What are dombra strings made of? Musical instrument dombra: photo, description, history. Songs for ritual ceremonies

— It is noteworthy that in the republic they decided to designate a whole day of the year as the day of a musical instrument, and the dombra became this instrument. “Dombra is a symbol of musical culture from the nomads of antiquity to the present day,” Yuri Petrovich begins his story.

Instruments resembling dombra have existed since time immemorial. If you believe the stones with rock carvings of dancing people, exhibited in the Ykylas Museum of Folk Musical Instruments, our ancestors played them more than 4 thousand years ago. However, the first reliable information about dombra appears only in the 16th-17th centuries.

The ancestor of the dombra is the ancient Turkic musical instrument sherter. It is shaped like a dombra, but has an open body, three strings and a short neck without frets. The sherter was made from a single piece of wood, and a leather deck was stretched over the body.

The sherter was played either by plucking or striking the strings, or with a bow. Kobyz and dombra originated from sherter.

Traditionally, craftsmen hollowed out dombra from a single piece of wood. Any tree species that grew in the area was used as material. Over time, to improve the acoustic properties of the instrument, the method of its manufacture changed. Dombra began to be made from individual glued parts, and hardwoods began to be chosen as raw materials - pine, larch, spruce.

One of the main differences between modern dombra and instruments that were played Kurmangazy And Dauletkerey, - strings. Nowadays they are made from fishing line, but until the beginning of the 20th century, gut strings were used on dombra, made through a complex process of dressing lamb or goat intestines.

— The fishing line sounds very bright and powerful, but the gut strings give a special flavor, a very deep and soft sound. Frets - in Kazakh they are called “perne” - were also made from veins. Thanks to this, the sound of a traditional dombra is rich in overtones and overtones.

Rich and deep sound

According to Yuri Petrovich Aravin, despite its simple design, the dombra, like other Kazakh musical instruments, has a powerful and rich sound.

— You can understand well how Kazakh musical instruments sound using the example of the kobyz. When a kobyzist plays the kyl-kobyz, he does not press the strings to the fingerboard, but only lightly touches them. Thanks to this, a mass of overtones is created. Kobyz strings are made from horse hair. When this instrument is played, it actually sounds like a choir of 46 individual hairs. The same can be said about the richness of the sound of dombra.

Experienced musicians, performing kuy, can reflect in their music the grandeur of the endless expanses of the steppe, the clatter of hundreds of hooves or the roar of an approaching army. Speaking about the power of dombra sound, Yuri Petrovich remembered a quote from the famous researcher of Kazakh folk music Alexander Zataevich:

— Zataevich, who perfectly penetrated into the peculiarities of Kazakh music, said that the dombra gives the impression not of something small up close, but of something large and even grandiose, but as if from afar, like the chime of a good table clock. A very apt comparison, because table clocks can sound like huge bells. Dombra gives the same amazing effect. You sit nearby, listen, and something huge sounds there, from afar. To feel this, just listen to the kuy “Aksak Kulan”.

According to the musicologist, the phenomenon of dombra lies in its depth and diversity. It can sound like an entire orchestra, conveying a wide palette of sound. Such music resonates in the souls of listeners and resonates with the human psyche. Long neck, rounded shape, soft materials and gut strings - such a simple design creates ideal acoustics.

What kind of dombra is there?

When imagining a dombra, most people keep in mind an instrument of a strictly defined shape. A round teardrop-shaped body, a long neck, two strings - this is how the dombra is depicted everywhere, from the cover of school textbooks to historical documentaries. In fact, there are many varieties of this instrument, which were made in different regions of Kazakhstan. The Arkin, Semipalatinsk, and Zhetysu dombras are well known. Traditionally, researchers distinguish two main types of dombra and schools of playing it - Western Kazakhstan and Eastern Kazakhstan.

The East Kazakhstan dombra has a flat back, a scoop-shaped body, a short thickened neck (neck) with 8 frets.

— Dombra in the central and eastern regions belonged to the Arkin school. It was used as an accompanying instrument to accompany singing. These regions had very rich vocal traditions. It was more convenient for singers to press the flat dombra to their body. It does not sound so loud and does not interrupt the voice.

The West Kazakhstan dombra has become the most widespread in modern times. This is a classic teardrop-shaped dombra, with a long thin neck and 15-16 frets on it. This dombra gives a larger acoustic range.

— Powerful dynamic kuis were played on the West Kazakhstan dombra. Thanks to its sound qualities, it has gained popularity among professional musicians.

The collection of the Ykylas Museum includes unique dombras that belonged to famous akyns, kuishis, composers and poets. Among them you can also find many interesting types of this musical instrument. For example, on the front deck of a 160-year-old dombra Makhambet Utemisova Three small holes were cut instead of one. Also noteworthy is a copy of the famous dombra Abaya. In shape it is a typical East Kazakhstan dombra, but it has three strings.

— Abai’s three-string dombra should not confuse you. The fact is that the Kazakhs in this region came into close cultural contact with the Russian population. Abaev's dombra adopted three strings from the balalaika. Abai respected Russian culture and ordered just such an instrument for himself.

In the mid-30s, the dombra, along with other Kazakh folk instruments, acquired an orchestral sound. Akhmet Zhubanov On the basis of the music and drama technical school, he created the first folk instrument orchestra in the republic. An experimental workshop was opened at the technical school to improve and unify the dombra and kobyz for the orchestral range. To create new versions of dombra, Zhubanov attracted talented craftsmen - brothers Boris And Emmanuila Romanenko, Kambara Kasymova, Makhambet Bukeikhanova. This is how dombra-prima, dombra-alto, dombra-tenor, dombra-bass and other instruments appeared, which became an integral part of national orchestras.

— The Romanenko brothers had experience working with Russian musical instruments. The famous Russian orchestra of V.V. Andreev was taken as a model for the orchestra of folk instruments. Just as at one time the balalaika was remade to suit the orchestral sound, the dombra was transformed. For example, a huge double bass dombra sounds completely different compared to a standard dombra. Instruments made by Romanenko, Kasymov and their followers are still valued among musicologists.

Kuishi skill

Kazakh folk music, which was composed and performed on the dombra, is a complex, vibrant and abstract art. Poetry in it is inextricably linked with music. The works of famous zhyrau, sal and akyn interpret eternal philosophical questions through music and oral creativity.

— The creativity of the kuishi and akyns touches on deep themes. It cannot be taken literally. If, while playing the kyui, you seem to hear the clatter of horse hooves, then you need to understand that the author did not want to convey the horse’s running, but the impression of this running in his soul. Kazakh art is very meaningful and philosophical; it carries many meanings.

The professional school of oral and musical creativity reached its peak in the Kazakh steppe in the 19th century. Talented akyns and kuishi could devote all their time to composing and performing music, without worrying about other matters. Often they made themselves a suitable instrument. In the villages, the performers were given shelter and food, clothes and horses. The winners of the aitys could count on a good prize and expensive gifts.

— A good performer of kyuis and songs on the dombra was welcome in any home or yurt. The tradition of patronage of the arts was very developed. The winner of the aitys could be given an ingot of gold or silver as a fee. There is a known description of how Abai’s mother gave a golden hoof Birzhan-salu, admiring his performing arts.

In our time, there is still debate about who was the most skillful composer of kyuis for dombra. In Soviet times, the cult of Kurmangazy Sagyrbayuly was established, but Yuri Petrovich believes that the great kuishi had many equally talented contemporaries and followers.

— Kui Kurmangazy is very bright, memorable and eccentric, but in the storehouse of Kazakh music there are also stronger works. After the revolution, he was singled out among others because of his poor origin, relegating composers such as Dauletkerey to the background. Just listen to the song “Zhiger”! It contains such depth and tragic power... It is impossible to say who was the most talented Kazakh composer. There are many musical works for dombra, and everyone can find their favorite one.

Dombra in the daily life of Kazakhs

Dombra played an important role in the life of not only professional performers and akyns, but also simple nomadic cattle breeders. The dombra was an indispensable attribute in every yurt and hung in a place of honor on the keg. Children learned music by playing a miniature dombra - shinkildek. Adults knew the motives of famous songs and kues and could play the simplest of them.

— Kazakhs are by nature a very musical and aesthetic people. Long wanderings across the steppe contributed to the development of contemplation and music-making. We must also not forget that music was a means of communication. No one has ever played the dombra just like that, right off the bat. At first you told who you were, who you came from, where you were going and what you saw. Music certainly accompanied the word; it helped the perception of words. For example, to inform loved ones about the death of a relative, a kuishi was often invited to play estirta - a death notice.

The great importance of dombra in the life of Kazakh society is evidenced by many legends and myths in which this musical instrument appears. The most famous of them is associated with the times of the Mongol invasion:

— U Genghis Khan had a son Zhoshi, who ruled the territory of modern Kazakhstan. Zhoshi also had an eldest son who was very fond of hunting kulans. One day, during a hunt, the leader of a herd of kulans knocked the prince out of the saddle, and the herd trampled him. No one dared to tell Zhoshi the black news, because according to custom, the messenger could be executed for this. Then they invited kuishi, who played the khan on the dombra estirta, sad news. Through the sounds of the dombra, he conveyed the tramp of horses, the fear of the kulans, the courage of their leader and the voice of the soul of the dead young man. When he finished playing, Joshi understood everything and said: “You brought me black news and are worthy of death.” “I didn’t bring it to you, but my dombra,” answered the kuishi. Then the khan ordered hot lead to be poured into the dombra. This legend says a lot about the sound-image properties of dombra and the power of its impact on people.

Many Asian peoples have plucked string instruments similar to the dombra and similar to it in appearance, sound and manner of playing. The Uzbeks and Turkmen have a two-stringed teardrop-shaped instrument called the dutar. The Kyrgyz have a three-stringed instrument, the komuz. The Mongols, Buryats and Khakass also have musical instruments similar to the dombra.

— It cannot be argued that the dombra is a unique and inimitable invention of the Kazakhs. Many nations have analogues, but dombra can be called one of the amazing options for musical perfection. This seemingly simple instrument is capable of expressing the deepest experiences of the human soul. In the past he was closely connected with the Kazakh people, and I hope that this will continue to be the case in the future.

Photo gallery

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Kazakh two-stringed plucked musical instrument, a relative of the Russian and. It is also found in Uzbekistan (, dumbrak), Bashkiria (). The sound of the dombra is quiet and soft. It is extracted by plucking, blowing with a brush or a pick.

Folk storytellers - akyns - accompany their singing by playing the dombra. Performing musical compositions on the dombra is a favorite form of artistic creativity of the Kazakhs. Folk songs are sung to the sounds of the dombra; the dombra is also used as a solo and ensemble instrument.

It has a pear-shaped body and a very long neck, divided by frets. There are two strings. The strings are usually tuned to fourths or fifths. One of the founders of Kazakh dombra music is Kurmangazy, whose composition “Adai” is still popular in Kazakhstan and beyond.

In the early 50s of the 20th century, archaeologists carried out excavations in Central Asia, in those places where the ancient state of Khorezm was once located. Among other finds, they came across several terracotta figurines. The figurines depicted musicians holding instruments in their hands. In these two-stringed plucked instruments, scientists recognized the ancestors of the dombra, which is still widespread in Kyrgyzstan and Kazakhstan.

The legend of dombra

In ancient times, two giant brothers lived in Altai. My younger brother had a dombra and he loved to play it. As soon as he starts playing, he forgets about everything in the world. The elder brother was proud and vain. One day he wanted to become famous, and for this he decided to build a bridge across a stormy and cold river. He began to collect stones and began to build a bridge. And the younger brother keeps playing and playing.

So another day passed, and a third. The younger brother is not in a hurry to help the older one, all he knows is that he is playing his favorite instrument. The older brother got angry, snatched the dombra from the younger brother and, with all his strength, hit it against the rock. The magnificent instrument broke, the melody fell silent, but an imprint remained on the stone. Many years later. People found this imprint, began to make new dombras based on it, and music began to sound again in the villages that had been silent for a long time.

Dombra in recent years

In 1934, the dombra was reconstructed and its orchestral varieties were created. In recent years, thanks to the efforts of Kazakh musical artists, the dombra has been significantly improved: the volume has increased and the sound range has expanded, and dombras of high and low registers have appeared.

Video: Dombra on video + sound

Thanks to these videos, you can get acquainted with the instrument, watch a real game on it, listen to its sound, and feel the specifics of the technique:

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Dombra is a unique and sonorous history of nomadic tribes. Its strings hold the musical wisdom of centuries

Oh, dombra, why is your song sad?

Your chest is full of forgotten legends.

I can only touch the elastic strings with my hand,

The age-old pain will sound, old man.

Kasym Amanjolov

Folk musical instruments are a wonderful source for studying the culture of the Kazakhs. The most favorite instrument of the people was the dombra. The history of dombra music is closely intertwined with the history of nomads. Dombra kuis generalized their life experience, carried knowledge about nature, man, and passed from one generation to another.

The more than four thousand-year history of the dombra tells us that it is one of the first plucked musical instruments - the predecessor of modern musical instruments of this type.

Saka tribes

On the territory of Kazakhstan in the 7th-4th centuries. BC e. Saka tribes lived, leaving behind a rich spiritual heritage, especially in the field of applied arts, oral and musical creativity. Many Kazakh musical instruments go back to the Sakas. During the time of the Sakas, sybyzgy and dombra were especially widespread. Among the ancient dombra kuys that have survived to our times and are still popular among the people, we can name “Shanyrau”, “Akku” and others. Current Kazakh lullabies, their melody and rhythm, originate from those times. As proven by scientific researchers, the Kazakh bowed instrument - kobyz - was also used by the Saki.

Huns

In the III-II centuries. BC e. The Huns created one of the most powerful states in the world. They were not only excellent warriors, but among them there were also talented poets, musicians, zhirshis and kuishes who played the sybyzgy, dombra, and kobyz. The kuis of the Huns have survived to this day: “Kenes”, “Sary Ozen”, “Shubar at”. By the way, the kuy "Sary Ozen" of the great kyushi, sybyzgyshy - Saimak, who worked in the 2nd-1st centuries. BC, Kazakhs still perform. Translated, "Sary Ozen" means "yellow river" or in Chinese - "Huang He". The Huns fought with the Chinese for land near this river. These musical works and musical instruments are clear evidence that the Kazakhs are descendants of the Huns.

Kimak Khaganate

In IX-VI centuries BC e. Kimak tribes lived on the banks of the Irtysh. According to historical information, the Kimak people had twelve tribes, among which lived the Kypchaks, representatives of the Kazakhs. They developed a written language and their own religion, “Manichaeans.” A native of the Kimaks is the famous scientist Zhanakh ibn Kagan al-Kimaki. In the 11th century, the Kimak Khaganate collapsed. However, the Kazakhs still have the Kipchak tribe (Central and Northern Kazakhstan).

The dombra was also a musical instrument among the Kimaks. Their favorite tunes have reached us: “Ertis tolkyndary” (Waves of the Irtysh), “Munly kyz” (Sadness of a girl), “Tepen kok” (Lynx), “Aksak kaz” (Lame goose), “Bozingen” (Light camel) ), “Zhelmaya” (One-humped camel), “Kulannyn tarpuy” (Kulan’s Stomp), “Kokeikesti” (Experience), etc.

It is worth noting that musical instruments served various aspects of nomadic life: the magical rituals of shamans, everyday life, military practice, games of children and youth, amateur music-making, and the activities of professional musicians. Dombra became widespread throughout Eurasia due to the perfection of its design.

Due to its widespread distribution, dombra has many regional varieties. The dombra of Western Kazakhstan has a long neck, a two-octave range comparable to the complex shape of Western Kazakhstan kuys. The techniques of playing it reflect the dynamic style of the kuis of this region. The East Kazakhstan dombra has a short neck, its range is 1.5 octaves, which is associated with the song style of the kyuis of East Kazakhstan. A three-string dombra is also found here.

The technique of playing and sound production on the dombra is extremely diverse, which allows musicians to implement any combinations on it. Cuis for dombra are the pinnacle of the musical development of Kazakh music. Through the creative efforts of many generations of dombra-kuyshi players, including geniuses, whose music has survived them for centuries, thousands of kyuis have been created, which reflect the spiritual world of the Kazakhs to the fullest extent.

The famous Kazakh composer Akhmet Zhubanov suggested that the word “dombra” was formed from a combination of the Arabic words “dunbakh” and “burra”, which means “lamb tail”. Indeed, the body of the dombra is cone-shaped and ends like a lamb’s tail. And the researcher of Kazakh music Alexander Zataevich wrote that he often clearly heard a “third voice” in the sound of a two-string dombra.

Dombra is a mandatory instrument for traditional professional singers - performers of epic songs - zhyrau, masters of song and poetry competitions - akyns, performers of lyrical songs - sals and sere, the most common instrument of everyday amateur music-making.

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History of Kazakh musical instruments.

“I touched the long-necked dombra - and behold
Two strings ring, the dombra sings.
Have fun, play, young friends, -
Unnoticed, but the flight of our days is fast!”

Ibray Sandybaev. Song "Balkurai".

Visiting cultural events in Kazakhstan.

Dombra- the most common Kazakh folk instrument. Dombra could be found in every yurt; it was one of the most necessary and obligatory items in the life of the Kazakhs. A very famous Kazakh instrument. Carved from solid wood. The most common dombra is two-string, but there is also a three-string one. A good domplayer can play like a whole orchestra on two strings.
The history of this instrument goes back centuries. During excavations of the ancient city of Khorezm, archaeologists found terracotta figurines of musicians playing two-stringed plucked instruments. Scientists have established that Khorezm two-strings existed at least two thousand years ago; they were one of the musical instruments of the Saka nomadic tribes.
These ancient two-strings are very similar to the Kazakh dombra and are its prototype. Thus, with the help of archeology, the ancient origin of dombra was proven. There are two types of dombras – western and eastern. Different forms of dombras were due to the characteristics of two performing traditions. To perform fast, virtuosic tokpe-kuys, it was necessary that the left hand could move freely and slide along the fingerboard.
Therefore, the neck of Western dombras was thin and elongated. These techniques were not applicable when performing on eastern dombras with a wide, shortened neck. The size of the instruments and the shape of the body influenced the strength of the sound: the larger the size, the louder the dombra.
The nature of the sound was also influenced by the technique of the right hand: in tokpe-kuys the sound was produced on both strings with strong wrist strokes, and in shertpa soft plucking of the strings with individual fingers was used. Thus, there was a close connection between the structure of dombras and the kyuis that are performed on them. The dombra could be not only two-stringed, but also three-stringed.
In the past, three-string dombras were found in various regions of Kazakhstan, but at present they are preserved only in the Semipalatinsk region. Shanak - the body of the dombyra, acts as a sound amplifier. Kakpak is the soundboard of the dombyra. perceiving the sounds of strings through vibration, amplifies them and gives a certain color to the sound of the instrument - timbre.
The spring is a beam on the inside of the deck; in German it is called “der bassbalken”. There were no springs in the Kazakh dombyra before. The length of the violin spring is expected to range from 250 to 270 mm - 295 mm. In order to improve the sound of the dombyra, a similar spring (250 - 300 mm long) is now attached to the upper part of the shell and near the stand.
As a rule, it is made from spruce that has been aged for several decades without signs of rot. The shells are made of maple. The blanks must have such a thickness that when finishing the shells, depending on the density of the maple, their thickness is 1 - 1.2 mm. The stand is a very important functional element of the dombyra.
By transmitting the vibrations of the strings to the soundboard and creating the first resonant circuit along the path of vibrations from the strings to the body, the bridge is the true key to the sound of the dombra. The strength, evenness and timbre of the instrument’s sound depend on its qualities, shape, weight and tuning. The string is the source of sound vibrations of the dombyra. The dombyra traditionally used gut strings made from lamb or goat intestines.
It was believed that strings made from the intestines of a two-year-old sheep had the best qualities. Such strings produce a low sound and, accordingly, a low tune, characteristic of folk music. G-c, A-d, B-es, H-e. Among sheep from different regions of Kazakhstan, preference is given to sheep from Atyrau and Mangystau regions. Apparently, the salinity of livestock pastures in these places has a beneficial effect on the quality of strings made from sheep intestines.
For orchestral works of world classics, the low mood turned out to be inconvenient. Therefore, in the thirties, in connection with the creation of folk instrument orchestras, the d-g string tuning was chosen. However, the vein strings could not withstand it and quickly burst. Akhmed Zhubanov tried to use catgut, silk, nylon, etc. as a material, but ordinary fishing line turned out to be the most suitable in sound.
As a result, today we have the only widespread type of dombyra among the Kazakhs of a standard form with strings made of fishing line, which has lost its unique sound timbre. Legend of dombra says that it was invented to tell the khan about the death of his only son. The Khan did not want to hear about his son’s death and ordered the throats of anyone who dared to tell him about it to be filled with lead.
The musician, who did not say a word, was able to convey the sad news to the khan by playing the dombra. The hot lead burned the wood, and a hole formed in the dombra. Many centuries later, in 1925, the Kazakh singer Amre Kashaubaev captivated the discerning audience at the World Exhibition of Decorative Arts in Paris with his singing and virtuoso playing of the dombra.
At the same time, his voice was recorded by the Paris Voice Museum. The famous composer and musicologist Akhmet Zhubanov created a dombra ensemble at the Alma-Ata Music and Drama College in 1933. Since 1938, for the first time in the history of Kazakh music, the orchestra began to perform works from sheet music, and reconstructed kobyz and dombra were introduced into its composition. In 1944, the orchestra was named after the folk singer Kurmangazy.

Kui Dombra.

“Play your kui, dombra, play,
Pour out a wonderful melody,
Murmur like mountain streams,
Let your heart sing with joy.
So that all the fog in the mountains disappears,
So that all the clouds clear from heaven,
So that everyone listens to you, -
I love your tunes,
Even stronger, dombra, play!
Three pegs and two strings,
Yes, nine knots - dombra.
Yes, ten fingers that are free
Any cause wind.
Ride your fingers like a horse,
In the most beautiful of all chases,
Play even harder, dombra!
Hey, listen, working people,
How sweetly the dombra sings
In the hands of the people's kuishi.
And the distance of the steppes, and the passion of the soul -
Everything turns into a game!
Play even harder, dombra!
Hey, working people singer,
Lord of strings, connoisseur of hearts,
Excite me with fun.
I will forever remember your cue
About a new life, young.
You, our wise chronicler.
Play even harder, dombra!”

Jazz

We always recognize jazz by ear. First of all, the composition of musical instruments in jazz attracts attention. The primacy here belongs to wind and percussion musical instruments.
The hoarse and passionate voice of the saxophone, the sharp screams of the trumpet, the distinct rhythmic pattern of the drums - their sound cannot be confused with anything. But jazz is not only a group of musicians, an orchestra. Jazz is also music to be performed in such an orchestra.
Rhythm dominates this music.
So he begins to swing the sounds, and the whole orchestra, and behind him the listeners, find themselves in the element of this mesmerizing swing. This is one of the main styles of jazz performance - "swing"... It’s like a man tired of hard work, swaying, singing a sad, hopeless song. American black slaves had such songs. This swing was brought to jazz music by black musicians. This kind of music was later called blues.
But suddenly an orchestra or ensemble, obeying the impulses of a rapid rhythm, almost lifts the audience from their seats. This rhythm is constantly interrupted, as if the musicians are choking in a patter. And each of them tries to prove that he is “right” when he is given the floor. And then the instruments all start playing together and in full voice. However, they have not forgotten the general theme of the musical conversation; they talk about the same thing in their own way... So the musicians improvise in a manner called “Dixieland”.
Folk songs and dances of American blacks and whites gave rise to the art of jazz. Jazz did not want to remain only musical accompaniment for fashionable dances. Real jazz strives to become independent music, which, gathering in large halls, people listen to with interest and attention.
The whole world knows the names of the famous jazz trumpeter Louis Armstrong, pianist and composer Duke Ellington and other wonderful jazz artists.

Treble

If the bass is the foot, then the treble is the top of the sounding ladder of voices. In the old days, when choral art was hidden under church vaults, the role of high voices was entrusted to boyish voices - trebles. This is how choirs appeared in which only boys sing. Their voices are stronger than those of little girls, and therefore the treble parts are entrusted to the boys.

Domra and dombra

Don't confuse them. Domra (pictured left) is a Russian folk instrument, three-stringed or four-stringed, played with the help of a plate-mediator. Dombra (pictured on the right) is a two-stringed Kazakh folk instrument, played with fingers, rattling, like a balalaika.

Brass band

Can you hear the music coming? Yes, yes, you are standing, and the music, the orchestra, is approaching you. Listen up! Brass instruments sound - it's a brass band.
Most often, his music can be heard when military units are marching. Or while walking in the park. After all, wind instruments (especially brass instruments) have a very loud sound that carries far, far away...