. One day he was walking through the forest and suddenly saw a beautiful nymph named Syrinx. Pan to her... And the beautiful nymph took a dislike to Pan and began to run away from him. She runs and runs, and Pan is already catching up with her. Syrinx prayed to her father - the river god, that he would save her. Her father turned her into a reed. Pan cut that reed and made himself a pipe out of it. And let's play it. No one knows that it is not the flute that sings, but the sweet-voiced nymph Syrinx.

Since then, it has become customary that multi-barreled flutes, similar to a fence of shortened reed pipes, are called Pan flutes - on behalf of the ancient Greek god of fields, forests and grasses. And in Greece itself, it is now often called the syrinx. Many nations have such instruments, only they are called differently. The Russians have kugikly, kuvikly or kuvichki, the Georgians have larchemi (soinari), in Lithuania - skuduchay, in Moldova and Romania - nai or muskal, among the Latin American Indians - samponyo. Some call Pan's flute a flute.

Even later, people realized that it was not necessary to take several pipes, but it was possible to make several holes in one pipe, and by clamping them in a certain way, extract various sounds.

When our distant ancestors made some inanimate object sound, it seemed to them a real miracle: before their eyes, dead objects came to life, gained a voice. There are many legends and songs about the singing reed. One of them tells how a reed grew on the grave of a murdered girl, when they cut it and made a flute out of it, she sang and told in a human voice about the death of the girl, named the name of the killer. This tale was translated into verse by the great Russian poet M.Yu. Lermontov.

Cheerful fisherman sat

On the banks of the river

And in front of him in the wind

The reeds swayed.

He cut the dry reed

And pierced the wells

He pinched one end

Blowed at the other end.

And as if animated, the reed spoke -

Thus arose the second group of musical instruments, which are called wind

Well, the third group of musical instruments, as you probably already guessed, is string group of instruments . And the very first stringed instrument was a simple hunting bow. Many times before hunting, a person checked whether the bowstring. And one day, having listened to this melodious sound of a bowstring, a man decided to use it in his orchestra. He realized that a short bowstring made higher sounds, and a longer bowstring made lower sounds. But it is inconvenient to play on several bows, and the person pulled on the bow not one bowstring, but several. If you imagine this tool, you can find in it similarities with harp .

Thus there are three groups of musical instruments: percussion, wind and strings.

Percussion folk instruments. Video tutorial

Russian folk percussion instruments are the first of three groups of folk instruments.A characteristic feature of Russian folk percussion instruments is that some of them were household items.Perhaps one of the most common Russian folk instruments are spoons. Spoons used to be wooden, and people began to use these wooden spoons as a percussion instrument. They usually played on three spoons, of which two were held in one hand, and the third in the other. Children often play with two spoons, fastened together Spoon performers are called spoons . There are very skillful spoon players who play with more spoons, which are stuck both in boots and in the belt.

The next percussion instrument, which was also a household item, is rubel . It is a wooden block with notches on one side. It was used to wash and iron clothes. If we run a wooden stick over it, then we will hear a whole cascade of loud, crackling sounds.

Our next tool that we will get acquainted with will be ratchet . There are two varieties of this tool. Ratchet, which is a set of wooden plates tied together with a rope and a circular ratchet, inside which is a toothed drum, during the rotation of which a wooden plate hits it.

No less popular percussion folk instrument is tambourine , which is a wooden hoop with metal small plates, on one side of which the skin is stretched.

The next Russian folk percussion instrument is box . It is a piece of wood, usually made of hardwood, with a small cavity under the top of the body that amplifies the sound produced by drumsticks or xylophone sticks. The sound of this instrument conveys well the clatter of hooves or the sound of heels in a dance.

Russia with its vast expanses cannot be imagined without triplets horses, without coachmen. In the evening, in the snowy perga, when visibility was very poor, it was necessary for people to hear the approaching three. For this purpose, bells and bells were hung under the arc of the horse. Bell It is a metal cup open to the bottom with a drummer (tongue) suspended inside. It sounds only in limbo. Bell it is a hollow ball in which a metal ball (or several balls) rolls freely, hitting the walls when shaken, as a result of which a sound is extracted, but duller than a bell.

So many songs and instrumental compositions are devoted to the Russian troika and coachmen that it became necessary to introduce a special musical instrument into the orchestra of folk instruments that imitates the sound of coachman's bells and bells. This tool is called bells . A strap is sewn onto a small piece of leather the size of a palm to help hold the instrument in the palm of your hand. On the other hand, as many bells as possible are sewn on. By shaking the bells or hitting them on the knee, the player extracts sounds reminiscent of the ringing of the bells of the Russian troika.

And now we will talk about a tool called kokoshnik .

In the old days, village watchmen were armed with so-called mallets. The watchman walked

at night in the village and knocked on it, letting fellow villagers understand that he was not sleeping, but working, and at the same time scaring away thieves.

According to the principle of this watch mallet, the percussion folk instrument kokoshnik is arranged. It is based on a small wooden frame, covered with leather or plastic, which is hit by a ball suspended from the top. The player makes frequent oscillatory movements with his hand, forcing the tied ball to dangle from side to side and alternately hit the walls of the kokoshnik.

The following musical instrument is called firewood . It consists of logs tied with a rope of different lengths. Not all woods will sound good. It is better to take hardwood firewood. Logs are taken in different lengths, but approximately the same thickness. After the instrument is made, it is tuned.

We got acquainted with the main Russian folk instruments, and in conclusion I would like to introduce you to some of the most famous percussion instruments of other peoples.

A very common Latin American instrument is maracas.

Maracas or maraca is the oldest shock-noise instrument of the native inhabitants of the Antilles - the Taino Indians, a kind of rattle that makes a characteristic rustling sound when shaken. Currently, maracas are popular throughout Latin America and are one of the symbols of Latin American music. Typically, a maraca player uses a pair of rattles, one in each hand.

In Russian, the name of the instrument is often used in the not quite correct form "maracas". A more correct form of the name is "maraka".

Initially, the dried fruits of the gourd tree, known in Cuba as "guira" and in Puerto Rico as "iguero", were used to make maracas. The gourd tree is a small evergreen plant that is widely distributed in the West Indies (Antilles), Mexico and Panama. Large iguero fruits, covered with a very hard green shell and reaching 35 cm in diameter, were used by the Indians to make both musical instruments and utensils.

For the manufacture of maracas, fruits of a small size with a regular rounded shape were used. After removing the pulp through two holes drilled in the body and drying the fruit, small pebbles or plant seeds were poured inside, the number of which in any pair of maraks is different, which provides each instrument with a unique individual sound. At the last stage, a handle was attached to the resulting spherical rattle, after which the instrument was ready.

And now let's get acquainted with a very famous Spanish percussion instrument - castanets.

Castanets are a percussion musical instrument, which consists of two concave shell plates, connected by a cord in the upper parts. Castanets are most widely used in Spain, southern Italy and Latin America.

Such simple musical instruments, suitable for rhythmic accompaniment of dance and singing, were used in ancient Egypt and ancient Greece.

The name castanets in Russian is borrowed from Spanish, where they are called castañuelas ("chestnuts") because of their resemblance to chestnut fruits. In Andalusia, they are more commonly referred to as palillos ("sticks").

Plates have traditionally been made of hardwood, although more recently metal or fiberglass has been used for this. In a symphony orchestra, for the convenience of performers, castanets are most often used, fixed on a special stand (the so-called "castanets-machine").

The castanets used by Spanish dancers and dancers were traditionally made in two sizes. Large castanets were held with the left hand and beat off the main movement of the dance. Small castanets were in the right hand and beat off various musical patterns that accompanied the performance of dances and songs. Accompanied by songs, the castanets performed only as a role-play - during a break in the voice part.

In world culture, castanets are most strongly associated with the image of Spanish music, especially with the music of the Spanish gypsies. Therefore, this instrument is often used in classical music to create a "Spanish flavor"; for example, in such works as G. Bizet's opera Carmen, in Glinka's Spanish overtures Jota of Aragon and Night in Madrid, in Rimsky-Korsakov's Spanish Capriccio, in Spanish dances from Tchaikovsky's ballets.

Although percussion instruments are not given the main role in music, but not infrequently, percussion instruments give the music a unique flavor.

Description of the presentation Russian folk musical instruments Strings on slides

The name "balalaika", sometimes found in the form "balabaika" - is a folk name, probably given to the instrument in imitation of the strumming, "balakan" of the strings during the game. “Balakat”, “joke” in the folk dialect means to chat, empty calls. Russian origin can only be attributed to the triangular shape of the body or body of the balalaika, which replaced the round shape of the domra.

From the beginning, the balalaika spread mainly in the northern and eastern provinces of Russia, usually accompanying folk dance songs. But already in the middle of the 19th century, the balalaika was very popular in many places in Russia. It was played not only by village boys, but also by serious court musicians, such as Ivan Khandoshkin, I.F. Yablochkin, N.V. Lavrov. However, by the middle of the 19th century, an harmonica was found almost everywhere next to it, which gradually replaced the balalaika.

Domra is an ancient Russian musical instrument. Scientists suggest that the ancient ancestor of our Russian domra was an Egyptian instrument, which received the name "pandura" from Greek historians, and was in use already several millennia before our time. This tool, called "tanbur", probably came to us through Persia, which traded with the Transcaucasus.

Due to their performance capabilities, domras in the orchestra constitute the main melodic group. In addition, domra finds its application as a solo instrument. Concert pieces and works are written for her. Unfortunately, domra is not very popular as a folk instrument in Russia; it is almost never found in villages.

Gusli, Russian plucked instrument. Known in two varieties. The first has a pterygoid (triangular in later samples) shape, from 5 to 14 strings tuned in steps of the diatonic scale, the second is helmet-shaped and 10-30 strings of the same tuning.

The pterygoid (voiced) harp is played, as a rule, rattling along all the strings and drowning out unnecessary sounds with the fingers of the left hand

They accompanied their own singing on the harp, performed folk songs and dances, played solo and in an ensemble with other instruments.

The harmonica originated from an Asian instrument called the shen. Shen in Russia was known for a very long time in the X-XIII centuries during the period of the Tatar-Mongol rule. Some researchers argue that the shen traveled from Asia to Russia, and then to Europe, where it was improved and became a widespread, truly popular musical instrument throughout Europe - the harmonica.

Contrary to the opinion that the accordion is an invention of German masters, Academician A. M. Mirek managed to prove its Russian origin. The harmonica in its modern form - with sliding bellows (pneuma) and with a large number of notched metal tongues inside two side bars - appeared in St. Petersburg. Her father, the Czech engineer Frantisek Kirshnik, then lived in Russia, and demonstrated his new instrument, with a much greater sound power than the sheng, in 1783 to St. Petersburg. He also gave a Czech name to his brainchild: harmonica. But now this name, like "accordion", has become colloquial in Russian. The official name of this musical instrument is accordion.

The accordion quickly became the Russian national instrument. Bribed harmonica and sonorous voice, and ease of learning to play. The sound is more interesting and stronger than that of any pipe, and it is ten times more compact than the master's favorite - "pianos".

Bayan is also a Russian invention. In 1907, it was made by Pyotr Sterligov. The master himself did not boast that he had invented a new instrument. And he gave the name of the famous narrator-musician of Ancient Russia Bayan to the new four-row chromatic accordion. This name was inherited by all instruments of this type. The keyboard, invented by the master and located on the right side of the instrument, was called the Sterligov system.

In our time, composers write original works for the button accordion, up to compositions of large forms of sonatas and concertos. There are bayan playing classes in musical educational institutions, which train qualified accordion players. Bayan remains a folk instrument that has been and continues to be played in folk music.

The first written evidence of the horn appears in the second half of the 18th century. In them, the horn appears as a widespread, primordially Russian instrument: “This tool was almost invented by the Russians themselves.” The horn is a straight conical tube with five playing holes at the top and one at the bottom. There is a small bell at the lower end, and a glued mouthpiece at the upper end. The total length of the horn ranges from 320 to 830 mm

The word "zhaleyka" is not found in any ancient Russian written monument. The first mention of a zhaleyka is in the notes of A. Tuchkov dating back to the end of the 18th century. There is reason to believe that the zhaleyka was present before that in the zhaleyka, which is a small tube of willow or elderberry, 10 to 20 cm long, at the top end of which is inserted a beeper with a single reed or goose feather tongue, and at the bottom there is a bell made of cow horn or from birch. The tongue is sometimes incised on the tube itself. There are from 3 to 7 playing holes on the barrel, so you can change the pitch of the sound. form of another instrument.

The timbre of the pitty is piercing and nasal, sad and compassionate. The instrument was used as a shepherd's instrument, tunes of various genres were played on it alone, in a duet, or in an ensemble.

Svirel is a Russian flute-type instrument. Flutes are mentioned in ancient Greek myths and legends. This type of instrument has existed among different peoples since ancient times. In Europe, in court music-making (XVIII century), its name was strengthened - “longitudinal flute”. The flute is a simple wooden (sometimes metal) pipe. It has a "beak" whistle device at one end, and a different number of playing holes (usually six) are carved in the middle of the front side. The tool is made of buckthorn, hazel, maple, ash or bird cherry.

Kug kly (kuv kly) ii ii or tsevn tsa ii is a wind musical instrument, a Russian variety of a multi-barreled flute. As a rule, it consists of three to five hollow tubes of the same diameter, but of different lengths - from 100 to 160 mm. The upper ends of the tubes are open and the lower ends are closed. Kuvikly are not distributed throughout Russia, but only in the Kursk, Bryansk and Kaluga regions. The sound is extracted by blowing on the edges of the cuts of the open ends located on the same line. Usually flute tubes are firmly fastened together, but kuvikls have a distinctive feature - they do not fasten the pipes, but hold them freely in the hand. Use from 2 to 5 tubes. A set of five pipes is called a "pair". A performer playing a “pair” must not only be able to blow into the pipes, but also reproduce the missing notes with his voice.

The time of occurrence in Russia of spoons as a musical instrument has not yet been established. The first rather detailed information about them appears at the end of the 18th century and testifies to their wide distribution among the peasants. Musical spoons in appearance are not much different from ordinary table wooden spoons, only they are made from harder woods.

B benui is a percussion musical instrument of indefinite pitch, consisting of a leather membrane stretched over a wooden rim. Some varieties of tambourines have metal bells suspended from them, which begin to ring when the performer strikes the membrane of the tambourine, rubs it, or shakes the entire instrument.

The rattle is a folk musical instrument, an idiophone that replaces handclaps. Ratchets consist of a set of 18-20 thin boards (usually oak) 16-18 cm long. They are interconnected by a dense rope threaded through the holes in the upper part of the boards. To separate the boards between them, small wooden plates about 2 cm wide are inserted at the top. There is no written evidence of whether this instrument was used in Ancient Russia as a musical instrument. During archaeological excavations in Novgorod in 1992, 2 tablets were found, which, according to V. I. Povetkin, were included in the set of ancient Novgorod rattles in the 12th century.

A Russian folk musical instrument is an object with which musicians extract any, including non-musical, unorganized sounds.

Existing ordinary musical instruments are divided into several groups: plucked strings, bowed strings, brass winds, reed winds, woodwinds, and percussion. Keyboard instruments can be singled out as a separate group, although the methods of sound extraction in them are often different.

The physical basis of a musical instrument that produces musical sounds (with the exception of digital electrical devices) is a resonator. It can be a string, a column of air in a certain volume, an oscillatory circuit, or another object that can store the supplied energy in the form of vibrations. The resonant frequency of the resonator determines the fundamental tone (first overtone) of the sound produced. An instrument can produce as many sounds at the same time as there are resonators in it. The sound begins at the moment of input of energy into the resonator. The resonant frequencies of the resonators of some instruments can often be changed smoothly or discretely as the instrument is played.

In musical instruments that produce non-musical sounds, such as drums, the presence of a resonator is not essential.

Russian musical instruments

Balalaika

Balalaika is a Russian folk three-stringed plucked musical instrument with a triangular, slightly curved wooden body. This is one of the instruments that have become the musical symbol of the Russian people.

The very name of the instrument is typically folk, with the sound of syllables, conveying the nature of playing on it. The root of the words “balalaika”, or, as it was also called, “balabayka”, has long attracted the attention of researchers by its kinship with such Russian words as balakat, balabonit, balabolit, joker, which means talking about something insignificant, chatting, chirping, empty calls , scribbling. All these concepts, complementing each other, convey the essence of the balalaika - an instrument of light, funny, "strumming", not very serious.

The body is glued from separate (6-7) segments, the head of the long neck is slightly bent back. Metal strings (In the 18th century, two of them were veined; modern balalaikas have nylon or carbon strings). On the fingerboard of a modern balalaika there are 16-31 metal frets (until the end of the 19th century - 5-7 forced frets).

In a modern orchestra of Russian folk instruments, five varieties of balalaikas are used: prima, second, viola, bass and double bass. Of these, only the prima (600-700 mm) is a solo, virtuoso instrument, while the rest are assigned purely orchestral functions: the second and viola implement chord accompaniment, and the bass and double bass (up to 1.7 meters long) - the bass function.

The sound is loud but soft. The most common techniques for extracting sound: rattling, pizzicato, double pizzicato, single pizzicato, vibrato, tremolo, fractions, guitar tricks.

It is believed that the balalaika has been spreading since the end of the 17th century. Perhaps it comes from the Asian dombra. Improved thanks to V. Andreev together with the masters Paserbsky and Nalimov. A family of modernized balalaikas has been created: piccolo, prima, second, viola, bass, double bass. The balalaika is used as a solo concert, ensemble and orchestral instrument.

Kugikly

Kugikly (kuvikly) or tsevnitsa is a wind musical instrument, a Russian variety of a multi-barreled flute. Kugicles are a set of hollow tubes (3-5 tubes) of various lengths (from 100 to 160 mm) and diameters. Pipes are made from stalks of kugi (marsh reeds), reeds, bamboo, tree branches and bushes with a core. The tubes of the instrument are not fastened together, which allows them to be changed depending on the required tuning. The upper open ends are located at the same level, the lower one is closed by the trunk knot. Modern cugicles can be made of metal, plastic or ebonite.

Bringing the upper ends of the tubes to the mouth and moving them (or the head) from side to side, they blow on the edges of the sections, extracting, as a rule, short, jerky sounds.

The sound of the kugikla is quiet, gentle, whistling. It goes well with other folk instruments - a pipe, a horn, a pity, a flute, a folk violin. Mostly women play the kugikles, the ensemble of kugikals consists of 3-4 performers, one or two play and simultaneously make sounds similar to the sound of pipes, the rest play along the same melodies in a syncopated rhythm.

Rubel

Percussion and noise instruments are among the most ancient musical instruments. Our ancestors made them from the material that they had at hand - wood, leather, bone, clay, and later metal. They were credited with magical powers.

Percussion instruments that do not have a scale have great expressive possibilities and are widely used in folk music.

Rubel (rebrak, pralnik) is a household item that in the old days Russian women used to iron clothes after washing. Hand-wrung linen was wound on a roller or rolling pin and rolled out with a rubel, so much so that even poorly washed linen became snow-white, as if all the “juices” had been squeezed out of it. Hence the proverb: "Not by washing, but by rolling."

The rubel was a plate of hardwood with a handle at one end. On one side of the plate, transverse rounded scars were cut, the second remained smooth, and sometimes was decorated with intricate carvings. In different regions of our country, rubles could differ either in shape features or in a peculiar decor. So, in the Vladimir province, the rubel, decorated with geometric carvings, was distinguished by its extraordinary length, on the Mezen River, the rubel became wide, slightly expanding towards the end, and in the Yaroslavl province, in addition to the geometric carving, the rubel was sometimes decorated with three-dimensional sculpture, which, protruding above the carved surface, served in the same time and very comfortable second handle. Sometimes the handle of the rubel was made hollow and peas or other small objects were placed inside so that they rattled when rolled out.

For rubels, hardwood is used: oak, mountain ash, beech, maple, birch. In work, you can use waste wood boards, processing them manually or on a machine. The ends of the rubels are evenly filed, the sharp corners on the edges are rounded off with a file. A handle is also cut from the same blank. An additional operation is cutting rollers on the lower surface of the rubels. In the next stage of work, the resulting sharp edges are smoothed, giving them a round shape. The resonator slot in the housing is drilled and processed from one of the side end sides, and not through.

Literature:

1. Bezhkovich A.S. etc. Economy and life of Russian peasants. - M.: Soviet Russia, 1959.

2. Bychkov VN Musical instruments. - M.: AST-PRESS, 2000.

Bushkova Daria, 6th grade student, secondary school No. 32, Rybinsk

Objective of the project: get acquainted with the history of the emergence of Russian folk musical instruments.

Project objectives:

1. Describe the types of Russian folk musical instruments.
2. To get acquainted with the history of the creation of the orchestra of Russian folk instruments.
3. Find out which Russian folk musical instruments are reflected in the visual arts.

Download:

Preview:

To use the preview of presentations, create a Google account (account) and sign in: https://accounts.google.com

Slides captions:

Folk musical instruments of Russia The project was completed by a student of the 6th grade Bushkova Daria Scientific adviser Elina Yuryevna Shcherbak © Secondary School No. 32, Rybinsk, 2013

The purpose of the project: To get acquainted with the history of the emergence of Russian folk musical instruments. Project objectives: Describe the types of Russian folk musical instruments. To get acquainted with the history of the creation of the orchestra of Russian folk instruments. Find out which Russian folk musical instruments are reflected in the visual arts.

According to the sound source, it is customary to divide folk instruments into the following groups: Wind percussion Pneumatic reed Strings

String instruments

V. Vasnetsov "Guslars" N. Bogdanov-Belsky "Children. Balalaika game»

Wind instruments

K. Korovin "Northern idyll" G. Semiradsky "Shepherd playing the flute"

Percussion instruments spoons rattles tambourine rubel

Pneumatic reed instrument bayan Fedot Sychkov. "At the outskirts"

Conclusions: The emergence of diverse musical instruments is explained by the connection between the creativity of a Russian person and various aspects of social life. Ancient folk customs, rituals and accompanying songs give an idea of ​​the people's world outlook. Many years passed, during which new instruments appeared. Now other musical styles are in vogue, but I would like to believe that interest in native Russian music will not fade away.

Sources: Konenko Yu. Russian instruments [Electronic resource] // http://folkinst.narod.ru/vargan.html Osovitskaya Z., Kazarinova A. In the world of music: Textbook on musical literature. – M.; Music, 1999. Encyclopedic Dictionary of a Young Musician. – M.; Pedagogy, 1985. Vasiliev Yu. Stories about Russian folk instruments [Electronic resource] // http://esoserver.narod.ru/Pagan/Muz_ins

Preview:

Project "Folk Musical Instruments of Russia"

performed

6th grade student

Secondary School No. 32, Rybinsk

Bushkova Daria

scientific adviser

Shcherbak Elina Yurievna

In the annals and legends, and in many works of foreign writers of the Middle Ages, there are many indications of the passionate devotion of the Slavs to music. Karamzin in the “History of the Russian State” writes: “Northern Wends in the 6th century told the Greek emperor that the main pleasure of their life is music, and that they usually take with them not weapons, but citharas or harps invented by them.”

There are a number of very original percussion instruments of the Russian people, born of everyday life and closely connected with everyday life. Some of them, such as spoons, rattles, bells, have legitimized their place not only in home ensembles and amateur orchestras, but also on the professional stage. Others appear here and there sporadically. But all of them have in common the originality of both appearance and sound, simplicity and fun.

Objective of the project : Get acquainted with the history of the emergence of Russian folk musical instruments.

Project objectives:

1. Describe the types of Russian folk musical instruments.
2. To get acquainted with the history of the creation of the orchestra of Russian folk instruments.
3. Find out which Russian folk musical instruments are reflected in the visual arts.

1. Stringed folk musical instruments

"Gusl" (harp) in the sense of "string" comes from the Old Slavonic "to buzz". Buzz, buzz in the old days was called the sound of the strings. In the old days, the name of the gusli meant stringed instruments, in contrast to wind and percussion instruments.

The body of the gusli in the old days was built from sycamore wood, which is why they were called "sycophant" or more often "spider". The epithet of the gusli "Yarovchatye" prevails in epics. In folk songs, “voiced” harps are more common, probably because they had metal strings and the timbre of the instrument is ringing. The strings were played exclusively with the fingers. “But the prophetic boyar, if he wanted to sing a song to someone ... he laid his prophetic fingers on the living strings, and they themselves rumbled glory to the princes” (“The Tale of Igor's Campaign”). The harp sounded both in everyday life and at solemn ceremonies. The heroes Dobrynya Nikitich, Nightingale Budimirovich and the Novgorod guest Sadko play the harp. Currently, interest in the harp has grown markedly. Modern harp players appeared - storytellers who set out to recreate the ancient tradition of playing and singing to the harp.

Domra is an ancient Russian musical instrument. Scientists suggest that the ancestor of our Russian domra was the Egyptian pandura instrument, which was in use several millennia before our time. The main performers on domra were buffoons. With their fun and "buzz" they not only entertained the people, but also forced them to imitate themselves. Therefore, during the reign of Alexei Mikhailovich, the persecution of singers and buffoons began. In Moscow, they collected all the tools, loaded them with 5 wagons, brought them across the Moscow River and burned them there. Now domras in the orchestra make up the main melodic group.

The name "balalaika" is folk. “Balakat”, “joke” in the folk dialect means to chat, empty calls. Some attribute the word to a Tatar origin. The word "bala" means "child". Perhaps it served as the source of the origin of the words "talk", "talk", embodying the concept of unreasonable, as it were, childish chatter.

For the first time, the name "balalaika" is found in written monuments from the time of Peter the Great. At first, the balalaika accompanied folk dance songs. But already in the middle of the 19th century, it was played not only by village boys, but also by serious court musicians. By the middle of the 19th century, an harmonica was found almost everywhere next to it, which gradually replaced the balalaika. The balalaika received its second birth at the end of the 19th century thanks to the efforts of Vasily Andreev, who was called "the young father of the balalaika." He improved the folk instrument and designed a family of balalaikas of various sizes. The result of this work was the creation of the Great Russian Orchestra, the first performance of which took place in 1897. Since then, orchestras of folk instruments began to spread with extraordinary speed throughout Russia. Now not only Russian folk songs, but also works of Russian and Western classics sound wonderful on the balalaika.

1. Wind folk musical instruments

The first written evidence of the horn appears only in the second half of the 18th century. A horn is made from birch, maple or juniper. According to the musicians, juniper horns have the best sound qualities. The sound of the horn is strong, but soft. Making sound on an instrument is quite difficult. The horn has different names - "shepherd", "Russian", "song". In the second half of the XIX - early XX century. ensemble playing on the horns has become widespread. In our time, horns are sometimes introduced into the orchestras of Russian folk instruments.

The origin of the word "poor" has not been established. Some researchers associate it with "pity" - a funeral rite that includes playing the pity. The timbre of the pity is sad and pitiful. The instrument was used as a shepherd's instrument, tunes of various genres were played on it alone, in a duet, or in an ensemble. Now it can only be seen in orchestras of Russian folk instruments.

The flute in Russia was an instrument made either from a piece of hollow reed, or from a cylindrical piece of wood. According to legend, the son of the Slavic goddess of love Lada, Lel, played the flute. Two pipes were found at the excavations of Ancient Novgorod. One of them was made at the end of the 11th century, the second belongs to the beginning of the 15th century. The flute is a simple wooden pipe. It has a whistle device at one end, and a different number of playing holes (usually six) are cut into the middle of the front side. The tool is made of buckthorn, hazel, maple, ash or bird cherry.

Kuvikly is a Russian variety of a multi-barreled flute, known to science under the name "Pan's flute". Kuvikly is a set of 3-5 hollow tubes of various lengths and diameters with an open upper end and a closed lower one. Tool tubes are not fastened together. This tool was usually made from stalks of reeds or reeds. Nowadays, plastic and even metal kuvikly are used.

Vargan is one of the oldest musical instruments that has passed through the centuries and has practically not changed its appearance. In ancient times, it was believed that playing the harp clears the mind, strengthens the vitality of a person, harmonizes the functions of all organs; This is confirmed by modern scientists. The ancestor of the jew's harp was a bow, which appeared approximately IX-XII thousand years ago. The jew's harp was an integral part of shamanic rituals along with the tambourine, and sometimes even replaced it. Simplicity, even primitiveness of the jew's harp and at the same time the complexity of playing it, its rich, not yet fully disclosed possibilities allow us to call it an instrument of the 21st century.

1. Percussion folk musical instruments

Since ancient times, the Eastern Slavs have used percussion instruments in military affairs, hunting, rituals, shepherding, and as a musical instrument to accompany singing or dancing. It is known that at feasts, in the heat of dancing excitement, not only spoons were used, but also frying pans, basins, stove dampers, samovar pipes, pots, forks, in a word, everything that can make a sound. Among the items of household utensils, a scythe and a saw acquired a stable musical function.

Musical spoons in appearance are not much different from ordinary table wooden spoons, only they are made from harder woods. In addition, musical spoons have elongated handles and a polished impact surface. Sometimes bells are hung along the handle. Nowadays, spoons have legitimized their place not only in orchestras, but also on the professional stage.

The tambourine has been known to the Eastern Slavs since ancient times. They were especially widely used in military affairs and among buffoons. In the old days, percussion instruments on which the skin was stretched were called a tambourine. One of the descriptions of a tambourine together with pipes as a military musical instrument dates back to the 10th century. and included in the description of the campaign of Prince Svyatoslav Igorevich. Military tambourines were used both by infantry and cavalry. This instrument is occasionally found in the hands of folk musicians even today, but it has found its main application in the orchestras of Russian folk instruments.

Ratchets are a percussion instrument that replaces handclaps. Rattles were used in the wedding ceremony when singing praise songs with dancing. The choral performance of a laudatory song is often accompanied by the playing of a whole ensemble, sometimes numbering more than 10 people. During a wedding, rattles are decorated with ribbons, flowers, and sometimes bells. The ratchet is usually held at the level of the head or chest, and sometimes higher; because this instrument attracts attention not only with its sound, but also with its appearance.

Rubel, like spoons, is an everyday item of the Russian people. In the old days, when there was no iron yet, linen was ironed by winding it on a rolling pin when wet and then rolling it for a long time, tamping it down with a rubel. It is possible that someone once accidentally ran another elastic object over its teeth and a sparkling cascade of sounds turned out. The difference between a musical rubel and a household one is that the first is hollow, the second is solid. Hollow, of course, sounds louder, booming.

1. Pneumatic reed musical instruments

The impetus for the spread of the accordion was Ivan Sizov's purchase of a hand harmonica at the Nizhny Novgorod fair in 1830, after which he decided to open an accordion workshop. By the forties of the 19th century, the first factory of Timofey Vorontsov appeared in Tula, which produced 10,000 harmonicas and harmonicas a year. By the middle of the XIX century. the harmonica becomes a symbol of a new folk musical instrument. She is an obligatory participant in all folk festivals and festivities. Saratov craftsmen were able to find an unusual timbre of sound by adding bells to the design. Bayan owes its appearance to the talented Russian master - designer Peter Sterligov. In our time, composers write original works for the button accordion, up to compositions of large forms of sonatas and concertos.

The orchestra of Russian folk instruments includes instruments of the domra and balalaika family, as well as gusli, button accordions, zhaleika and other Russian folk instruments. The first such group was created in 1888 in St. Petersburg by the balalaika player Vasily Vasilyevich Andreev as the “Circle of Balalaika Fans”, after successful concerts in Russia and abroad, it was called the “Great Russian Orchestra”. The repertoire of Russian folk orchestras usually includes arrangements of Russian folk songs, as well as works written specifically for them.

Modern orchestras of Russian folk instruments are serious creative groups performing at the largest concert venues in Russia and abroad.

Thus, the emergence of diverse musical instruments is explained by the connection between the creativity of a Russian person and various aspects of social life. Ancient folk customs, rituals and accompanying songs give an idea of ​​the people's world outlook.

Many years passed, during which new instruments appeared. Now other musical styles are in vogue, but I would like to believe that interest in native Russian music will not fade away.