Unknown Artist- this is how a talented man from Novosibirsk, 45 years old, calls himself. He himself says about himself that he is in an eternal search for the unknown. He has a life plan for tomorrow - a permanent one, in which, for example, the following points: “light incense in the morning and closely observe how the trickle of smoke whimsically curls; don’t miss the moment of twilight and watch from the window as the blue shadows deepen on the snow; break some of the dishes for the happiness of the Motherland, trying not to scare the cat”... and many others that I would gladly “take” for myself. He takes amazing photos, united under the title “My Unknown Siberia.” He writes pictures, music (soundtracks for non-existent films and cartoons) and performs it. He makes ancient musical instruments that sound in his compositions. Unusual in shape, with amazing sounds and fabulous names.
1. RAIN STAFF, HURDY-Gurdy, KANTELE, KALIMBA
2, 3. HURdy-Gurdy
4. MEDIEVAL HARP
5.GUSLI
6. TYPES OF KEYS FOR SETTING
7. KALIMBA
8. NORTH AMERICAN INDIAN FLUTES
I saw many of them for the first time, so I went to Wikipedia to find out more.
hurdy-gurdy(organistrum, hurdy-gerdy) - strings musical instrument, shaped like a violin case. In the X-XIII centuries. The hurdy-gurdy was a bulky instrument (organistrum) played by two people. The instrument was used in monasteries; church music was performed on it. By the 15th century, the hurdy-gurdy had lost popularity and became an instrument of beggars and vagabonds, often blind and crippled, who performed songs, poems, and fairy tales to simple accompaniment. During the Baroque period, a new flowering of the instrument began. In the 18th century, the hurdy-gurdy became a fashionable toy for French aristocrats who were fond of rural life. In Russia, the hurdy-gurdy became widespread in the 17th century. The instrument was mastered by beggars and blind tramps, “walkers.” In order not to “incur the wrath of the king and God,” they performed spiritual poems to the sounds of their lyres. (Wikipedia)
Rain Staff- an ancient exotic instrument, which is also called the “rain flute”, hmara (khmara-white-cloud), rain pipe, rain staff. In addition to these common names, it can also be called “waterfall”, “rain stick” or “the sound of rain”. This ancient instrument, from time immemorial used by shamans of Africa, Indonesia, Northern and Latin America to control the elements of rain and thunderclouds. Simulates the sound of falling rain and creates the effect of water pouring, the feeling of falling droplets and the murmur of a stream. The longer the staff, the longer the sound and the thicker and denser it is.
Kantele(Karelian and Finnish kantele) - Karelian and Finnish plucked string instrument, related to the harp. Ancient kantele had five gut strings, modern ones are equipped with metal strings and their number reaches thirty-four. When playing, the kantele is held on the knees in a horizontal or slightly inclined position and the strings are plucked with the fingers of both hands. They play the kantele solo and accompany the runes. folk epic"Kalevala". (Wikipedia)
Kalimba- the oldest and most widespread instrument in Africa (especially in Central and Southern Africa, on some of the Antilles). Kalimba is used in traditional rituals and professional musicians. It is called the "African hand piano"; This is a rather virtuosic instrument, intended for playing melodic patterns, but it is also quite suitable for playing chords. It is mostly used as an accompanying instrument. Large kalimbas add a unique low-end rumble to lively bass rhythms African music, the small ones produce a completely ghostly, fragile sound, similar to music box. (Wikipedia)
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mso-bidi-font-family:"Times New Roman";mso-bidi-theme-font:minor-bidi;
mso-ansi-language:RU;mso-fareast-language:EN-US;mso-bidi-language:AR-SA"> Harp- The harp has the shape of a triangle, which consists of: firstly, a resonant box body approximately 1 meter long, expanding downwards; its previous shape was quadrangular, the current one is rounded on one side; it is equipped with a flat soundboard, most often made of maple, in the middle of which, along the length of the body, is attached a narrow and thin strip of hard wood, in which holes are punched for piercing the gut strings; secondly, from the upper part (due to large sizes neck), serpentinely curved, attached to the top of the body, forming with it acute angle; Pegs are attached to this part to strengthen the strings and tune them; thirdly, from a front beam shaped like a column, the purpose of which is to resist the force produced by the strings stretched between the fingerboard and the resonant body.
On my knees. Most of its strings (6-8) sound simultaneously, vibrating as a result of friction with the wheel rotated right hand. One or two separate strings, the sounding part of which is shortened or lengthened with the help of rods with the left hand, reproduce the melody, and the remaining strings emit a monotonous hum.
The sound of a hurdy-gurdy is powerful, sad, monotonous, with a slight nasal tint. To soften the sound, the strings at the point of contact with the wheel rim were wrapped with flax or wool fibers. The sound quality of the instrument also depended on the precise alignment of the wheel; in addition, it had to be smooth and well rosinized.
In England, this instrument is called hurdy-gurdy (hardy-gurdy, also found in Russian), in Germany - drehleier, in France - vielle a roue, in Italy - ghironda or lira tedesca, in Hungary - tekero. In Russian it is called a hurdy-gurdy, in Belarusian - lіra, in Ukrainian - kolіsna lіra or relya, and in Polish - lira korbowa.
Device
hurdy-gurdy- a three-stringed instrument with a deep, figure-eight-shaped wooden body. Both decks are flat, the sides are curved and wide. At the top there is a head with wooden pegs for tuning the strings. Attached to the body is a short pegbox, dug out or assembled from separate boards, often ending in a curl.
Inside the body, in its lower part, there is a wooden wheel (it is mounted on an axis passed through the shell and rotated by a handle), which acts as an “endless bow.” The wheel rim protrudes out through a slot in the deck. To protect it from damage, an arc-shaped fuse made of bast is installed above it.
The top soundboard has resonator holes cut out in the form of brackets or “f-holes”; On it there is also a longitudinally located key-nut mechanism, consisting of a box with 12-13 keys, which are narrow wooden strips with protrusions. When you press the keys, the protrusions, like the clavichord's tangents, touch the string, dividing it into two parts: the sounding part (wheel - protrusion) and the non-sounding part (protrusion - nut). The protrusions are strengthened so that they can be rotated to move left and right and in this way align the scale when tuning it within a semitone.
The lyre has 3 core strings: melodic, called spivanitsa (or melody), and 2 bourdon - bass and pidbasok (or tenor and bajorok). The melodic string passes through the box, the bourdon strings pass outside it. All strings are in close contact with the rim of the wheel, which is rubbed with resin (rosin) and, when rotated, makes them sound. In order for the sound to be even, the wheel must have a smooth surface and precise alignment. The melody is played using keys inserted into the side cutouts of the box. The keys have protrusions (tangents), which, when pressed against the string, change its length, and therefore the pitch of the sound. The number of keys on different lyres ranges from 9 to 12.
Scale diatonic. Bourdon strings are tuned as follows: pidbass - an octave below the melodic strings, bass - a fifth below the pidbass. At the request of the performer, one or both bourdon strings can be turned off from the game. To do this, they are pulled away from the wheel and secured to pins.
Playing the lyre
Before the game The performer throws a strap attached to the body over his shoulders, places the instrument on his knees, with the peg box to the left and tilted away from himself, so that the free keys fall away from the string under their own weight. With his right hand, he rotates the wheel evenly, but not quickly, by the handle, and presses the keys with the fingers of his left hand. The nature of playing the lyre is similar to playing the bagpipes and whistle; all three have continuously sounding bourdons. Sound quality in to a large extent depends on the friction wheel: it must have precise alignment, a smooth smooth surface and good lubrication with resin, otherwise the sounds will “float” and “howl”.
During the game The instrument is placed on the knees with the head to the left and tilted, due to which the keys, under the influence of their own gravity, fall away from the strings. To make the instrument easier to hold, the musician puts a strap around his neck, attached to the body of the lyre. Rotating the wheel with his right hand, he presses the keys with the fingers of his left hand. The lyre sounds strong, but somewhat nasal and buzzing.
When playing while sitting the instrument is held on the knees, when playing standing- hung on a belt over the shoulder, with the neck to the left and tilted so that the keys, under the influence of their own gravity, move away from the melodic string with protrusions. Rotating the wheel with your right hand and pressing the fingers on the keys with your left hand, perform a melody; The bourdon strings sound continuously (unless they are muted). The sound of the lyre is buzzing, nasal. Its quality largely depends on the wheel: it must have precise alignment, a completely smooth rim and a well-rubbed resin (rosin). The lyre's scale is diatonic, its volume is about two octaves.
Story
In the X-XIII centuries. the hurdy-gurdy was a bulky instrument ( organistrum), which was played by two people. The instrument was used in monasteries; church music was performed on it. By the 15th century, the hurdy-gurdy had lost popularity and became an instrument of beggars and vagabonds, often blind and crippled, who performed songs, poems, and fairy tales to simple accompaniment. During the Baroque period, a new flowering of the instrument began. In the 18th century, the hurdy-gurdy became a fashionable toy for French aristocrats who were fond of rural life.
Written information about the existence of the hurdy-gurdy in Russia dates back to the 17th century. (Tales of contemporaries about Dmitry the Pretender). Perhaps it was brought here from Ukraine. Soon the lyre became quite widespread among the people, as well as in court and boyar musical life. The lyre was used mainly by wandering musicians-singers (most often walking kaliki), who sang to its accompaniment folk songs, spiritual poems and performed dances. Nowadays the lyre is rare.
The lyre was mainly distributed among wandering professional musicians, who sang spiritual poems, everyday and especially humorous songs, and sometimes thoughts to its accompaniment. Among the lyre players there were many blind men who walked with guides from village to village, from city to city, to market squares and wedding feasts. The lyre was considered a more suitable instrument for playing at weddings than the lyre, due to its loud sound and cheerful repertoire.
In Ukraine there were special schools of lyre players with quite a large number students. So, for example, in the 60s. XIX century in the village Up to thirty people at a time practiced braiding (in Podil) with the lyre player M. Kolesnichenko. The eldest of them underwent practice, playing in neighboring villages at bazaars and weddings, and they gave the money and food they earned to the mentor as payment for training and maintenance, since they were completely dependent on him. Having completed his studies, the young musician took an exam on his knowledge of the repertoire and proficiency in playing the lyre. The exam took place with the participation of “grandfathers” - old experienced lyre players. To those who passed the test, the teacher gave the instrument and the so-called “vizvilka” (obviously, from the word “vizvil” - “liberation”) - the right to play independently. Initiation into lyre players was accompanied by a special ritual: the teacher hung a lyre on himself, intended as a reward for the student, the student covered it with his scroll, after which the instrument's strap was thrown from the teacher's neck to the student's neck, and the teacher lowered a coin into the resonator slot of the body - for good luck.
The lyre workers united into groups (corporations), and each of them, headed by a tsekhmister (tsekhmeister), or nomad, had its own strictly defined territory of activity; playing in other places was prohibited. Violators of the order were subjected to severe punishment (including deprivation of the right to play), and their instrument was taken away.
Until the end of the last - beginning of this century, the lira was so popular in Ukraine that N.V. Lysenko even suggested that it would eventually replace. However, this did not come true: she withstood the “competition” and received further development, and the lyre came to almost complete oblivion. The reason for this was the limitations of its musical, expressive and technical means and timbre specificity - nasality. But the most main reason, undoubtedly, that in Soviet era disappeared social environment, in which the instrument was used.
IN Soviet years the lyre was subjected to various improvements. A very original instrument was designed by I.M. Sklyar. It has 9 strings tuned to minor thirds and a button accordion type keyboard mechanism, thanks to which an accordion player can quickly and easily learn to play it. The wooden wheel has been replaced with a plastic transmission belt, providing a smoother sound. Using a special device, the degree of pressure of the tape on the string can be changed, thereby achieving a change in the sound strength of the instrument. Improved lyres occasionally find use in ensembles and orchestras of folk instruments.
It's time for an extraordinary takeoff The instrument survived about two hundred years ago in France, when professional musicians became interested in it. Many works were written specifically for the organistrum.
The hurdy-gurdy in modern times
Now the instrument has practically disappeared from folk music, however, not all musicians consigned him to oblivion.
In Belarus, the hurdy-gurdy is included in State Orchestra and in orchestral group State folk choir Belarus, used by musicians of the Pesnyary ensemble. In Russia it is played by: musician and composer Andrei Vinogradov, multi-instrumentalist Mitya Kuznetsov (“Ethno-Kuznya”), a group from Rybinsk “Raznotravie”, etc.
Abroad, hardy-hardy can be heard, for example, at R. Blackmore’s concerts in the “Blackmore’s Night” project.
A hurdy-gurdy (hardy-hardy) was used former members Led Zeppelin Jimmy Page and Robert Plant in the joint project “No Quarter. Unleaded." The instrument was played by performer Nigel Eaton. Currently, the hurdy-gurdy can be found among the arsenal of musical instruments of the group In Extremo (in particular, in their song “Captus Est” from the single “Nur Ihr Allein”).
Video: Hurdy wheel on video + sound
Thanks to these videos, you can get acquainted with the instrument, watch a real game on it, listen to its sound, and feel the specifics of the technique:
Sale: where to buy/order?
The encyclopedia does not yet contain information about where you can buy or order this instrument. You can change this!
Types of hurdy-gurdy wheels
IN European countries There are many types of hurdy-gurdy wheels, including Russian varieties of the instrument. The hurdy-gurdy in Russia was never used in professional music and existed only in the environment of everyday and amateur music-making. Three varieties of this instrument are common in Russia. Type No. 1: Great Russian hurdy-gurdy. It is distinguished by a relatively small body type in the form of a viola, a narrow scale and a unique repertoire. Species No. 2: Don snout. This instrument is common in the territory of the Don Army. It is an old type of instrument with a body in the form of an organistrum. Type No. 3: hurdy-gurdy Ukrainian look. It is distinguished by its unique design details, playing techniques and repertoire.
Setting up the hurdy-gurdy
There is no single established hurdy-gurdy setup. The variety of designs of this instrument, as well as various musical traditions, often require in various ways settings. The hurdy-gurdy is tuned using a tuning block and a key mechanism. By rotating the pegs, the required height of the strings is achieved, and by carefully bending the flags on the keys, the scale of the playing string is precisely adjusted.
Setting option:
To achieve a beautiful melodic sound, wrap the part of the string where it connects with the playing wheel with a small amount of ordinary cotton wool or soft wool. To increase friction on the strings, generously rub the surface of the playing wheel with simple violin rosin. After all the preparatory procedures, start rotating the wheel and continue rotating continuously for 3-5 minutes, adjusting the cotton wool on the strings if necessary. After that, take a breath. That's it, you can play.
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Features of caring for a hurdy-gurdy
A hurdy-gurdy is a unique instrument that requires active attention. The most delicate moment is pairing the strings with the game wheel. Always have a piece of cotton wool or wool with you and learn how to wrap it correctly. Protect the hurdy-gurdy from rain and dampness. During operation, contamination occurs on the surface of the lyre. If your instrument begins to lose its presentable appearance, we recommend using special products in the form of polishes and cleaning products for the care of musical instruments. Be sure to use a case to store the hurdy-gurdy.
Strings for hurdy-gurdy
The choice of strings for a hurdy-gurdy is largely individual. Balalaiker recommends using a set of playing nylon string and bourdon strings in a metal braid. This option allows the lyre to sound bright, rich and balanced.
History of the hurdy-gurdy
brief historical background
The hurdy-gurdy is an ancient musical instrument of European origin. The first mentions of him are found in historical sources IX-X centuries. At first, the hurdy-gurdy was used primarily to accompany church services, but already in the Middle Ages it spread to many European countries as an instrument for the widest repertoire.
On the territory of the Moscow kingdom, the hurdy-gurdy appeared at the turn of the 16th-17th centuries. The instrument penetrated into Russian lands through Ukrainian and Belarusian territories along with settlers, merchants, interventionists and other active populations. The hurdy-gurdy was firmly established and remained until recently in the traditions of some regions of Russia - Bryansk, Oryol, Kursk, Rostov and some others. It is interesting that back in the 1920s, wandering lyre players could even be found on the streets and bazaars of Moscow. The famous folk music expert Mitrofan Pyatnitsky also had his own hurdy-gurdy.
The Russian hurdy-gurdy, unlike its European relative, was mostly a folk instrument, little known to noble and professional musical circles. The Russian lyre was distinguished by its ease of manufacture, relatively small scale, small number of strings (2-4 pieces) and an original repertoire. The lyre found its widest use among tramps and professional beggars, for whom it was a professional tool for earning money. They could be found in crowded places singing spiritual poems and psalms. However, in some regions, playing the lyre also acted as an accompaniment to drawn-out songs. For example, in the traditions of the Don Cossacks, the lyre (local name - rylya) was used to accompany songs and was preserved until the first third of the 20th century. The hurdy-gurdy was played to dances, to dances, to ditties, and even to romances. One of the last Russian lyre players, Klimenty Feoktistovich Shmatov, lived until the 50s of the 20th century in the Starodubsky district of the Bryansk region and until last days played in rural markets. The hurdy-gurdy purchased from him in 1953 is today kept in the Moscow Conservatory.
These days, the hurdy-gurdy is once again attracting public attention. She is increasingly appearing on the horizon, participating in programs of folk musicians, experimentalists and performers of sacred music.
hurdy wheels
Today we will talk about an ancient, ancient musical instrument called a hurdy-gurdy; with an explanation at the end of the article about what, in fact, we are talking about.
Some of my friends guess that I have been involved in folk culture for about 30 years now - albeit not professionally; and during all this time I hardly used musical instruments. I have some prejudice towards them - as one famous folklorist says; “In order to preserve folklore, all button accordions must be burned.” I extend this relationship to other instruments. :))) But there is one to whom there is a special attitude. Back in the early 1980s, Pokrovsky’s ensemble came to us in Nsk, where someone played a hurdy-gurdy and sang spiritual poems to it; I think it was Andrei Kotov, but I could be wrong. The lyre is a special instrument, and quite rare, so for all the years “in folklore” I didn’t really know what it was and where it came from, until I specifically tried to figure it out.
The history of this instrument goes back centuries. Its prototype appeared in... the 10th-12th centuries in Western Europe, and it was then called , or “organist”. Two musicians played it - one turned a handle with a drive on a wheel, which rubbed against the strings and produced sounds; and the other, in fact, played the melody by raising the necessary keys:
Unlike most instruments, the organistrum originally appeared as an instrument for... worship, and was played in churches and monasteries; this in some way determined his entire future fate.
In the 13th-15th centuries, the instrument was improved, reduced in size, and since then it has been played by one musician, and instead of the complex raising of the keys, a keyboard that is almost familiar to us is used, where the keys are pressed with the fingers and return back under their own weight. The instrument was still used in monasteries, but the organ replaced it from divine services (after all, we are talking about Western Europe); and he went among the people. Even then it ceased to be called “organistrum”, and in each country where it was widespread it has its own name; In world culture, the most widespread name is the English name hurdy-gurdy.
Features of the instrument - the strings are stretched almost like in an ordinary stringed instrument, but the sound is produced not by an ordinary bow, but by a wooden wheel that plays the role of an endless bow, so the sound is similar to bagpipes, just as tedious and disgusting. Two (or more) strings do not change their pitch and hum constantly - this is called “bourdon”; and one (or more) string, under the influence of the keys, changes its length, and, consequently, the pitch of the sound - this is the voice string. In the most ancient version there were 2 bourdons + 1 voice, but then musicians began to look for ways to increase the volume and striking power of the instrument, and in modern hurdy-gurdys there are more than a dozen strings, as well as all sorts of gadgets such as a “buzzing bridge”, allowing you to beat out the rhythm with by changing the wheel speed.
In the 15th-17th centuries (data vary), the instrument came to Russia, through the territory of Ukraine and Belarus, where it became most widespread. In those years, the instrument had already gone out of fashion in Europe, and it was played mainly by beggars and troubadours, performing spiritual poems to it. So in our country, it was mainly used by passersby, performing spiritual poems and (possibly) reciting epics to it.
In the 18th century, the instrument experienced a new heyday when the European elite suddenly became interested in rural life, and several pieces were composed for the lyre. classical works. Perhaps at this time the lyre (more precisely, its European analogue, the hurdi-gerdi) became an exclusively secular instrument, and is still used by European musicians in ethno-music - both solo and in ensembles.
According to the author, nothing other than the hurdy-hurdy tools was used
In Ukraine, the lyre (where it is called “snout”) also experienced its heyday in the 18th and 19th centuries, and there was even an opinion that it would take over the bandura, it was so popular. Entire teams of lyre players played at weddings, fairs and other folk festivals - the instrument is loud and allows you to play for a long time without getting tired. The tradition of lyre-playing existed in our country until the 1930s, when, according to some versions, all lyre-players were liquidated, and according to others, poverty as a class was abolished, and therefore all the wandering musicians disappeared.
Although lyres were mainly used in Ukraine and among the Don Cossacks (where they were called “Don snouts”), they also exist in the Russian version. True, they didn’t reach our places - no one had heard of them in the Urals (according to my data), let alone our Siberia. So for our places it’s not really traditional instrument(or not at all).
Happy rebirth folk culture“from above”, from the cities, the tradition of lyricism began to revive - many ensembles are introducing lyres into their repertoire throughout the country. This instrument is special, “spiritual”, and it can and should be used when performing spiritual poems - for example, the well-known ensemble “Oktay” in Siberia still uses the lyre. :)
Masters of making lyres also appeared. One of the most famous is from near Myshkin; He has a whole video instruction on working with liras on his website. :) Also makes lyres, Ulyanovsk-Moscow.
One of the most popular videos on YouTube is with a Russian hurdy-gurdy - more than a million views.
And, actually, why am I writing all this:
It turns out that in Nsk we have a master who makes hurdy-gurdy wheels (as well as harps and other medieval instruments) - a 4-string (2 voices and 2 bourdons) chromatic lyre was found and mercilessly acquired from him - not the most ancient version, but also not some kind of hurdy-gurdy about 10 strings with a bunch of whistles. :))) Moreover, I already managed to break one string, now it’s straight ethnography, I still have half the buttons to break off. :)))
Due to the characteristics of the instrument, he cannot play quietly - if you turn the wheel too slowly, the sound simply does not come out, or it wheezes and stutters, so the poor neighbors. :) One good thing is that for studying you can turn off all strings except one voice string, and select and practice at 1/4 volume. :))) For a musician, playing the lyre is probably quite simple; but to me, as if I don’t know musical notation in principle, so far everything has been difficult; It’s only in the video that everything is simple, but try to find something worthwhile... The most difficult thing, oddly enough, is setting up the instrument; tuning a lyre is more difficult than a piano, and this is practically no joke - the difficulties here are not in the tension of the notes, but in a bunch of small subtleties, such as rosining the wheel, adjusting the height of the string tension, winding wool, and so on and so forth. It's okay, we'll break through. :) Soon, I hope, I will find something to show.
Wheel lyre. Hurdy Gurdy (hardy-hardy). Organistrum
Ogranistrum - under this name the hurdy-gurdy appeared in Europe about a thousand years ago. This folk musical instrument is rightfully considered the predecessor of the nyckelharpa (nyckelharpa is a Swedish folk musical instrument). Hurdy-gurdy (hardy-gardy) - they call it in England, vielle a roue - in France, nin?ra kolovratec - in the Czech Republic. Russians, Belarusians and Ukrainians began to call it ryla or lyra.
Until the 14th century, the hurdy-gurdy was very bulky (up to two meters) and to play it the musician needed an assistant to rotate the handle.
The instrument was used in monasteries; church music was performed on it. By the 15th century, the hurdy-gurdy had lost popularity and became an instrument of beggars and vagabonds, often blind and crippled, who performed songs, poems, and fairy tales to simple accompaniment.
Georges de la Tour. "Playing a hurdy-gurdy with a ribbon." 1640
David Vinckboons. « The Blind Hurdy-Gurdy Player".
During the Baroque period, a new flowering of the instrument began. In the 18th century, the hurdy-gurdy became a fashionable toy for French aristocrats who were fond of rural life.
Pieter Bruegel Jr., " Hurdy-Gurdy Player» 1608
With the establishment of the hurdy-gurdy as an accompaniment to dances, the cumbersome instrument was replaced by a more portable one. There are modifications of this instrument - an instrument with a regular bow instead of a wheel (Nykelharpa in Sweden and Norway), or with a wheel, but without keys, with a regular violin fingering (Bauern Lyre).
Nikelharpa- Swedish folk musical instrument.
In Russia, the hurdy-gurdy became widespread in the 17th century. The instrument was mastered by beggars and blind tramps, “walkers.” In order not to “incur the wrath of the king and God,” they performed spiritual poems to the sounds of their lyres.
Teodor Aksentovich. "Lyrnik and the girl." 1900
Kazimir Pokhvalsky. "Lyrnik in front of the hut". 1887
Vasily Navozov. "Song of the Lyre Player".
Sound playback process
Three strings of different tunings are stretched over the body (having a boat- or figure-eight shape), placed in a special box. A small keyboard with 8-11 keys is attached to the side of the drawer. That is, the hurdy-gurdy is the first stringed instrument that uses a keyboard.
The performer holds the lyre on his lap, presses the keys with his left hand, and with his right hand turns the handle, which sets in motion a special wheel covered with hair, leather and rubbed with rosin. The wheel, through a hole in the soundboard, rubs against the strings and makes them sound.
Most of its strings (3-11) sound simultaneously, vibrating as a result of friction against the wheel rotated by the right hand. One to four separate strings play the melody, and the remaining strings produce a monotonous hum (the so-called bourdon).
The sound of a hurdy-gurdy is powerful, sad, monotonous, with a slight nasal tint. To soften the sound, the strings at the point of contact with the wheel rim were wrapped with flax or wool fibers. The sound quality of the instrument also depended on the precise alignment of the wheel; in addition, it had to be smooth and well rosinized.
Kazimir Pokhvalsky. "Lyrnik". 1885
In the nineteenth century in Ukraine there were special schools of lyre players, which enjoyed great success among the population of that time. Senior students of such schools underwent practice, playing in neighboring villages at weddings and bazaars. The income received - money and food as payment for training and maintenance - was given to the mentor. Upon completion of training, the musician was examined for knowledge of the repertoire and mastery of the instrument. Old, experienced lyre players - “grandfathers” - took part in the testing ceremony. The teacher gave a new lyre player who successfully passed the exam a “vizvilka” (probably from the word “vizvil” - “liberation”) - the right to independent play and an instrument. At the same time, during the process of initiation into lyre players, the teacher hung the lyre intended as a reward for the student on his neck, and the student covered it with his scroll. Then the belt of the instrument, into the resonator slot of the body of which a coin was dropped (probably for good luck), was thrown around the student’s neck.
Jules Richomme. "The Hurdy-Gurdy Girl".
During the years of Soviet power, the lyre was significantly improved. For example, an instrument designed by Ivan Mikhailovich Sklyar has nine strings that are tuned in minor thirds and a button accordion-type keyboard mechanism. The wooden wheel was replaced with a plastic transmission belt, as a result of which the lyre received a more even sound. The degree of pressure of the tape on the string is changed using a special device, which changes the sound strength of the instrument.
Currently, the lyre has practically disappeared from folk music, but some musicians have not consigned the instrument to oblivion. The hurdy-gurdy is part of the Belarusian State Orchestra and the orchestral group of the State Folk Choir of Belarus. The musicians of the Pesnyary ensemble also use a hurdy-gurdy in their performances.
Ensemble "Pesnyary".
In Russia, the hurdy-gurdy is played by: multi-instrumentalist Mitya Kuznetsov (“Ethno-Forge”), musician and composer Andrei Vinogradov, the group “Raznotravie”, etc.
Group "Forbs"
MITYA KUZNETSOV– folk musician, composer, multi-instrumentalist.