Message about dombra. Types of Kazakh dombras

Kazakhstan is an amazing and beautiful country whose culture never ceases to amaze. Even if you look only at a number of unique musical instruments, you begin to understand that this is an extraordinary people. Kobyz, zhetygen, sybyzgy, sherterb, asyatayak - where else can you find such instruments? The uniqueness and uniqueness of each nation is something that no one can ever take away from humanity. Such riches of the culture of the Republic of Kazakhstan will be discussed further.

Kazakh music

For Kazakh people music has always been something supernatural and everyday at the same time. The legends of this people speak of its unearthly origin. At the same time, for any Kazakh, being a musician is like being able to walk or talk. It is worth noting that the characteristic solo performances, where the musician manifests himself as an artist who creates right in front of the public. Previously, it was very rare to meet any ensembles or even duets. And if people sang together, then most often in unison.

One of the main musical instruments of Kazakhstan

Here we will talk about unique masterpiece. Dombra - musical instrument, which is rightfully considered the national treasure of the Republic of Kazakhstan. It is mainly distinguished by the fact that it has only two strings, but this does not limit it in any way. Anyone who knows how to play the dombra will be able to create beautiful and absolutely complete music using just these two strings. It is important to mention here that dombra can easily be both a solo instrument and play large orchestra creating a unique background music.

Dombra is a musical instrument that belongs to plucked instruments. This means that sound is extracted from it in one of the following ways:

1. Pinch.
2. Brush stroke.
3. With the help of a mediator.

As a result, we get a quiet, gentle and soft sound, which is suitable for both loud orchestral music and quiet and lyrical solo themes.

Part of the Kalmyk culture

An interesting fact is that the dombra is a Kalmyk musical instrument exactly the same as the Kazakh one. The Kalmyks did not have a full-fledged and professional singing in ensembles and even theater. It was common for them to hear all sorts of solo performances organized by storytellers accompanied by music. It was precisely for this accompaniment that the dombra was used. Often, along with this action, they begin to dance and sing along in unison. Dombra (a musical instrument, the photo of which you will see below) has firmly entered the culture of Kalmykia, which should never be forgotten.

What does it consist of?

The dombra musical instrument, like any other, has its own components. In many ways, they are typical for plucked products, but it will be very interesting to examine them better. So, the design of the dombra includes:

1. Corps (in Kazakh culture - shanak). It performs the function of an amplifier of sound waves, as in other similar instruments.
2. Deca (in Kazakh culture - kakpak). Not only amplifies sound waves, but also gives them a characteristic sound coloring, thereby forming the timbre of the instrument. Depending on the shape or irregularities of the soundboard for seemingly identical instruments, this timbre can vary quite a lot.
3. Stand. Almost the entire sound of the instrument depends on the qualities, weight, shape and tuning of this part. It directly affects the strength, evenness and timbre of the dombra sound.
4. Strings. They are a source of sound, which means that nothing will work without them.

Traditional for dombra have always been gut strings, which were made from the insides of a goat or a ram. At one time, strings made from the intestines of a sheep, which was already two years old, were considered the highest quality. They gave the sound a lower tone, and this was exactly what was characteristic of traditional Kazakh music. Now the strings are most often made from fishing line. For all other elements of dombra, any quality wood is suitable.

Variety of species

The Kazakh musical instrument dombra has several varieties. It is important to say here that although there is a three-stringed instrument in the classification of its types, the two-stringed dombra is classical representative of his family. So, there are the following types of this stringed instrument:

1. Two-string.
2. Three-string.
3. Widebody.
4. Double-sided.
5. Undergryphal.
6. With hollow neck.

What is performed on the dombra?

We continue to consider what dombra is (photos are presented in the article). This section tells, perhaps, the most important thing about this tool. You still do not know what it can be used for?

No matter how surprising it may sound, you can play any music on the dombra - from classical works and folk motifs modern pop music. To do this, you just need to learn how to handle these two strings and, of course, train a lot. Although earlier ensembles with dombra were something incredible, but today she can play with any other instrument in a pair or even in an orchestra. Together with other folk, it sounds very harmonious and pleasant.

Although it is quite possible to perform music of any genre on dombra, kui is considered its main asset. The steppe peoples have been performing this music for hundreds of years for pleasure, and ignorance musical literacy doesn't stop them at all.

Kui can be performed in two styles: fight and shertpe. The first option is familiar and familiar to us, but the second one involves playing by lightly pulling the string. Shertpe started Kazakh hero Tatimbet around the 19th century.

A lot of musicians tried to master playing the dombra and it turned out to be difficult or even overwhelming for them. The whole secret was that it is very difficult to understand how two strings can create complete and absolutely beautiful music.

Are dombra and domra the same thing?

Very often people use these two words as synonyms, giving them the same meaning. If you allowed yourself to do this, then it was a huge mistake. Even people with music education do not always know the difference between these tools, so further on this will be discussed in more detail.

The dombra musical instrument, as already mentioned, is a two-string, while the domra is a three- or four-string masterpiece, which Russian culture is already proud of.

What these two instruments have in common is that they are plucked, and picks are used to extract sound for them. In history and culture, they were used for approximately the same purposes.

in music?

So that you can imagine domra, you do not need to fantasize a lot. It is very similar to a balalaika, but its main body is not triangular, but oval. Domra consists of three main parts, and in this it is quite similar to dombra. The most common type is a small dombra, the body of which is a hemisphere. In addition to the body, the instrument consists of a neck, which is often called a neck, and a head.

About the body, it is also necessary to say that it includes such elements as a body, a soundboard, buttons for fixing strings and a saddle.

Instead of a conclusion

It is no secret that folk musical instruments have always had not only great cultural value in their homeland, but also had a significant impact on contemporary music. Quite often it seems that folk motives are dying out along with a huge number of others cultural traditions. But in fact, the younger generation will never forget their story if we tell it to them. And this directly applies to music. The musical instrument dombra in Kazakhstan and Kalmykia or domra in Russia is our property. Growing up, our children begin not only to respect such things, but also to revive them.

- 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 this instrument became the dombra. Dombra is a symbol musical culture from the nomads of antiquity to the present day,” Yuri Petrovich begins his story.

Dombra-like instruments have existed since time immemorial. According to the stones rock carvings 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 XVI-XVII centuries.

The ancestor of the dombra is the ancient Turkic musical instrument sherter. It resembles a dombra in shape, but has an open body, three strings and a short neck without frets. Sherter was made from a single piece of wood, and a leather soundboard was pulled over the body.

Sherter was played both by plucking or striking the strings, and with the help of a bow. Kobyz and dombra originated from the sherter.

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

One of the main differences between modern dombra and the instruments that were played Kurmangazy And Dauletkerey, are strings. Now they are made from fishing line, but until the beginning of the 20th century, gut strings were used on dombra, made by a complex process of dressing mutton 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. Due to this, the sound of traditional dombra is rich in overtones and overtones.

Rich and deep sound

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

- It is possible to understand well how Kazakh musical instruments sound, using the example of kobyz. When a kobyz player plays the kyl-kobyz, he does not press the strings to the fretboard, but only lightly touches them. This creates a lot of overtones. Kobyz strings are made from horsehair. When this instrument is played, it actually sounds like a chorus of 46 individual hairs. The same can be said about the richness of the sound of dombra.

Experienced musicians, performing kui, can reflect in their music the grandeur of the vast expanses of the steppe, the clatter of hundreds of hooves or the rumble of an advancing 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 of not a small one close up, but something big and even grandiose, but as if from afar, like the striking of a good dining room clock. A very apt comparison, because table clocks can sound like huge bells. Dombra gives the same striking effect. You sit nearby, listen, and there sounds something huge, from afar. To feel this, it is enough to listen to the kui “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 soul of the listeners and resonates with the human psyche. With a long neck, round shape, soft materials and gut strings, this simple design creates perfect acoustics.

What is dombra

When imagining 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 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 various regions of Kazakhstan. Arka, Semipalatinsk, Zhetysu dombra are known. Traditionally, researchers distinguish two main types of dombra and schools of playing it - West Kazakhstan and East Kazakhstan.

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

— Dombra in the central and eastern regions belonged to the Arka school. It was used as an accompanying instrument to accompany singing. These regions had very rich vocal traditions. It was more convenient for the singers to press the flat dombra to the body. It doesn't sound as loud and doesn't overwhelm the voice.

West Kazakhstan dombra in modern times received the most widespread use. This is a classic teardrop-shaped dombra with a long thin neck and 15-16 frets on it. Such a dombra gives a greater acoustic range.

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

The collection of the Ykylas Museum presents unique dombras that belonged to famous akyns, kuishi, 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 cut out three small holes instead of one. Also noteworthy is a copy of the famous dombra abaya. In form, this is a typical East Kazakhstan dombra, but it has three strings.

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

In the mid-30s, dombra, along with other Kazakh folk instruments, acquired an orchestral sound. Akhmet Zhubanov On the basis of the Music and Drama College, he created the first orchestra of folk instruments in the republic. An experimental workshop was opened in the technical school in order to improve and unify dombra and kobyz for the orchestral range. To create new variants of dombra, Zhubanov attracted talented craftsmen - brothers Boris And Emmanuel Romanenko, Kambara Kasymova, Makhambet Bukeikhanov. 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 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 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 Mastery

Kazakh folk music, which was composed and performed on the dombra, is complex, bright and abstract art. Poetry is inextricably linked with music. The works of famous zhyrau, sals and akyns through music and oral creativity comprehend eternal philosophical questions.

— The work of kuishi and akyns touches on deep themes. It cannot be taken literally. If during the sounding of the kui it seems that you hear the clatter of horse hooves, then you need to understand that the author did not want to convey the horse's run, but the impression of this run 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 things. Often they made their own tool. In auls, performers were given shelter and food, clothes and horses. Aitys winners could count on good prize and expensive gifts.

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

In our time, there are still disputes 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 no less talented contemporaries and followers.

— Kyui Kurmangazy is very bright, memorable and eccentric, but there are stronger works in the pantry of Kazakh music. 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 kui "Zhiger"! It contains such depth and tragic power... It is impossible to say who was the most talented Kazakh composer. Musical works there are many for dombra, and everyone can find a favorite for themselves.

Dombra in everyday life of Kazakhs

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

— Kazakhs are by nature 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, out of the blue. 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, in order to inform relatives about the death of a relative, they often invited kuishi, who played estirta - a notice of death.

The great importance of dombra in the life of Kazakh society is also evidenced by many legends and myths, where 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 older son who was very fond of hunting kulans. Once, 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 bad news, because, according to custom, the messenger could be executed for this. Then they invited kuishi, who played the estirta khan on the dombra, sad news. Through the sounds of dombra, he conveyed the clatter of horses, the fear of kulans, the courage of their leader and the voice of the soul of the deceased young man. When he finished playing, Zhoshi understood everything and said: “You brought me bad news and you are worthy of death.” “I didn’t bring it to you, but my dombra,” answered kuishi. Then the khan ordered to pour hot lead into the dombra. This legend says a lot about the sound-visual properties of dombra and the power of its impact on people.

Many Asian peoples have stringed plucked instruments similar to dombra and similar in appearance, sound and playing style. The Uzbeks and Turkmens have a two-stringed teardrop-shaped instrument - the dutar. The Kyrgyz have a three-stringed instrument komuz. The Mongols, Buryats and Khakasses also have musical instruments similar to the dombra.

- It cannot be argued that dombra is a unique and inimitable invention of the Kazakhs. Many peoples have analogues, but dombra can be called one of the amazing options for musical perfection. This instrument, simple at first glance, is able to express the deepest feelings. human soul. In the past, he was closely connected with the Kazakh people, and I hope that this will be the case in the future.

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the site found out what this tool means for the Kazakh people and what is its history. 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 press service of Akorda.

How did dombra appear?

The Kazakh dombra has many relatives, including the Russian domra, the Uzbek dombra, and the Bashkir dombra. It is impossible to say exactly how and when the Kazakh national instrument appeared. But researchers are sure of one thing: this is an item with rich history. Archaeological finds indicate that the prototype of the dombra appeared more than 4000 years ago.

As evidence, they rock art found on the Maitobe Plateau in 1989. The figure 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 the excavations of Khorezm, archaeologists found terracotta figurines of musicians with two-strings in their hands. We also found a description of this instrument among the Cumans (the European name for the Kipchaks). They loved dombra and the tribes of the Huns. Even their kyui have survived to this day: "Kenes", "Sary ozen", "Shubar at".

Abu Nasyr 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 was very fond of playing his dombra. And as soon as he started to play, he forgot about everything in the world. The elder 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 is not in a hurry 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. After many years, people found this imprint, began to make new dombras in its likeness - the music sounded 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 a musician to him. He did not say a word, he just played the kui "Aksak Kulan" on the dombra. The Khan understood everything and ordered the dombra to be executed. Since then, a hole has appeared on the tool - a trace of molten lead.

Another interpretation of the previous story was not without a love component. Previously, dombra was with five strings and without a hole. Dzhigit Kezhendyk masterfully owned this instrument. And so he fell in love with the daughter of the 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 for a long time and beautifully. And he sang not only about love. He sang songs about the khan himself, about his greed and greed. Khan got angry and ordered to pour lead on the dombra. Then a hole appeared and only two strings remained.

IN beautiful legends there is some truth. This plucked instrument, like no other, can convey the sound of the Kazakh steppe, the wind moving the feather grass, mountains resting against the sky, clouds blowing away into the distance. Kui can beautifully sing about beauty, and aitys can strike bitingly, recalling the basest qualities, after which the heroes will definitely want to fill the instrument with lead. It is 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 kazak - kazak emes, nagyz kazak - dombyra!" ("The real Kazakh -this is not the Kazakh himself, the real Kazakh is dombra!".

In 2010, dombra entered the Guinness Book of Records. IN district center Toly Xinjiang Uygur Autonomous Region of China 10450 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 kui, dombra and yurt in the 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, horsehair. For the strings, the intestines of a goat or a ram were used.

In a later period and today, dombra is made from strong oak and maple wood. Moreover, art critics share two types of dombra: western and eastern. Western is a large dombra with an oval pear-like body and a thin fingerboard. Experts note that this instrument has a special rumbling sound and it is saturated with overflows with a low timbre. Oriental 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 is not subject to everyone. How dombra will sound depends on the smallest detail. The type of tree plays an important role.

In 2012, an electric dombra was created. Inventor - Nurzhan Toyshi, founder 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 possible to start implementation only in 2009. And in 2012, the first and only band in the world that plays the electric dombra appeared.

Dombra Day

Nursultan Nazarbayev appreciates the dombra and has a good command of the instrument. He is convinced - and he taught this to his grandchildren - that dombra is an integral part of history, the heritage of the Kazakh people.

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

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, one 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 "Kazakh adebieti" in 2006 also quoted the head of state:

"Kolym kalt etkende dombyraga kol sozyp, zhyr zhazatynym da sol bir armanshyl shaktan kalgan zhұқana da ("The habit of taking dombra in hand 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 the one who does, and not the one who talks a lot, deserves respect.

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

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The study is devoted to creating a complete picture of the Kalmyk folk instrument - dombra. Based on the study of literature on Kalmyk musical instruments, the paper analyzes the history of the emergence of the Kalmyk musical instrument - dombra, studies the etymology of the name of the musical instrument, and reveals the content of the legends about its origin. The author, as a performer, provides a brief description of dombra structures and playing techniques. An important role in the study is assigned to the importance 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 Kalmyks can be divided into four groups: song creativity, fairy tale epic, instrumental and song-instrumental creativity. big role in folk art republics have two recent groups- 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 instrument of the people is the dombra, which was also not spared by changes and time adjustments. To get to know the country, the people inhabiting it, it is not enough to read books that give an idea of ​​history, nature, life. Only art, with its bright and colorful language, is able to tell about the most intimate, original, which is the essence of the 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 a force that makes you laugh or cry. With the help of playing the dombra we communicate, we talk about our experiences and feelings.

At present, 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 extinction of the original Kalmyk folk culture, in particular, the Kalmyk folk musical instrument - dombra.

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

To study literature about Kalmyk musical instruments;

To study the history of the emergence and structure of the Kalmyk musical instrument dombra.

To study the etymology of the name of the musical instrument dombra.

Hold a meeting and conversation with dombra player Yulia Byurcheeva;

Object of study: Kalmyk musical instrument dombra.

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

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

The practical significance of the results of the study: the materials can be used in educational activities by students and teachers. Also teachers mother tongue can use research work in class as methodological development on the topic "Halmg dud".

Research sources:

Book and newspaper-magazine fund of the National Library named after

A. M. Amr-Sanana.

Memoirs of dombra player Yulia Byurcheeva

The work of the Turkologist E.R. Tenishev "Comparative-historical grammar of the Turkic languages"

"Kalmyk-Russian Dictionary" A. M. Pozdneev.

B. Kh. Borlykova "Kalmyk musical terminology"

N. L. Lugansky "Kalmyk folk musical instruments"

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

According to musicologist T.S. Vyzgo the desired sample for all named national instruments one can recognize the ancient Arabic-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 the ethnographer Zhagd Babalykuly, discovered a rock drawing depicting a musical instrument and four dancing man in different poses. According to the research of the famous archaeologist K. Akishev, this figure dated to the Neolithic period. Now this drawing is in the Museum of Folk Instruments. Ykylas Dukenuly in Almaty, Kazakhstan. As can be seen from the figure, 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 over 4000 years old and is one of the first plucked instruments - the ancestors of modern musical instruments of this kind.

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 the excavations of ancient Khorezm, terracotta figurines of musicians playing the plucked instruments. Scientists note that the Khorezmian 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.

According to the written monuments of the Eurasian continent, it can be concluded that the dombra and its related instruments of other peoples on the mainland have been well known since ancient times. In the monuments of different periods in the Eurasian space, we learn about the presence of this plucked instrument, in particular from the monuments of Hunnic origin. This instrument is also found among the Kimans (Kumans). Marco Polo noted in his writings that this instrument was present among the warriors of the Turkic nomads, 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 plucked musical instrument that exists in the culture Turkic peoples. Dombra is considered a folk instrument among the Kazakhs, Kalmyks and other peoples. In the Kalmyk language, words denoting parts of the dombra are widely represented. So, 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 һardg nүkn, the stand (filly) on the upper deck under the strings - dombrin tevk; dombra neck - dombrin ish, dombra frets - dombrin burn; dombra strings - dombrin chivn, dombra pegs - dombrin chikn, dombra head - dombrin tolha.

Dombra is a two-stringed instrument made from maple, willow, acacia, mulberry and apricot tree. 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 fretboard. The string is the source of the sound vibrations of the dombra. The dombra traditionally used gut strings made from lamb intestines. It was believed that best qualities possess strings from the intestines of a two-year-old sheep. Such strings give 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 strings made of fishing line, which has lost its unique sounding timbre.

At the current dombra nylon strings, and dombras made a long time ago still have intestinal strings, which 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. The pegs are used to stretch and tune the string. Also, when tuning the dombra, the stand plays an important role - the sound of the instrument depends on its position (closer or farther from the fretboard). Most dombras have a quarter system - the first string is tuned to the note la of a small octave, the second - to the note re of the first octave - such dombras are called dombras-seconds.

1.3. Name etymology

A lot of research has been devoted to the etymology of the word dombra. For example, the famous Turkologist E.R. Tenishev in his "Comparative Historical Grammar of the Turkic Languages" notes that the word domra comes from the Iranian language. The textbook "Kazakh musical terminology" provides an overview of the opinions of scientists about the etymology of the word dombyra. So, A. Zhubanov believes that the word dombyra comes from the Arabic words dunba and buree - “lamb fat tail”. The name is given by the appearance of the instrument: its oval body resembles a lamb tail. K. Zhuzbasov believes that the dombyra lexeme consists of two words - dem and beru - "give breath", "inspire", "encourage activity", closely related to musical performance. According to S.S. Dzhanseitova, the etymology of the word dombyra is associated with phonosemantic material. She writes: "In Kazakh language from the sound-visual form dom-, don-, dun- derivatives danryr are formed - “ringing”, “noise”, “hub”, “rumble”; danryra - “type of percussion instrument”, “rumble”, “ring”, “make noise”; dungIr - "deaf 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-pictorial words, denoting a sonorous, resonant sound, is explained by the formation of a nasopharyngeal resonator, which creates a feeling of soft vibration, a booming ringing.

In Mongolian lexicographic works, the word dombra has been found since the middle of the twentieth century. So, the phrase khasag tovshuur, lit. "Kazakh tovshuur" is translated as dombra, dumbra. According to the defining component khasag - "Kazakh" one can determine who owns the instrument in question. This dictionary lists different types of dombras, differing in range: byatshan doombor - “piccolo dombra”, erduү doombor - “alto dombra”, tseel doombor - “tenor dombra”, argil doombor - “bass dombra”, ahmad doombor - “contrabass dombra ".

In the “Kalmyk-Russian Dictionary” by A. M. Pozdneev, as well as in other dictionaries, dombor (dombra) 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. The balalaika is a Russian folk plucked musical instrument with a triangular body and three strings. Dombra, on the other hand, is a Kalmyk folk stringed plucked instrument, has a pear-shaped or triangular body, 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 plays, he forgets about everything in the world. The elder brother was proud and conceited. Once he wanted to become famous, for which he decided to build a bridge across a stormy and cold river. He began to collect stones, began to build a bridge. And the younger brother plays and plays. So another day passed, and then a third. The younger brother is not in a hurry to help the elder, he only knows that he plays his favorite instrument. The older brother got angry, snatched the dombra from the younger and, with all his strength, hit it against the rock. A 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 on it, and music began to sound again in the villages that had been silent for a long time.

The legend of finding dombra modern look says that earlier dombra was with five strings and without a hole in the middle. Such an instrument was owned by the glorious horseman Kezhendyk, well-known throughout the district. 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, for a long time and beautifully. He sang a song about the khan himself, about his greed and greed. Khan got angry and ordered to spoil the instrument by pouring hot lead into the middle of the dombra. At the same time, a hole in the middle was burned out and only two strings remained.

Another legend about the origin of dombra is similar to the previous one. The local khan's son died hunting from the fangs of a wild boar, and the servants, fearing the wrath of the khan (he threatened to fill his throat with boiling lead to anyone who would tell him that something unkind had happened to his son) went to the old master for advice. He made a musical instrument, which he called dombra, appeared to the khan and played it. The strings groaned, wept, as if the mournful noise of the forest swept under the silk tent of the khan's tent. The sharp whistle of the wind mingled with the howl of a wild beast. The strings cried out loudly, as if human voice asking for help, so 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 enraged khan, mindful of 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. It is said that since then a hole has remained on the upper deck of the dombra - a trace of molten lead.

At the time of the "Four Oirats" among the national instruments - tovshur, khuchir, mern-khuur, etc. - an instrument similar to a flying combat arrow with plumage began to stand out. It was she who drew, repeated the fate of the Oirats. Two strings, like a trace from a wagon train that reached desired country. Seven frets, like seven beautiful victories over enemies. The three corners of the dombra body are like three nutugs who have found free pastures on the banks of the Volga. And finally, the arrowhead, like a bamb-zetzg, a tulip. It was a dombra, similar to a girl with her hand outstretched to the sun, on the palm of which two pearls shine...

1.5. Dombra game

There are many performing techniques when playing the dombra. Most often, 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, one string or two. They also play with two fingers - forefinger and thumb, or with one - only thumb. Rhythm and combination of techniques depend on performed work. The strings are pressed against the fretboard with five fingers. The neck lies between the big and index finger. Due to its small latitude, the first string can be played not only with the thumb, but also with all the other fingers of the hand. There are approximately 21 frets on modern dombras. The frets separating the frets are made of iron, nylon. Previously, they were made from animal veins.

Dombra is taught in music schools, schools, like playing a folk musical instrument. They also form children's ensembles, orchestras participating in local and non-resident music competitions. In Kalmykia there is a National Orchestra, in which most of musicians - dombra players. It is possible to perform works of many styles on dombra - from folk songs to classical, despite having only two strings. Many folk Kalmyk dances are performed to the accompaniment of dombra, such as Chichirdyk, Ishkimdyk. Folk songs are also sung to the dombra - Sharka-Barka, Tsagan Sar, Delyash. You have noticed that the dombra never starts loudly. Gradually, by slightly tightening or loosening the strings, by smoothly moving the fingers along the frets, the musician finds the desired key and begins to play the melody. Ut dun (drawing), saatulyn dun (lullaby), uyhn dun (lyrical), keldg dun (fast). Everything is subject to dombra.

Currently traditional culture Kalmykia began 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 dombra orchestra. The conductor of the orchestra was the conductor of the National Orchestra of the Republic of Kalmykia, Savr Kataev. Performers were gathered from all over the republic for two months. As a result, 330 dombrists 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 of them were children, students of music schools. This gave hope that the young part of the population would develop and maintain folk traditions and culture. The concert was attended by the chief lama of Kalmykia - Telo Tulku Rinpoche. Dombra tunes from folk melodies, the first chapter of the epic "Dzhangar", the work "Green Tara" dedicated to the Buddhist deity, the work "Ur Sar" dedicated to the Buddhist holiday were performed. Also, other Kalmyk folk instruments played in the combined orchestra - biive, tsur, tsang and others. All musicians were wearing National costumes various colors (see Fig. 4, 5).

1.6. Biography of the teacher of the Kalmyk dombra Byurcheeva Yulia Viktorovna

Byurcheeva Yulia Viktorovna was born in 1976 in Elista, she studied at the music school No. 2 (now the Children's Art School No. 2) in the class of Kalmyk dombra 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 the Kalmyk dombra, two teachers taught Khuchir - Ta Namutsile and Tsevelma Bagsh. From 1995 to 1997 she did an internship in Mongolia at music school in the city of Ulaanbaatar. Higher education received at the Kazan State Conservatory named after Nazib Zhiganov in the Khuchir class. Teacher - National artist Tatarstan, Professor, Head 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, since 2015 she has been the deputy director for education. In 2015, Byurcheeva Yu.V. decision of the Administration of Elista city recognized as the best teacher additional education. Over the years of work at the school, 14 people graduated, six of them with honors. Of these, eight became laureates of international, republican and all-Russian competitions. One of the graduates - Goryaev Chingis became the winner of the award of the Head of the Republic of Kalmykia and the winner of the award of the Administration of the city of Elista. Byurcheeva Yulia Viktorovna is the author methodical works, programs, arrangements for the Kalmyk dombra and Khuchir.

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

CONCLUSION

An important role in the folk art of the republic is played by instrumental and song-instrumental creativity. For a long time, folk art was improved and developed, and along with it, musical instruments experienced their history. Dombra is one of the most common and most beloved instrument of the people.

Kalmyk dombra - an instrument with really long history, his own performing technique and a difficult fate. Having endured the cold years in Siberia, she returned to her native steppes and played loudly again, bestowing joy and happiness on her listeners. The inhabitants of Mongolia, Kazakhstan, Kalmykia have common ancestors. In Mongolia and Kazakhstan, there are instruments related to dombra, which have different names - tovshur, dombyra, and so on. Therefore, dombra is an instrument distant ancestors Kalmyks. The proof of this is the fact that the ancient Kalmyk epic "Dzhangar" is told by dzhangarchi, accompanying themselves with playing the dombra. In 2015, the Dzhangar epic turned 575 years old, so it can be assumed that the dombra is at least five centuries old.

Dombra is a stringed plucked musical instrument that exists in the culture of the Turkic peoples. Dombra has a pear-shaped or triangular body, 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, one way or another revealing its significance for Kalmyks and Kalmyk culture.

There are many performing techniques when playing the dombra. Rhythm and combination of techniques depend on the piece being performed. Playing the dombra is taught in music schools, colleges, like playing a folk musical instrument. They also form children's ensembles, orchestras participating in local and non-resident 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 a combined dombra orchestra 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 maintain 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 been in wars, devastation, repressions, dombra retained its face. And our task is to save the dombra.

Brief Dictionary of Kalmyk Musical Terms

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

Khuchir is a stringed two-stringed instrument of the soprano register. The bow is made from a branch of acacia, willow and horse hair, two strands of hair are threaded between the strings and the bow is played along two strings at once.

Mörn - huur - two-stringed bowed instrument. The sound is extracted by an arcuate bow from an acacia or willow.

Biive - flute instrument, view - transverse flute. It is made from babmuk, reed. Currently, it is not widely distributed in Kalmykia.

Tzur - flute instrument, view - longitudinal flute. Made from wood. In the old days, zur was used by shepherds and shepherds.

Tsang - percussion instrument. Metal plates that are disks. When playing, the collets are held by special straps. Collets have 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 the Kakha dombra.// We and the universe. 2001. No. 1(6), pp52-54.

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. Dombra structure

Rice. 2. Dombra with a pear-shaped body

Rice. 3. Dombra with a triangular body

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

Rice. 5. Consolidated Orchestra of Dombrists of the Republic of Kalmykia

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

The design of the Kazakh dombra was slightly different 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 mutton or goat intestines. In the central and eastern regions of Kazakhstan, dombras were made with a flat bottom deck and a short, thick neck. Most often, its dombra was made from solid pieces of wood: spruce, maple, plane tree, but there are also glued specimens of dombra. On East Kazakhstani dombras, 7-9 frets were imposed, which ensured the playing of accompaniment or the performance of song melodies.

The constituent parts of the Kazakh dombra are the same in all regions of Kazakhstan. This is a shanak - a dombra body that acts as a sound amplifier. Kakpak - soundboard of 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 was no spring 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 from maple. The blanks should 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 sound of the instrument depends on its qualities, shape, weight and tuning.

The string is the source of the sound vibrations of the dombra. Dombra traditionally used gut strings made from mutton or goat intestines. It was believed that strings from the intestines of a two-year-old sheep had the best qualities. Such strings give a low sound and, accordingly, a low mood, characteristic of folk music. G-c, A-d, B-es, H-e. From sheep different regions Kazakhstan prefers the sheep of Atyrau and Mangystau regions. Apparently, the salinity of pastures for livestock in these places favorably affects the quality of strings made from mutton 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 orchestras of folk instruments, the tuning was chosen d-g strings. However, the vein strings could not withstand it and quickly burst. Akhmed Zhubanov tried to use catgut, silk, kapron, etc. as a material, but ordinary fishing line turned out to be the most suitable in terms of 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 sounding timbre.

There are two main techniques for playing the dombra - by hitting the strings with all fingers and by pinching the strings.

The composing and performing art of dombra improvisations reached a high artistic perfection in the 19th century. Abyl, Kurmangazy, Dauletkerey, Dina - in the West, Tattimbet, Kazangap - in the East, Kozhek - in the South, and dozens of other names - bright individuals, with their own style, their schools, traditions. Dombra was also a faithful companion of professional itinerant singers. The images of Birzhan-Sala, Akhan-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 emergence of such an instrument as dombra, there is evidence that the prototype of the modern Kazakh dombra existed more than 4000 years ago, as evidenced by cave drawings 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 the excavations of ancient Khorezm, terracotta figurines of musicians playing plucked instruments were found. Scientists note that the 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. birds and animals - “Akku” (“Swan”), “Kaz” (Goose), “Nar” (“Camel”), kui about lame-footed creatures and an unfortunate hunt - “Aksak kyz” (“Lame girl”), “ Aksak kulan” (“Lame kulan”), kui-crying about drowned children and young animals - “Zhorga ayu” (“Pacer Bear”), “Zarlau” (“Crying”), “Zhetym kyz” (“Orphan Girl ”), etc. All of them have preserved the echoes of the ancient forms of religion, cults and totemic ideas of the people and still carry the living history of silently gone millennia.

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

Marco Polo noted in his writings that this instrument was present among the warriors of the nomadic Turks, who at that time were called Tatars in Rus'. 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 a modern look by dombra.

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 plays, he forgets about everything in the world. The elder brother was proud and conceited. Once he wanted to become famous, for which he decided to build a bridge across a stormy and cold river. He began to collect stones, began to build a bridge. And the younger brother plays and plays.

So another day passed, and then a third. The younger brother is not in a hurry to help the elder, he only knows that he plays his favorite instrument. The older brother got angry, snatched the dombra from the younger and, with all his strength, hit it against the rock. A 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 on it, and music began to sound again in the villages that had been silent for a long time.

The legend about the acquisition of a modern look by dombra says that earlier dombra was with five strings and without a hole in the middle. Such an instrument was owned by the glorious horseman Kezhendyk, well-known throughout the district. 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, for a long time and beautifully. He sang a song about the khan himself, about his greed and greed. Khan got angry and ordered to spoil the instrument by pouring hot lead into the middle of the dombra. Then a hole in the middle burned out and only two strings remained.

Another legend about the origin of dombra is similar to the previous one. The local khan’s son died hunting from the fangs of a boar, and the servants, fearing the wrath of the khan (he threatened to fill his throat with boiling lead to anyone who would tell him that something unkind had happened to his son) went to the old master Ali for advice. He built a musical instrument, which he called dombra, appeared to the khan and informed him by 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 philosophical instrument of the Kazakh, in skillful hands dombra can convey the whole gamut of human feelings and experiences; dombra embodies the symbolism of Al-Rabi's teachings about music as the highest abstraction accessible to human understanding. You can listen to another work performed on dombra here.