Description of dombra in Kazakh language. Dombra is an instrument of the soul. What is the President playing about? Another legend about the origin of dombra

Dombra is the most beloved and most common instrument in the musical life of the Kazakhs. The Kazakh dombra is a plucked two-string instrument made of solid wood. It is used both as an accompanying and as a solo instrument, and as the main instrument in Kazakh folk music. Dombra has not lost its relevance to this day. Many modern musicians include the sound of dombra in their compositions.

The design of the Kazakh dombra differed slightly depending on the region. So in the west, in the Caspian steppes, the dombra had a rounded teardrop shape with a thin long neck. Pernet frets, like the strings, were made from lamb or goat intestines. In the central and eastern regions of Kazakhstan, dombras were made with a flat bottom and a short, thick neck. More often than not, dombra was made from solid pieces of wood: spruce, maple, plane tree, but there are also glued specimens of dombra. On East Kazakhstan dombras, 7-9 frets were imposed, which ensured the playing of accompaniment or the performance of song melodies.

The components of the Kazakh dombra are the same in all regions of Kazakhstan. This is a shanak - the body of a dombra, which acts as a sound amplifier. Kakpak is the soundboard of the dombra. Perceiving the sounds of strings through vibration, it amplifies them and gives a certain color to the sound of the instrument - timbre. The spring is a beam on the deck from the inside. There were no springs in the Kazakh dombra before. Currently, to improve the sound, a spring with a length of 250-300 mm is 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 dombra. 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 dombra. Dombra 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.

There are two main methods of playing the dombra - by striking the strings with all fingers and by plucking the strings.

The compositional and performing art of dombra improvisations in the 19th century reached high artistic perfection. Abyl, Kurmangazy, Dauletkerey, Dina - in the West, Tattimbet, Kazangap - in the East, Kozheke - in the South, and dozens of other names - bright individuals, with their own style, their own schools, traditions. Dombra was also a faithful companion of professional traveling singers. The images of Birzhan-Sal, Ahan-Sere, Mukhit, Dzhambul, Amre and other famous akyns and singers are invariably associated with the accompanying dombra.

One of the greatest dombra players is the Kazakh folk musician and composer Kurmangazy, who had a great influence on the development of Kazakh musical culture, including dombra music: his musical composition “Adai” is popular in Kazakhstan and abroad. As for the history of the appearance of such an instrument as the dombra, there is evidence that the prototype of the modern Kazakh dombra existed more than 4,000 years ago, as evidenced by rock paintings found by archaeologists high in the mountains of the Almaty region on the Maitobe plateau in 1989. These drawings depict four dancing men with an instrument resembling a dombra in shape.

And during excavations of ancient Khorezm, terracotta figurines of musicians playing plucked instruments were found. Scientists note that Khorezm two-strings, which existed at least 2000 years ago, have a typological similarity with the Kazakh dombra and were one of the common instruments among the early nomads who lived on the territory of Kazakhstan. The most archaic examples of dombra and sybyzg Kazakh music include kui legends with the names birds and animals - “Akku” (“Swan”), “Kaz” (Goose), “Nar” (“Camel”), kui about lame creatures and unhappy hunting - “Aksak kyz” (“Lame Girl”), “ Aksak kulan" ("Lame kulan"), kui-cries for drowned children and young animals - "Zhorga ayu" ("Pacer Bear"), "Zarlau" ("Crying"), "Zhetym kyz" ("Orphan Girl" "), etc. All of them have preserved echoes of ancient forms of religion, cults and totemic ideas of the people and still carry within themselves the living history of silently passed millennia.

An instrument resembling a dombra in shape is also found on monuments of Saka and Hun origin, as well as among many ancient tribes that inhabited the Eurasian space in different periods of time.

Marco Polo noted in his writings that this instrument was present among the warriors of the nomadic Turks, who at that time in Rus' were called Tatars. They sang and played it before the fight to achieve the appropriate mood.

Many beautiful folk legends are associated with dombra, with the history of its origin and the acquisition of its modern form.

The legend about the origin of dombra says that in ancient times two giant brothers lived in Altai. The younger brother had a dombra, which he loved to play. 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, for which 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.

The legend about how the dombra acquired its modern form says that previously the dombra had five strings and no hole in the middle. Such an instrument was owned by the famous horseman Kezhendyk, known throughout the region. He once fell in love with the daughter of a local khan. Khan invited Kezhendyk to his yurt and ordered him to prove his love for his daughter. Dzhigit began to play, long and beautifully. He sang a song about the khan himself, about his greed and greed. The Khan got angry and ordered the instrument to be damaged by pouring hot lead into the middle of the dombra. Then a hole was burned out in the middle and only two strings remained.

Another legend about the origin of dombra is similar to the previous one. A local khan’s son died from the tusks of a boar while hunting, and the servants, fearing the khan’s wrath (he threatened to pour boiling lead down the throat of anyone who told him that something bad had happened to his son) went to the old master Ali for advice. He built a musical instrument, which he called dombra, came to the khan and informed him with music about the death of his son. Beside himself with anger, the khan ordered hot lead to be thrown into the round hole of the dombra.

Dombra is a virtuoso Kazakh philosophical instrument; in skillful hands, dombra can convey the entire gamut of human feelings and experiences; the dombra embodies the symbolism of Al-Rabi’s teaching about music as the highest abstraction accessible to human understanding. You can listen to another piece performed on the dombra here.

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The study is devoted to creating a holistic picture of the Kalmyk folk instrument - dombra. In this work, based on the study of literature about Kalmyk musical instruments, the history of the emergence of the Kalmyk musical instrument - dombra is analyzed, the etymology of the name of the musical instrument is studied, and the content of the legends about its origin is revealed. The author, as a performer, provides a brief description of the structure of the dombra and the playing technique. An important role in the study is given to the significance of the Kalmyk folk instrument in the development of Kalmyk culture.

INTRODUCTION

The musical culture of Kalmykia has evolved over the centuries. Oral folk musical creativity of the Kalmyks can be divided into four groups: song creativity, fairy-tale epic, instrumental and song-instrumental creativity. The last two groups play a major role in the folk art of the republic - instrumental and song-instrumental creativity. For a long time, folk art was improved and developed, and along with it, musical instruments experienced their history. One of the most common and most beloved instruments by the people is the dombra, which has also not been spared by changes and adjustments of time. To get to know a country and the people who inhabit it, reading books that give an idea of ​​history, nature, and life is not enough. Only art, with its bright and colorful language, is able to tell about the most intimate, original, which constitutes the essence of national character. In dance, as in song, the soul of the people is revealed. Through music, people express their emotions, their religion, because music is the power that makes you laugh or cry. By playing the dombra we communicate, we talk about our experiences and feelings.

Currently, the musical culture of Kalmykia is experiencing serious difficulties. Young people are not interested in the Kalmyk language, the history of Kalmykia, its customs, traditions and cultural monuments. Therefore, today it is important to restore and disseminate folk values, including folk instruments.

The relevance of this study is due to the need to draw attention to the rapid decline of the original Kalmyk folk culture, in particular, the Kalmyk folk musical instrument - the dombra.

The purpose of the study is to create a holistic picture of the Kalmyk folk instrument - dombra.

Study literature about Kalmyk musical instruments;

Study the history of the origin and structure of the Kalmyk musical instrument dombra.

Study the etymology of the name of the musical instrument dombra.

Conduct a meeting and conversation with dombra player Yulia Byurcheeva;

Object of study: Kalmyk musical instrument dombra.

Research methods: work with archival materials, photographs, conversation, visiting concert programs.

The theoretical significance of the research results is that the work can serve as the basis for further scientific research in the field of the Kalmyk musical instrument dombra.

Practical significance of the research results: the materials can be used in educational activities by students and teachers. Also, teachers of their native language can use research work in the classroom as a methodological development on the topic “Halmg dud”.

Research sources:

Book and newspaper and magazine collections of the National Library named after

A. M. Amr-Sanana.

Memoirs of domplayer Yulia Byurcheeva

The work of Turkologist E.R. Tenishev “Comparative-historical grammar of Turkic languages”

“Kalmyk-Russian Dictionary” A. M. Pozdneev.

B. Kh. Borlykova “Kalmyk musical terminology”

N. L. Lugansky “Kalmyk folk musical instruments”

The history of dombra goes back centuries. Judging by written monuments, dombra and similar instruments were common over a large territory of Asia and on the eastern outskirts of the European part of Russia: Kazakh dombyra, Kyrgyz dombura, Tuvan domra, Chuvash tumra, tamra, etc. It is possible to assume that all of these names come from a common ancient root, which is necessary in some of the centers of a more ancient civilization.

According to musicologist T.S. The desired model for all these national instruments can be recognized as the ancient Arab-Persian tunbur (tanbur), about which there is written information in the second book of the “Great Treatise on Music” by Abu Nasr Muhammad Farabi, a writer of the tenth century.

In 1989, in Kazakhstan, in the Almaty region, high in the mountains on the plateau (zhailau) “Maitobe”, Professor S. Akitaev, with the help of ethnographer Zhagd Babalykuly, discovered a rock painting depicting a musical instrument and four dancing people in different poses. According to the research of the famous archaeologist K. Akishev, this drawing dates back to the Neolithic period. Now this drawing is in the Museum of Folk Instruments named after. Ykylas Dukenuly in Almaty, Kazakhstan. As can be seen from the picture, the instrument depicted by the ancient artist on the rock is very similar in shape to the dombra. Based on this, we can say that the prototype of the current dombra is more than 4000 years old and is one of the first plucked instruments - the ancestors of modern musical instruments of this type.

Archaeological research has established that the Saka nomadic tribes used two-stringed musical instruments, which are similar to the Kazakh dombra and may be its prototype, more than two thousand years ago. Also, at one time, during excavations of ancient Khorezm, terracotta figurines of musicians playing plucked instruments were found. Scientists note that Khorezm two-strings, which existed at least 2000 years ago, have a typological similarity to the Kazakh dombra and were one of the common instruments among the early nomads who lived in Kazakhstan.

Based on the written monuments of the Eurasian continent, we can conclude that the dombra and its related instruments of other peoples on the mainland have been well known since ancient times. In monuments of different periods in the Eurasian space, we learn about the presence of this plucked instrument, in particular from monuments of Hunnic origin. This instrument is also found among the Kimans (Cumans). Marco Polo noted in his writings that this instrument was present among the nomadic Turkic warriors, who at that time in Rus' were called Tatars. They sang and played it before the fight to achieve the appropriate mood.

1.2. The structure of the dombra

Dombra is a stringed musical instrument that exists in the culture of the Turkic peoples. Dombra is considered a folk instrument among the Kazakhs, Kalmyks and other peoples. The Kalmyk language has a wide range of words denoting parts of dombra. Thus, the body of the dombra is called dombrin tsokts (dombrin biy, dombrin kөvrdg), the upper soundboard of the dombra is dombrin elkn, the lower soundboard of the dombra is dombrin nurһn, the resonator (voice box) is dombrin ә hardg nukn, the stand (filly) located on the upper soundboard under the strings is - Dombrin Tevk; the neck of the dombra is dombrin ish, the frets of the dombra are dombrin burn; dombra strings - dombrin chivsn, dombra pegs - dombrin chikn, dombra head - dombrin tolkha.

Dombra is a two-stringed instrument made from maple, willow, acacia, mulberry and apricot wood. It consists of a body (1), a neck (2) and a head (3) (see Fig. 1.). The body of most modern dombras has a triangular shape; a pear-shaped body is less common (see Fig. 2, 3). There are two strings along the neck. The string is the source of sound vibrations of the dombra. The dombra was traditionally played with gut strings made from sheep 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. However, the vein strings could not stand it and quickly burst. As a result, today we have the only, widespread type of dombra of a standard form with fishing line strings, which has lost its unique sound timbre.

The current dombras have nylon strings, while the dombras made a long time ago still have the intestinal strings that the Kalmyks had in ancient times. The strings are attached at the bottom to a button on the body, at the top - to the pegs in the head. Pegs are needed to tension and tune the string. Also, when tuning a dombra, the stand plays an important role - the sound of the instrument depends on its position (closer or further from the fretboard). Most dombras have a fourth tuning - the first string is tuned to the A note of the small octave, the second to the D note of the first octave - such dombras are called second dombras.

1.3. Etymology of the name

A lot of research has been devoted to the etymology of the word dombra. For example, the famous Turkologist E.R. Tenishev in “Comparative-Historical Grammar of Turkic Languages” notes that the word domra comes from the Iranian language. The textbook “Kazakh Musical Terminology” provides an overview of scientists’ opinions on the etymology of the word dombyra. Thus, A. Zhubanov believes that the word dombyra comes from the Arabic words dunba and buree - “fat tail of the lamb.” The name is given by the appearance of the instrument: its oval body resembles a mutton tail. K. Zhuzbasov believes that the lexeme dombyra consists of two words - dem and beru - “to give breath”, “to inspire”, “to encourage activity”, which are closely related to musical performance. According to S.S. Dzhanseitova, the etymology of the word dombyra is connected with phonosemantic material. She writes: “In the Kazakh language, from the sound-depicting form dom-, don-, dun-, derivatives danryr are formed - “ringing”, “noise”, “hustle”, “rumbling”; danryra - “a type of percussion instrument”, “to rumble”, “to ring”, “to make noise”; dugIr - “dull sound of dombra”; Dingir - “low sound of dombra.” Common to all names with this meaning is the sonorant -ң. The use of this particular consonant in sound-depicting words, denoting a sonorous, resonating sound, is explained by the formation of a nasopharyngeal resonator, creating a sensation of soft vibration, a booming ringing.”

The word dombr has been found in Mongolian lexicographic works since the mid-twentieth century. So, the phrase hasag tovshuur, lit. “Kazakh tovshuur” is translated as dombra, dumbra. By the defining component hasag - “Kazakh”, one can determine who owns the instrument in question. This dictionary lists different types of dombras, differing in range: byatskhan doombor - “piccolo dombra”, erduu doombor - “alto dombra”, tseel doombor - “tenor dombra”, argil doombor - “bass dombra”, Akhmad doombor - “contrabass dombra” "

In the “Kalmyk-Russian Dictionary” by A. M. Pozdneev, as well as in other dictionaries, dombor (dombr) is translated as “balalaika”. In this case, also, the word “balalaika” is not an exact translation of the word dombra; We are talking about two different musical instruments. Balalaika is a Russian folk stringed musical instrument with a triangular body and three strings. Dombra is a Kalmyk folk stringed instrument with a pear-shaped or triangular body and two strings.

There are legends about dombra and its origin.

The legend about the origin of dombra says that in ancient times two giant brothers lived in Altai. The younger brother had a dombra, which he loved to play. 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, for which 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.

The legend about how the dombra acquired its modern form says that previously the dombra had five strings and no hole in the middle. Such an instrument was owned by the famous horseman Kezhendyk, known throughout the region. He once fell in love with the daughter of a local khan. Khan invited Kezhendyk to his yurt and ordered him to prove his love for his daughter. Dzhigit began to play, long and beautifully. He sang a song about the khan himself, about his greed and greed. The Khan got angry and ordered the instrument to be damaged by pouring hot lead into the middle of the dombra. Then a hole was burned out in the middle and only two strings remained.

Another legend about the origin of dombra is similar to the previous one. A local khan’s son died from the tusks of a boar while hunting, and the servants, fearing the khan’s wrath (he threatened to pour boiling lead down the throat of anyone who told him that something bad had happened to his son) went to the old master for advice. He made a musical instrument, which he called dombra, came to the khan and played it. The strings groaned and cried, as if the plaintive noise of the forest swept under the silk tent of the Khan’s tent. The sharp whistle of the wind mixed with the howl of a wild animal. The strings cried out loudly, like a human voice, asking for help, and the dombra told the khan about the death of his son. The beautiful music of the dombra conveyed to the khan the harsh truth about barbaric cruelty and inglorious death. The angry khan, remembering his threat, ordered the execution of the dombra. Beside himself with anger, the khan ordered hot lead to be thrown into the round hole of the dombra. They say that since then there has been a hole left on the top deck of the dombra - a trace of molten lead.

During the time of the “Four Oirats”, among the national instruments - tovshur, khuchir, mern-khuur, etc. - an instrument similar to a flying battle arrow with feathers began to stand out. It was she who drew and repeated the fate of the Oirats. Two strings, like the trace of a cart train that has reached the desired country. Seven frets are like seven wonderful victories over enemies. The three corners of the dombra's body are like three nutugs that found free pastures on the banks of the Volga. And finally, an arrowhead that looks like a bamb-tsetsg, a tulip. It was a dombra, looking like a girl with her hand stretched out to the sun, on whose palm two pearls shine...

1.5. Playing the dombra

There are many performance techniques when playing the dombra. Most often, the sound is produced by striking the strings with the hand. In this case, all five fingers of the hand are involved. Performers can strike the strings in one or two directions, on one string or on two. They also play with two fingers - the index and thumb, or with one finger - just the thumb. The rhythm and combination of techniques depend on the piece being performed. The strings are pressed against the fingerboard with five fingers. The bar lies between the thumb and index finger. Due to its small width, the first string can be played not only with the thumb, but with all the other fingers of the hand. Modern dombras have approximately 21 frets. The sills separating the frets are made of iron and nylon. Previously, they were made from animal veins.

Playing the dombra is taught in music schools and colleges as a folk musical instrument. Children's ensembles and orchestras are also formed there and participate in local and out-of-town music competitions. In Kalmykia there is a National Orchestra, in which most of the musicians are dombra players. On the dombra it is possible to perform works of many styles - from folk songs to classics, despite the presence of only two strings. Many Kalmyk folk dances are performed to the accompaniment of dombra, such as Chichirdyk, Ishkimdyk. Folk songs are also sung to the accompaniment of dombra - Sharka-Barka, Tsagan Sar, Delyash. Have you noticed that playing the dombra is never started loudly? Gradually, slightly tightening or loosening the strings, smoothly moving the fingers along the frets, the musician finds the desired key and begins to play the melody. Ut dun (long-lasting), saatulyn dun (lullaby), uyhn dun (lyrical), keldg dun (fast). Everything is subject to dombra.

Currently, the traditional culture of Kalmykia has begun to fade away. There are only two dombra-makers in the republic. In order to support the development of folk culture in society - in particular among young people - the administration of the city of Elista in the summer of 2015 organized a performance by a combined orchestra of dombra players. The conductor of the orchestra was the conductor of the National Orchestra of the Republic of Kalmykia, Savr Kataev. Performers were collected from all over the republic for two months. As a result, 330 dombra players gathered on the square in front of Khurul (initially it was supposed to be 300 people). Some of the musicians were represented by adult specialists, but most were children, students of music schools. This gave hope that the young part of the population would develop and support folk traditions and culture. The concert was attended by the chief lama of Kalmykia - Telo Tulku Rinpoche. They performed dombra tunes from folk melodies, the first chapter of the epic “Dzhangar”, the work “Green Tara”, dedicated to a Buddhist deity, and the work “Ur Sar”, dedicated to a Buddhist holiday. The combined orchestra also played other Kalmyk folk instruments - biive, tsur, tsang and others. All the musicians were dressed in national costumes of various colors (see Fig. 4, 5).

1.6. Biography of Kalmyk dombra teacher Yulia Viktorovna Byurcheeva

Yulia Viktorovna Byurcheeva was born in 1976 in Elista, studied at music school No. 2 (now Children's Art School No. 2) in the Kalmyk dombra class with Lyubov Tyurbeevna Dokhaeva from 1985 to 1990. In 1993, she entered the School of Arts in the department of Kalmyk folk instruments in two specialties: Kalmyk dombra and khuchir. The same teacher remained in Kalmyk dombra; khuchir was taught by two teachers - Ta Namuzzile and Tsevelma Bagsh. From 1995 to 1997, she completed an internship in Mongolia at a music school in the city of Ulaanbaatar. She received her higher education at the Kazan State Conservatory named after Nazib Zhiganov, class of khuchir. The teacher is People's Artist of Tatarstan, professor, director of the state string quartet Shamil Khamitovich Monasypov. In 2002, she came to work at the School of Arts, while simultaneously teaching at the Children's Music School No. 1 named after Sanji-Gary Dorjin. In 2011, she became the head of the department of Kalmyk folk instruments at Children's Music School No. 1, and since 2015 she has been deputy director for academic affairs. In 2015, Byurcheeva Yu.V. By decision of the Administration of Elista, she was recognized as the best teacher of additional education. Over the years, the school has graduated 14 people, six of them with honors. Of these, eight became laureates of international, republican and all-Russian competitions. One of the graduates, Goryaev Chingis, became a laureate of the Head of the Republic of Kalmykia award and a laureate of the Elista City Administration award. Byurcheeva Yulia Viktorovna is the author of methodological works, programs, arrangements for Kalmyk dombra and khuchir.

By providing this biography, I wanted to show that currently there are specialists in playing the dombra and learning to play this instrument does not stop.

CONCLUSION

Instrumental and song-instrumental creativity plays a major role in the folk art of the republic. For a long time, folk art was improved and developed, and along with it, musical instruments experienced their history. One of the most common and most beloved instruments by the people is the dombra.

The Kalmyk dombra is an instrument with a really long history, its own performing technique and a difficult fate. Having endured the cold years in Siberia, she returned to her native steppes and began to play loudly again, giving joy and happiness to her listeners. Residents of Mongolia, Kazakhstan, and Kalmykia have common ancestors. In Mongolia and Kazakhstan there are instruments related to dombra, which have different names - tovshur, dombyra, and so on. Consequently, the dombra is an instrument of the distant ancestors of the Kalmyks. Proof of this is the fact that the ancient Kalmyk epic “Dzhangar” is narrated by the Dzhangarchi, accompanying themselves by playing the dombra. In 2015, the epic “Dzhangar” turned 575 years old, so we can assume that the dombra is at least five centuries old.

Dombra is a stringed musical instrument that exists in the culture of the Turkic peoples. The dombra has a pear-shaped or triangular body and two strings. Dombra is considered a folk instrument among the Kazakhs, Kalmyks and other peoples. A lot of research has been devoted to the etymology of the word dombra.

There are legends about dombra and its origin that in one way or another reveal its significance for Kalmyks and Kalmyk culture.

There are many performance techniques when playing the dombra. The rhythm and combination of techniques depend on the piece being performed. Playing the dombra is taught in music schools and colleges as a folk musical instrument. Children's ensembles and orchestras are also formed there and participate in local and out-of-town music competitions. In order to support the development of folk culture in society, in particular among young people, the administration of the city of Elista in the summer of 2015 organized a performance by the combined orchestra of dombra players of the Republic of Kalmykia, which brought together 300 performers from different parts of the region. This gave hope that the young part of the population would develop and support folk traditions and culture.

Thus, having been born in the west of Mongolia, repeating the fate of the Oirats, having traveled from Dzungaria to the Volga, having experienced wars, devastation, and repression, the Dombra retained its identity. And our task is to preserve the dombra.

A brief dictionary of Kalmyk musical terms

Tovshur is a type of two-stringed neck lute, one of the oldest Kalmyk folk instruments.

Khuchir is a bowed two-string instrument of the soprano register. The bow is made from an acacia branch, willow and horsehair, two strands of hair are threaded between the strings and the bow is played across two strings at once.

Mern-khuur is a two-stringed bowed instrument. The sound is produced with an arched bow made of acacia or willow.

Biive is a flute instrument, type - transverse flute. Made from babmuk and reeds. Currently not widespread in Kalmykia.

Tsur is a flute instrument, type - longitudinal flute. Made from wood. In the old days, tsur was common among shepherds and shepherds.

The collet is a percussion instrument. Metal plates that are discs. When playing, the collets are held by special straps. The collets have a low sound, strong noise wave.

Alekseeva L.A. Nazhmedenov Zh. Features of the musical structure of the Kazakh dombra.//Kazakh culture: research and search. Collection of scientific articles, Almaty, 2000.

Alekseeva L.A. Nazhmedenov Zh. Features of Kaja dombra.// We and the universe. 2001.№ 1(6), p52-54.

Borlykova B.Kh. Kalmyk musical terminology. Elista, 2009.

Vyzgo T. Musical instruments of Central Asia. Moscow, 1980.

Lugansky N.L. Kalmyk folk musical instruments. Elista, 1987.

Nazhmedenov Zhumagali. Acoustic features of the Kazakh dombra. Aktobe, 2003

Rice. 1. Structure of the dombra

Rice. 2. Dombra with a pear-shaped body

Rice. 3. Dombra with a triangular body

Rice. 4. Performance by the combined orchestra of dombra players of the Republic of Kalmykia (June 2015)

Rice. 5. Combined dombra orchestra of the Republic of Kalmykia

Dombra (Kazakh dombyra) is a musical plucked instrument that exists in the culture of the Turkic peoples. It is considered a folk instrument among the Kazakhs.
Dombyra in Kazakh culture

Dombra (Kazakh dombyra) is a Kazakh folk two-stringed plucked musical instrument. It is used as an accompanying and solo instrument, as well as the main instrument in Kazakh folk music. Used by modern performers.

The body is pear-shaped and has a long neck, divided by frets. Strings are usually tuned to fourths or fifths.

One of the greatest dombra players is the Kazakh folk musician and composer Kurmangazy, who had a great influence on the development of Kazakh musical culture, including dombra music: his musical composition “Adai” is popular in Kazakhstan and abroad.

Not only Kazakhs have dombyra. Traditionally in Russian it is called dombra, but in the Kazakh version it is more correct than dombyra.

This instrument has its analogues in many nations. In Russian culture there is a similar-shaped instrument Dumra, in Tajik culture - Dumrak, in Uzbek culture - Dumbyra, Dumbrak, similar in shape Dutar, in Kyrgyz culture - Komuz, in Turkmen culture - Dutar, Bash, Dumbyra, in Bashkir culture - Dumbyra , in the Nogai culture of the Azov region - Dombyra, in Turkish culture - Saz. These instruments sometimes differ in the number of strings (up to 3 strings), as well as in the material of the strings (nylon, metal).
Etymology of the word dombyra

The etymology of the word Dombyra has not been fully studied. In the Tatar language, Dumbra is a balalaika, and Dombura is a guitar, in Kalmyk - Dombr means the same as dombyra, in Turkish Tambura is a guitar, in Mongolian language Dombura is again dombyra. There are many hypotheses about the origin of this word, but there is no consensus on this matter yet.
History of the instrument

In 1989, in Kazakhstan, in the Almaty region, high in the mountains on the plateau (zhailau) “Maitobe”, Professor S. Akitaev, with the help of ethnographer Zhagd Babalykuly, discovered a rock painting depicting a musical instrument and four dancing people in different poses. According to the research of the famous archaeologist K. Akishev, this drawing dates back to the Neolithic period. Now this drawing is in the Museum of Folk Instruments named after. Ykylas Dukenuly in Almaty, Kazakhstan. As can be seen from the picture, the instrument depicted by the ancient artist on the rock is very similar in shape to the dombyra. Based on this, we can say that the prototype of the current dombyra is more than 4,000 years old and is one of the first plucked instruments - the forerunner of modern musical instruments of this type.

Also, at one time, during excavations of ancient Khorezm, terracotta figurines of musicians playing plucked instruments were found. Scientists note that Khorezm two-strings, which existed at least 2000 years ago, have a typological similarity to the Kazakh dombra and were one of the common instruments among the early nomads who lived in Kazakhstan.

Based on the written monuments of the Eurasian continent, we can conclude that the dombyra and its related instruments of other peoples on the mainland have been well known since ancient times. In monuments of different periods in the Eurasian space, we recognize the presence of this plucked instrument, in particular from monuments of Saka and Hunnic origin. This instrument is also found among the Kimans (Cumans). The Kipchaks are descendants of the Cumans. Musical works (kui) from those years have reached us: Ertis tolyndary (ertis tolqyndary - Waves of the Irtysh), Mdy yz (mundy kyz - sad girl), Tepen kk (tepen kok - lynx), Asa az (aqsaq qaz - lame goose) , Bozigen (bozingen - light camel), Zhelmaya (zhelmaja - one-humped camel), lanny tarpuy (qulannyn tarpu'y - kulan's trampling), Kkeikesti (kokeikesti - deep experience), etc.

Marco Polo noted in his writings that this instrument was present among the warriors of the nomadic Turks, who at that time in Rus' were called Tatars. They sang and played it before the fight to achieve the appropriate mood.

This instrument, however, is the property of all Turkic peoples of the world.
Dombyra - kyu instrument
For Kazakhs, kuy is more than a work, it is a resounding page in the history of their people, their customs and culture. That is why the Kazakhs valued kyui-kuishi performers so highly, among whom dombyra players made up the overwhelming majority (kuis are performed not only on the dombyra). The Kazakh people say: a real Kazakh is not a Kazakh himself, but a real Kazakh-dombyra. At the same time, we must understand that Kazakhs cannot imagine their past, present and future without their favorite instrument, the dombyra. It is also necessary to clarify that the word Kazakh means a free warrior, an independent individual who, if he exists in a group, does so only of his own free will, while joining the community of the worthy and serving it, protecting it, giving labor, life, health and skill without reserve, as a fearless man-warrior and breadwinner.
The structure of the dombyra

Over the centuries, dombra has retained its basic structure and appearance. Folk artists constantly strive to expand its sound capabilities and melody, rather than diversify its form. For example, the Central Kazakhstan dombyra has a flat body and two gut strings. A typical, most common dombyra with an oval body is shown in the photograph. Below are the names of the components of dombyra.

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 violin spring length 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.
Legends about the origin of dombyra

Archaeological research has established that the Saka nomadic tribes used two-stringed musical instruments, which are similar to the Kazakh dombra and may be its prototype, more than 2 thousand years ago.

There are legends about dombra and its origin:
The legend about the origin of dombra says that in ancient times two giant brothers lived in Altai. The younger brother had a dombra, which he loved to play. 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, for which 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.
The legend about how the dombra acquired its modern form says that previously the dombra had five strings and no hole in the middle. Such an instrument was owned by the famous horseman Kezhendyk, known throughout the region. He once fell in love with the daughter of a local khan. Khan invited Kezhendyk to his yurt and ordered him to prove his love for his daughter. Dzhigit began to play, long and beautifully. He sang a song about the khan himself, about his greed and greed. The Khan got angry and ordered the instrument to be damaged by pouring hot lead into the middle of the dombra. Then a hole was burned out in the middle and only two strings remained.
Now you have learned everything about the dombra... I advise you to learn to play the dombra, since the possibilities of the dombra are extensive..

Dombra(Kazakh dombyra) is a stringed musical instrument that exists in the culture of the Turkic peoples. Dombra is considered a folk instrument of the Kazakhs and some Turkic peoples.

Device and sound

A relative of the balalaika, the dombra has a pear-shaped body with two strings and a long neck, on the neck of which metal frets are attached. By pressing the strings between the frets, you can get a more melodic sound. It is interesting that the Kazakh name “dombra” is formed by a combination of two words: “dom” means “sound”, and “bra” means “tuning the strings”. The birth of a Kazakh folk instrument begins with the choice of wood; traditionally, craftsmen cut out the body from hardwood - maple, oak, pine. The manufacture of each part of the dombra, and especially the soundboard with the spring that serves as a sound amplifier, requires precision and endurance. An error of even 1 millimeter leads to wheezing and rattling during the game. Previously, natural strings from sheep intestines were pulled onto the body of the dombra, so the instrument produced a deeper, lower and dull sound. Since the low tune is inconvenient for performing orchestral classical works, the dombra was Europeanized, replacing its strings with polymer ones.
The sound of the open strings of the dombra forms its quart scale. It can also be a fifth. The sequence of tones for dombra, starting with the first string, the highest in tone: G, D (small octave).
Intervals between strings: g(part 4)d (literal notation according to Helmholtz, part 4 - perfect fourth).
The musical range of the dombra with 19 frets on the fretboard is two full octaves (part of the small octave, the first and part of the second): from D of the small octave to D of the second octave.

Story

Archaeological finds indicate that two-string prototypes of the Kazakh dombra appeared more than 2000 years ago. Thus, during excavations of the ancient settlement of Koi-Krylgan-Kale, built about 2 thousand years ago, terracotta figurines of musicians with two strings in their hands were found. Neolithic rock paintings were discovered in the Almaty region, in which an ancient artist who lived more than 4,000 years ago depicted dancing men and an instrument similar in shape to a dombra. Legends are dedicated to Dombra, one of them says that one day a certain hero-hero, tired of military exploits, on the way to his yurt decided to rest. The hero carved a homemade piece from walnut wood, strung it with horsehair strings and tried to play the instrument, but it was silent. After unsuccessful attempts, the warrior fell asleep, and was soon awakened by the melody emitted by the homemade product. The hero discovered that someone had attached a wooden threshold at the junction of the head and neck of the neck. The warrior decided that this was the work of shaitan (an evil demon), and since then the people have adopted the name “shaitan-tiek” for the upper threshold of the dombra. In the 21st century, in the era of electronic music, dombra still arouses the interest of music lovers. For example, Kazakh ethno-rock bands combine the sound of dombra, violin and screaming rock guitars, creating a completely new sound. The old dombra is winning more and more new fans.

the site found out what this instrument means to the Kazakh people and what its history is. And also what connects President Nursultan Nazarbayev with the national instrument. Photos and videos with the participation of the Head of State were provided by the Akorda press service.

How did dombra appear?

The Kazakh dombra has many relatives, including the Russian domra, the Uzbek dombyra, and the Bashkir dombyra. It is impossible to say exactly how and when the Kazakh national instrument appeared. But researchers are sure of one thing: this is an object with a rich history. Archaeological finds indicate that the prototype of the dombra appeared more than 4,000 years ago.

Rock paintings found on the Maitobe plateau in 1989 are cited as evidence. The picture shows a musical instrument similar in shape to a dombra and dancing people. Archaeologist Kemal Akishev attributed the find to the Neolithic era.

Rock painting / Photo from abai.kz

The Saka tribes also played an instrument very similar to the dombra. During excavations in Khorezm, archaeologists found terracotta figurines of musicians with two strings in their hands. A description of this instrument was also found among the Cumans (the European name of the Kipchaks). The Hun tribes also loved dombra. Even their kuis have survived to this day: “Kenes”, “Sary Ozen”, “Shubar at”.

Abu Nasir al-Farabi in his writings described the tambour as follows: an instrument very similar to the dombra.

There are, of course, beautiful legends about the origin of the instrument. According to one of them, two giant brothers lived in Altai. The younger one loved to play his dombra. And as soon as he started playing, he forgot about everything in the world. The eldest was very vain. He wanted to become famous by building a bridge across the river. He began to collect stones and build a bridge. The older one works, the younger one plays. The day passed, the second, the third. The musician does not rush to help his brother. Then the elder got angry, grabbed the dombra and hit it against the rock. The music stopped, but the imprint remained on the stone. Many years later, people found this imprint, began to make new dombras in its likeness - the music began to sound again.

Another legend says that Genghis Khan’s beloved son Jochi died while hunting, the servants did not know how to inform their ruler about this, and brought the musician to him. He didn’t say a word, he just played “Aksak Kulan” on the dombra kui. The Khan understood everything and ordered the dombra to be executed. Since then, a hole has appeared on the instrument - a trace of molten lead.

Another interpretation of the previous story was not without a love component. Previously, the dombra had five strings and no hole. The horseman Kezhendyk masterfully wielded this instrument. And so he fell in love with the daughter of a local khan. Khan invited the horseman to his yurt and ordered him to prove his love for his daughter. Kezhendyk began to play. He played long and beautifully. And he sang not only about love. He sang songs about the khan himself, about his greed and greed. The Khan got angry and ordered lead to be poured onto the dombra. That's when a hole appeared and only two strings remained.

There is some truth in beautiful legends. This plucked instrument, like no other, can convey the sound of the Kazakh steppe, the wind moving feather grass, mountains reaching into the sky, clouds flying into the distance. Kuy can sing beautifully about the beautiful, and aitys can hit hard, reminding of the basest qualities, after which the heroes will definitely want to fill the instrument with lead. It’s not for nothing that brave akyns have been valued at all times. Music could say what people themselves were afraid to say. In the competition of aityskers, some even see the progenitors of modern rap battles.

For the Kazakh people, dombra has a special historical value. There is even a saying:

"Nagyz qazak - kazaq emes, nagyz qazak -dombyra!" ("Real Kazakh -This is not the Kazakh himself, the real Kazakh is the dombra!”.

In 2010, dombra was included in the Guinness Book of Records. In the regional center of Toly, Xinjiang Uyghur Autonomous Region of China, 10,450 people simultaneously performed the Kazakh kui “Kenes”.

The historical value of the dombra was also recognized by UNESCO. In 2014, the organization included the Kazakh kuy, dombra and yurt into its heritage list.

The path to the power tool

Nomads made dombra from what was at hand, and from almost any material: wood, reeds, leather, bones, animal horns, horse hair. Goat or sheep intestines were used for strings.

In a later period and today, dombra is made from strong oak and maple wood. Moreover, art historians distinguish two types of dombra: western and eastern. The Western one is a large dombra with an oval body, similar to a pear, and a thin neck. Experts note that this instrument has a special rumbling sound and is rich in tints with a low timbre. Eastern dombras, on the contrary, are very melodic. They have a wide, spade-shaped body and a short neck.

Creating a dombra is a special skill, an art that not everyone can master. How the dombra will sound depends on the smallest detail. The type of wood plays an important role.

In 2012, an electric dombra was created. The author of the invention is Nurzhan Toishy, ​​founder of the unusual group Aldaspan. As Nurzhan says in numerous interviews, the idea to create such a dombra came to him back in the late 80s, but it was only possible to begin implementation in 2009. And in 2012, the first and only group in the world appeared that plays the electric dombra.

Dombra Day

Nursultan Nazarbayev appreciates the dombra and plays the instrument well. He is convinced - and taught his grandchildren this - that dombra is an integral part of history, the heritage of the Kazakh people.

Nursultan Nazarbayev with his grandchildren, 1992 / Photo from the Akorda press service

In January 2002, the President said in an interview with the Russian magazine Echo of the Planet:

“Dombra is a purely national instrument. To simply understand it, you must be born a Kazakh... Its sound is completely unusual. It seems to speak about the wide steppes of Kazakhstan, about our mountains, about our ancestors, about our history...”

The newspaper "Kazak Adebieti" in 2006 also quoted the head of state:

“Kolym kalt etkende dombyraga kol sozyp, zhyr zhazatynym da sol bir armanshyl shaktan qalgan zhukana da ("The habit of picking up a dombra and writing songs has been formed since dreamy times")."

Nursultan Nazarbayev is not only a dreamer and sings about high feelings. At one of the events, the President played the dombra and sang about life and that respect is deserved by those who do, and not by those who talk a lot.

On June 13, the head of state signed a Decree according to which the first Sunday of July in Kazakhstan was established as National Dombra Day. On this day, throughout the country, thousands of dombra players will play the folk instrument.