Gudok is a Russian folk instrument. I know almost everything about singing! Gudok in the history of Belarusian music

An ancient Russian folk bowed three-string musical instrument with a flat soundboard and back, without cutouts on the sides. Two strings were built in unison, and one was a fifth up. G. was played like a cello. G.'s description can be found in... ...

Ancient Russian folk bowed three-string music. an instrument with a flat top and back, without cutouts on the sides. Two strings were built in unison, and one was a fifth up. G. was played like a cello. G.'s description can be found in the works... ... Encyclopedic Dictionary F.A. Brockhaus and I.A. Ephron

This term has other meanings, see UD. Oud Classification Stringed musical instrument, Chordophone ... Wikipedia

- á The correct emphasis must be placed on the term in this article. This term has other meanings, see Firewood (meanings). Firewood... Wikipedia

This term has other meanings, see Spoon. Musician with spoons ... Wikipedia

Pipa Biwa Classification String instrument ... Wikipedia

This term has other meanings, see Good (meanings). Dobro Dobro six-string resonator guitar. It was invented in C... Wikipedia

This term has other meanings, see Dudka. Dudka is the general name of folk musical instruments of the family of longitudinal flutes (nozzles, flutes, sopilka) in Russia, Belarus, and Ukraine. Russian folk musical pipe... ... Wikipedia

Bitch Classification string instrument, chordophone ... Wikipedia

HORN is an ancient Russian wooden shepherd's instrument that traces its history back to military horns and trumpets that called warriors to battle (for example, the Tale of Igor's Campaign speaks of warriors who are wooed under trumpets, cherished under helmets, with the end of a spear... Wikipedia

Books

• Notes of the Department of Russian and Slavic Archeology of the Imperial Russian Archaeological Society. Volume V. Second issue, . St. Petersburg, 1904. Printing house of I. N. Skorokhodov. Edition with 6 illustrated tables. Owner's cover with original cover attached. The condition is good. IN…

Of all the sources about ancient Russian musical instruments, the most important are the data from archaeological excavations in Novgorod (V.I. Povetkin).

For a very long time, Russian science did not have a clear idea of ​​what ancient Russian musical instruments looked like, what they were made of, and especially how they sounded. Pictorial sources could not clarify this issue, since it is unclear whether the instruments depicted are local or, for example, Byzantine. It seemed that these questions would remain unanswered, but archeology came to the rescue. In 1951, at the Nerevsky excavation site in Veliky Novgorod, the first finds of fragments of musical instruments were extracted from the cultural layer. The Novgorod land has well preserved for us not only metal, ceramics and bone, but, most importantly, wood!

The outstanding archaeologist Boris Aleksandrovich Kolchin was the first to classify, describe and try to reconstruct these tools. In 1972-1973, under the leadership of B. A. Kolchin, masters V. G. Pogodin and N. L. Krivonos first tried to restore the appearance of the finds. The result of the restoration was ambiguous. Archaeological specimens were augmented with modern wood using permanent adhesives. That is, they are glued forever. Modern inserts are tinted to resemble old wood, so it is difficult to determine where a find ends and where an addition ends. The resulting appearance of the tools and their functionality are questionable. They are not confirmed by subsequent archaeological finds. However, images of these instruments are still widely reproduced in print, and the instruments themselves are exhibited in museums in Veliky Novgorod and Moscow.

A different path of reconstruction was proposed by Vladimir Ivanovich Povetkin. He decided to make musical instruments entirely from modern wood, based on found fragments, taking into account data from history, archeology and ethnography. At the same time, for clarity, only the part corresponding to the find was tinted. The added fragments were not stained. This made it possible not to damage the archaeological samples themselves, preserving them for future researchers, and also to make several reconstruction options at once. But most importantly, it made it possible to hear the sound of ancient musical instruments! Note that it was B.A. Kolchin was the first to recognize the correctness of the approach to the reconstruction of V.I. Povetkina.

I will describe my experience in reconstructing musical instruments. I've always been interested in music. First, I mastered “three chords” with the guitar, then I played drums in a metal band. There was a need to understand notes. At hand was only a flute and a self-instruction manual... for the button accordion. I somehow figured out the notes, and after that I mastered the balalaika. I have always been drawn to folklore. I began to wonder what our ancestors played. It turned out that there was such a musical instrument - the gusli! A long-bearded old man with a multi-stringed instrument on his knees immediately comes to mind. The elder composes epics, accompanying them with the tinkling of ringing strings, and around him the warriors and the prince sit and listen. Just like in Vasnetsov’s painting. But then I came across the recordings of the Rusichi ensemble, which completely broke the prevailing idea about the gusli. It turned out that their harp is not the same, and sounds completely different (later I learned that there are several types of harp, but about them another time). The Rusichs had another interesting bowed instrument. It’s like a violin, only it’s shaped differently and held differently. And most importantly, the sound is very creaky, even a little nasty. It turned out to be a beep. I liked the tool, and I decided to make myself such a thing! That’s how I started making ancient Russian musical instruments!

So, gudok, an ancient Russian bowed instrument.

A huge contribution to the study of the folk tradition of playing the whistle was made by N. I. Privalov, the creator and director of the Great Russian Orchestra of Folk Instruments. In 1904, he published a historical and ethnographic essay about bowed musical instruments, where he described the whistle. Using the information available at that time, N.I. Privalov assumed that bowed instruments appeared in Rus' no earlier than the 16th century.

The beep does not appear in ancient Russian written sources. But in Nikon's list of the Tale of Bygone Years under 1068 the smyk is mentioned. This is believed to be an archaic name for a horn. The beep was first described by J. Shtelin in 1769 in his work “News about Music in Russia”:
“A whistle used among the mob, especially sailors. It is shaped like a violin, but is made of rough, untreated wood. Its body is clumsy and larger than a violin, and there are three strings stretched across it, along which they move a short bow. Ordinary lovers of this nasal instrument play it either sitting, resting it on their knees, or standing, resting it on their body, and in general not like a violin, pressed to their chest or chin. Common melodies are played on it, and they rarely pluck more than one string with their fingers, while the other two are plucked with the bow in vain and always strongly, so that they sound creaky and intrusive, like on a lyre. To their ears it sounds quite pleasant, and this instrument is widely used in dancing, with singing and independently” (J. Shtelin).

The earliest pictorial source that gives us an idea of ​​playing the whistle is the 15th century fresco “Ant buffoon”.

On the fresco, the musical instrument is positioned vertically, and the musician produces sound using a bow.

In Europe there was also an instrument similar to the buzzer. It was called "fidel" or "fidula".

The Bulgarians also preserved the instrument “gadulka” or “gudulka”, very similar to a whistle.

Having analyzed written and visual sources, as well as ethnographic data, B. A. Kolchin identified part of the finds from the Nerevsky excavation site in 1954, 1955 and 1960 as the remains of stringed-bowed musical instruments, to which the name “beep” was assigned.

Thanks to its excellent state of preservation, the most interesting finds are the body of a whistle from the late 12th century and an almost completely preserved whistle from the mid-14th century.

“The total length of the body is 41 cm. The length of the resonator trough itself is 28 cm, the neck is 3 cm and the head is 10 cm. The greatest width of the trough reaches 11.5 cm, the greatest depth is 5.5 cm. The thickness of the instrument walls was on average 0.5 cm. The head had three holes for pegs, each 0.7 cm in diameter. The distance between the centers of the holes, i.e. the distance between the strings, was 1.8 cm. The volume of the resonator trough was 550 cubic meters. see. The instrument is made from one spruce log. The resonator trough is hollowed out” (B. A. Kolchin).

We will need:

Tools: axe, knife, semicircular chisel and flat scraper.

Material: spruce log.

We split a spruce log of the required length in half. This can be done simply with an ax or using a staple.

We break off a plate-plate from one of the resulting halves. This is our future resonating soundboard of the instrument.

Using an ax, we chop the board down to a thickness of about 10 mm, and level it with a scraper onto the rough. This thickness is enough to prevent the wood from cracking when drying. There is also a small margin left for leveling the future deck if the tree begins to shrink during drying. In this state we leave it to dry.

We coat the other half with the same skewer.

We use an ax to cut out the future body of the whistle.

Next, the knife comes into action. Using a knife, we level the body, giving it the desired shape. This is also a rough cut. The body should be brought to a smooth state after it has dried.

Next, use a semicircular chisel to select the internal cavity of the resonator trough. In this state we leave it to dry.

The entire tool must be very well sharpened. It is much easier to cut yourself with a blunt instrument than with a sharp one. This is surprising, but true. After all, when working with a dull tool, you have to put in more effort, which means it is much more difficult to control it. The chance that the tool will come off and cut your hand increases. Tested from my own experience.

Gudok (musical instrument) · Related articles · Notes · Literature · Official website ·

Horn(Bulgarian gudulka) - an ancient Russian bowed instrument, most common in the 17th-19th centuries among buffoons. It has a hollowed-out wooden body, usually oval or pear-shaped, and, in addition, a flat deck with resonator holes. The neck of the buzzer has a short neck without frets that holds 3-4 strings.

Judging by epics and historical songs, he accompanied crowded folk celebrations; a continuous bass hum was produced by the upper “solo” string, as, for example, when playing the lyre... The clergy branded the whistle a “vessel of the devil”, and buffoon singers called it a “ringing translator”. They performed dance tunes on it, amusing the people.

The buzzer can be played either by placing it vertically or holding it horizontally (similar to a guitar). Moreover, the top string is built higher than the other 2-3 (unlike a guitar), with a difference of a fifth or fourth. During playing, the top string is used for soloing, and the rest are constantly sounded.

The names of the varieties of beeps have been preserved: gudok, gudok, gudilo, gudische. Related instruments existed in the West - fidula (Latin), fidel (German).

Horn

Gudok is an ancient Russian bowed string instrument. It was played by horn players, buffoons - traveling artists, “Russian minstrels”, to whom the church had an extremely negative attitude. And there are corresponding sayings: “God gave the priest, the devil is a buffoon,” “buffoon’s fun is a joy for Satan,” etc. (The Russian gudk was unlucky, unlike and, who were allowed into the holy of holies - into heaven to the Lord God and onto the frescoes of temples!)

Could have come to us from Central Asia or Byzantium (1).

Here is a video from the Museum of Forgotten Music - Sergei Plotnikov talks about the beep:

Article about the horn from the Music Encyclopedia:

old Russian bowed string instrument. The wooden body is hollowed out or glued, oval or pear-shaped, often with an interception (waist) in the middle, the soundboard is flat with resonator holes, the neck is short without frets, with a straight or slightly bent back head. G. length - 300-800 mm. Three strings, sometimes four; According to some sources, the 2nd and 3rd strings were tuned to a fourth to the 1st, according to others - to a fifth (perhaps both tunings were used). A short bow-shaped bow was drawn along the strings; the primitive design of the instrument suggests that they sounded creaky and nasal. The performer held the instrument vertically, resting the body on the knee or pressing it between the knees (when playing while sitting), as well as pressing it to the chest (when playing while standing). The melody was performed on the first string, the open second and third were used as a bourdon.

G. is one of the oldest Russian instruments. people. During the archaeological excavations in Novgorod among the monuments of material culture of the 12-13th centuries. bowed instruments close to the Bulgarian gadulka were found, which are an ancient form of G. The earliest lit. information about G. and his images go back to the middle. 17th century It was primarily the instrument of buffoons (“buffoon” and “buffoon” were often synonymous). In G. they performed dances and songs and accompanied the singing.

The G. was often played in an ensemble with other instruments (for example, a helmet-shaped gusli and a domra). There were G. diff. sizes - gudok (small), gudok (large), gudishche (G.-bass). At the end of the 19th century. G. has completely fallen out of use and not a single copy of it, except those found during archaeological research. tools of this type were not preserved during excavations. In the 1900s on the initiative and instructions of I.P. Fomin, G. was reconstructed; A G. quartet (bow type) was created - a buzzer, a buzzer, a buzzer and a buzzer, but these instruments did not receive practical use. Subsequent experiments to revive G. did not yield positive results.

Literature: Privalov N.I., Gudok, an ancient Russian musical instrument in connection with bowed instruments of other countries. Historical and ethnographic research, St. Petersburg, 1904; Yampolsky I.M., Russian violin art. Essays and materials, part 1, M.-L., 1951, p. 15-22; Ginzburg L.S., Russian folk bow instrument gudok, in his book: Research, articles, essays, Moscow, 1971; Kvitka K., Selected works, vol. 2, M., 1973, p. 206-17.

Gudok is an ancient Russian stringed musical instrument with an oval-shaped body without side grooves. The instrument does not have a special neck on the neck. Resonance holes in the form of semicircular brackets are sometimes found on the top deck, but they are absent in most images. The beep became most widespread in the 17th-18th centuries. At the end of the 19th century it completely fell out of use.

Initially, as evidenced by archaeological specimens of beeps, the body of the instrument was hollowed out from a single piece of wood and had relatively small dimensions (20-30 cm). Later, whistles began to be made not only with a dugout, but also with a glued body.

During the game, the buzzer was held in a vertical position, resting it on the knee, when playing while sitting, or on the body when playing while standing. To play the whistle, judging by the images, a short, bow-shaped bow without a block was used. The whistle was used as an instrument to accompany singing or dancing. There are references to the joint playing of several gudoshniks, for which already in the 16th-17th centuries, and possibly earlier, instruments were made of different sizes and sound ranges: high (gudochek), medium (gudok) and low (gudishche).

The sound character of the instrument is nasal and creaky. Its three strings were tuned in fifths. A flat stand made it possible to produce sound with a bow from all three strings simultaneously, but performance on the whistle was not limited to this. The playing technique was quite simple, which, naturally, did not exclude the possibility of skillful playing of the instrument. As Shtelin noted, “they play common melodies on the whistle, and they rarely pluck more than one string with their fingers, while the other two are held with a bow in vain (on open strings) and always strongly, so that they sound creaky and intrusive, like on a lyre.” “On the high outer string, some folk tune is played, and the other two strings, tuned fifth down, serve as an accompaniment to accompany the melody.”. By pressing the two lower strings with the thumb of the left hand, it was possible to change the pitch position of the sustained fifth bass. This made it possible to change the tonality of the tune played on the top string.

The gudoshniks' repertoire consisted of folk songs and dances. No authentic recordings of the drone tunes were made. Some idea of ​​the nature of the tunes performed on the whistle can be given by a duet for a horn and a whistle from the vaudeville show S.I. Davydov’s “Semik or Walking in Maryina Roshcha,” written in 1815, when playing the whistle was still widespread. There is reason to believe that this duet is a recording close to the reproduction of a folk instrumental ensemble tune. The widespread use of open strings, typical of folklore practice of playing bowed instruments, suggests the open string tuning used on the gudok – e” – a’ – d’. According to B.F. Smirnova, the horn part in a vaudeville duet is “a typical horn folk tune”, and the sound of the beep is presented in a manner characteristic "for second violin duet". The interaction of instrumental voices corresponds, in his opinion, also "truly folk tradition".

The gudok was a Russian folk instrument, common not only among buffoons. This is evidenced, in particular, by the wide reflection that this instrument has found in oral folk poetry. An indication of the widespread use of the beep is found in literature until the middle of the 19th century: “Gudok... is still used in rural feasts and amusements”. Attempts to find a gudoshnik or gudok in the remote rural outskirts, repeatedly undertaken in the last 50-80 years, were practically unsuccessful.

It is worth noting the search for the beep, undertaken on the initiative of N.I. Privalova. He writes that one old woman (a Siberian) told him that in the days of her youth, gudoshniks went from house to house, several at a time, with instruments of various sizes, to play. In this regard, Privalov instructs his friend, an employee of the Putilov plant, who went on a business trip to Siberia in 1897, to find traces of the whistle there. At one of the stations near the city of Zlatoust, he was lucky enough to meet a blind gudoshnik, whose instrument was slightly smaller than a cello and had four strings. The sound of the buzzer was rattling, reminiscent of playing a balalaika, since the buzzer constantly trembled with the bow while playing. During a short train stop, he managed to play “Kamarinskaya” and “What was lower than the city of Saratov”. In 1937, traces of the gudoshnik in the Bryansk region were discovered by L.V. Kulakovsky, but he failed to collect any information.

In 1958, the expedition of the Pushkin House recorded in the village of Kiltsa, Mezensky district, Arkhangelsk region, the singing of the frequent lyrical song “Oh, Siberia uterus, Siberia uterus” to the accompaniment of a homemade three-string violin. The manner of playing (the performer held the instrument vertically, resting it on his knee), the number of strings and the nature of the melody allowed B.M. Dobrovolsky suggested that this is an echo of the ancient gudosh tradition, and in 1975 Perm folklorist N.S. Albinsky also discovered traces of the gudosh tradition.

When did the buzzer start? Where did the word "beep" come from?

Why is the gudok considered a Russian folk instrument?

The history of the creation of the “beep” instrument (accessible to children).

Description of the musical instrument "beep".