Domra message. Domra is a Russian folk musical instrument. Domra instrument: description, history

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Domra instrument: description, history

This stringed plucked instrument is characterized by an oval body and a medium length neck. The domra instrument is part of an orchestra of folk instruments. There are several types:

• piccolo,
• small,
• bass,
• alto,
• contrabass.

By the number of strings, two types of domra are distinguished:

• three-string - quart system e1, a1, d2;
• four-string - fifth system g, d1, a1, e2, similar to a mandolin or violin.

According to various sources, the appearance of this folk musical instrument is attributed to the 10th and 16th centuries. In the Middle Ages in Russia, domra was the main instrument of buffoon actors and folk musicians. In the 17th century, the domra instrument was banned by church and secular authorities, which led to its gradual disappearance.

At the end of the 19th century, V.V. Andreev, the leader of the first orchestra of Russian folk instruments, who was interested in various Russian folk instruments, found an image of a domra. Andreev later restored the instrument from this image. In addition, he created a whole family of domras, similar to the balalaika family. This instrument has a bright, colorful and original sound.

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Domra is a well-known plucked musical instrument, which in a number of countries is classified as a "folk" instrument. , in particular in Russia, Ukraine, Belarus. It has an oval-shaped body, a short neck and 3-4 strings (quart or fifth system; at the same time, the three-string modification has become widespread only in Russia). Notes of 3-string domra: Re (second octave); La, Mi (first octave), and 4-string: Mi (second octave); La, Re (first octave); Sol (small octave).

The sound, as a rule, is extracted by means of a mediator, less often with fingertips. The most characteristic technique for domra is tremolo, fast and rhythmic “rattling”, “trembling”. If we talk about relatedness, then it is closest to and. The principle of their device is similar, but there are some differences - both constructive and in operation.

For a number of reasons, domra was not used for a long time, and only at the end of the 19th century it was reconstructed and recreated on the basis of the “Vyatka balalaika”, then the concept of “orchestral domra” appeared, this type of instrument has survived to this day. Children, entering a music school, can choose a domra class and practice on this instrument: it is light, relatively inexpensive, can be taken home, will not interfere with neighbors; for these reasons, many parents send their young musicians to study this particular musical instrument.

Brief history of origin

The origin of the word "domra" is very simple: in the Turkic "dumbra" - balalaika, but these instruments are very similar in design and sound. Initially, buffoons (free jesters) played on them, around the 16th-17th centuries, the ensembles consisted of several musicians, which often included bagpipes, tambourines, etc. It is interesting that earlier the stress was placed on the last syllable, it turned out “domra?”. The instrument was not only ensemble, but also solo, which indicates high practicality and applicability.

The persecution of buffoons began in the 17th century, when they were imprisoned or executed for daring jokes on the boyars and the clergy. Together with the class of free jesters, their instruments were also exterminated, since they began to be perceived by the people as something seditious, dangerous, forbidden, no one wanted to keep domra at home. At the same time, the psaltery perfectly existed at all times and they were not affected by any reprisals and repressions. Domra mysteriously disappeared completely and remained only on popular prints and frescoes. The instrument acquired its modern look only by the 20th century, this was mentioned above.

What does domra consist of

Like many stringed plucked instruments, domra consists of a body and neck, a hole is made in the body for sound to enter it, and there are frets on the neck, the strings are stretched using a pegs system, where a “worm gear” is used. The body has two main structural parts - the body (lower bowl-shaped part) and the deck (upper part). Elements are made more often from wooden strips, which are glued together in a special way, less often from the so-called "wood massifs", when they try to use fragments where there are no gaps and cracks. It is believed that this gives the sound a characteristic strength and depth. The "holes" in the soundboard are called resonator holes.

To protect the body from hand strikes when playing, a “protective shell” is used, which is most often made in black and is a hard plastic or vinyl plate. There is also a nut system that supports and guides the strings. A stand is installed behind the saddle, the purpose of which is to maintain the strings in a certain state from the body, this element plays a crucial role, since without it it is completely impossible to play the instrument. It is usually not fixed and can be moved by hand, this cannot be done. In addition to string tension, the nut is responsible for transmitting the vibration of the strings to the body, which is also important.

The fretboard is stuffed with metal strips - frets. Each domra is special in its own way and has a peculiar number of frets - from 18 to 30. The strings are attached at the top with peg rollers: to tune the string, you need to rotate the handle in one direction or another, depending on what sound you need: if it is higher, the string is pulled, for a low sound, it is “released”. The strings can be set differently, depending on the purpose of the instrument and the preferences of the musician - either plastic (soft and pliable, but quiet and unsharp) or metal (hard, difficult to play, but very sonorous, “bright”).

Small domra

Probably everyone who has at least somehow come into contact with music has come across such a concept as “small domra”. In fact, it's not the size, but the purpose. Small call prima , that is, a solo domra playing a major role in a particular musical composition at a concert. Yes, it differs from the rest in scale, frets, length, but there are other types:

• piccolo;
• prima (small);
• alto;
• tenor;
• double bass

Video

Domra is an ancient Slavic plucked musical instrument. His fate is amazing and unique. The first mention of domra was found in the sources of the 16th century. They talk about domra as a fairly common instrument at that time.

Domra leads its pedigree from the fusion of two cultures.

The first branch of the pedigree has eastern roots. Similar instruments still exist in the musical cultures of the countries of the East. Kazakh dombra, Turkish baglama or Tajik rubab have a lot in common. All these instruments had one ancestor - the oriental tanbur. dombra

baglama

rubab

tanbur

Another branch of the family tree comes from the European lute.

The lute, in turn, also originated from an oriental instrument - the Arabic al-ud.

the appearance and design of the domra was influenced by the instruments of the Western, European, Slavs, for example, the Polish-Ukrainian kobza and its improved version - the bandura.

kobza

bandura

And so it happened that domra combined both European and Asian features.

It is well established that an instrument with this name was an important part of culture in the 16th-17th centuries. Musicians-buffoons played on it. domra performers - buffoons and "domrachi" were very popular.

All kinds of celebrations, festivities and folk festivals at all times and among all peoples were accompanied by songs and playing musical instruments.

On domra, like a bandura, they accompanied the folk epos, epics, legends,

At the royal court there was a whole "Amusement Chamber" - a musical and entertainment group, the basis of which was the buffoons with their domras.

But here in the history of domra comes the most dramatic moment.

The ministers of the church considered the performances of buffoons "demonic games." In 1648, Tsar Alexei Mikhailovich issued a decree on the mass destruction of innocent instruments. According to the 17th-century German traveler Adam Olearius, Russians were banned from instrumental music in general, and several carts loaded with instruments taken from the population were taken across the Moscow River and burned there. The domra players were ordered to "beat the batogs". Mostly buffoons were persecuted, but the punishment threatened not only them, but any person playing the domra. Such a truly tragic twist of fate has never happened to any musical instrument in the world. The history of domra ends here, but ... Domra was destined to literally be reborn from the ashes!

It was revived by an outstanding researcher and musician, an unusually talented person - Vasily Vasilyevich Andreev.

In 1896, in the Vyatka province, he discovered an unknown instrument with a hemispherical body. Assuming from his appearance that this is domra, he went to the famous master Semyon Ivanovich Nalimov.

The instrument, reconstructed in 1896, received three strings and the name "domra".

In 1908, at the suggestion of the conductor G. Lyubimov

master S. Burov created a four-stringed domra with a fifth system. "Four-string" received a violin range and the ability to perform all European chamber music.

Since then, there have been two types of domra: a three-string (Russian) domra with a quarter system, traditionally used in Russia, and a four-string domra with a fifth system, which is most common in Belarus and Ukraine.

In Ukraine, the four-string domra was firmly entrenched in the system of musical education. At the first All-Union review of performers on folk instruments (1939), performers on the four-string domra won all prizes among domrists.

In the post-war period, domra classes were opened in most conservatories.

To the galaxy of famous domrists of the best Ukrainian domrists B.A. Mikheeva Honored Artist of Ukraine Valery Ivanovich Ivko Thanks to the activities of two outstanding modern domrist performers - Tamara Ilyinichna Volskaya and Alexander Andreevich Tsygankov - domra received a "second wind" in its development, became recognized everywhere and by everyone as an academic concert instrument.

Domra is an ancient Russian musical instrument. Etymological searches in related Slavic languages ​​show that the term "domra" is not of Slavic origin, because. there are no such roots.

Domra is an ancient Russian musical instrument. Etymological searches in related Slavic languages ​​show that the term "domra" is not of Slavic origin, because. there are no such roots. Probably the word "domra" is of Turkic origin (tanbur, dombur, dunbara, dumbra, dombra, domb, domra).

Scientists suggest that the ancient ancestor of our Russian domra was an Egyptian instrument, which received the name "pandura" from Greek historians, and was in use already several millennia before our time. This instrument, called "tanbur", probably came to us through Persia, which traded with the Transcaucasus.

Different peoples still have instruments close to domra: Georgians have chunguri and panduri, southern Slavs have tanbura, Ukrainians have bandura, Turkmens have duatar, Mongols have dombur, Kyrgyz and Tatars have dumra, Ostyaks have dombra , among the Kalmyks - domr. In Europe, such instruments penetrated in the early Middle Ages and received the name lute. It was the lute that later became the ancestor of such multi-stringed instruments as the viola, mandolin, and guitar.

The first information about the existence of a musical instrument of the tanbur-like type among the ancient Rus belongs to the pen of Arab travelers of the 9th-10th centuries. Without having, however, a direct indication that we are talking about domra, we can put forward a hypothesis about the presence of such an instrument among the Eastern Slavs.

The first Russian historical written evidence of domra can be considered an entry in an old Novgorod book of the late 15th - early 16th centuries about Kalinka - "domra". In the census documents of this period, the professions "domrachi" and "house-keeper" are found repeatedly.

The direct name of the instrument is found only in the monuments of the 17th century. In 1627, the Russian painter Simon Ushakov compiled a description of the ancient wall painting of the Faceted Chamber of the Moscow Kremlin (the construction of which dates back to 1487-1491). In the description, Ushakov twice mentions the name of the instrument: "a man plays domra" and "people sit near the table on a bench and play the harp and violins and flute and bagpipes and domra."

There are repeated references to domra in the administrative documentation of the 17th century: in decrees, letters, memoirs, messages. In them, domra appears as an attribute of the buffoon craft, usually in combination with other instruments: psaltery, bagpipes, surns, tambourines, etc.

By the same time, the sayings "a number of skomrakh about their domra" belong. "to love is a game, to buy is domra", "Yerema has a harp, Foma has domra". They give reason to assume that the stress in the name of the instrument fell on the last "a".

So, in various literary sources of Russian origin, the word "domra" appears. In addition, we have options for the names "domrishka", "domra big bass". Probably others were also used: alto, tenor domras.

Based on the materials, one can come to the conclusion about the popularity of domra not only among the people, but also in the palace life of the 17th century. In the reign of Mikhail Fedorovich, at the palace amusement chamber, next to the guselniks and bahars, there were domrachis. Such names as Bogdan Putyata, Andreyushka Fedorov, Vaska Stepanov and others are repeatedly mentioned.

The main performers on domra were buffoons and they were not only musicians, but also actors, dancers, acrobats and jokers. (The word "buffoon" itself comes from the Arabic "maskhora" - laughter, mockery.) In ancient Russia, Veliky Novgorod became the center of the buffoon settlement. Representatives of this profession enjoyed great honor in the "free" city.

Buffoons were the main instigators of songs and dances. With their fun and "buzz" they not only entertained the people, but also forced them to imitate themselves. Therefore, during the reign of Alexei Mikhailovich, nicknamed "the quietest", at the initiative of the patriarch, persecution of singers and buffoons began.

The ascetic Byzantines believed that the Russians, who were very fond of singing and music, began to abuse this art, singing all sorts of "scandalous songs." Music and its tools were recognized as "damned inventions of the devil", the musician was considered a direct servant of Satan and was called "shpyn".

Beginning in 1648, a series of royal decrees followed, prohibiting instrumental music. In Moscow, it was ordered to collect all the tools, and when they were collected, they loaded 5 wagons with them and took them across the Moscow River and burned them there. Since then, the singers of spiritual verses have become of paramount importance at the court.

Despite the fairly frequent mention of domra, the image of this instrument has not come down to us. Therefore, for a long time they did not know what kind of instruments to attribute it to. Only at the end of the last century in the Vyatka province was found a small stringed instrument with a rounded body shape. The instrument soon fell into the hands of Vasily Vasilievich Andreev, who at that time was engaged in the search and restoration of samples of ancient Russian instruments that were preserved among the people.

Andreev, by comparing the found tool with images on old popular prints and engravings, as well as from the description, suggested in it a long-sought domra. It was on this Vyatka model that the half-forgotten Russian domra was recreated in 1896, which received a fourth system and a full chromatic scale. In 1896-1900. based on this domra V.V. Andreev in collaboration with F.S. Paserbsky and S.I. Nalimov created a whole family of domras from piccolo to double bass.

In 1908, G.P. Lyubimov, together with master S.F. Burov, based on the reconstructed domra Andreev, created a four-string domra with a fifth system. In 1914, a quartet was organized from such domras, and in 1919 - an orchestra. The appearance of this instrument is caused by the increased need to increase the sound range of domra. The commonality of the structure with the mandolin and violin makes available to her a huge repertoire written for these instruments.

The sound of a four-string domra is relatively weaker, which is caused by the design features of multi-string instruments, therefore, at present, three-string domra are used in balalaika-domra orchestras, although four-string ones are not uncommon. Four-stringed domras are most popular in Ukraine.

Due to their performance capabilities, domras in the orchestra constitute the main melodic group. In addition, domra finds its application as a solo instrument. Concert pieces and works are written for her. Unfortunately, domra is not very popular as a folk instrument in Russia and Ukraine; it is almost never found in villages.

Basic information

Antique Russian stringed plucked musical instrument. It has three (sometimes four) strings, it is played, as a rule, with the help of a pick. Domra is a prototype of Russian.

It consists of a neck with pegs at the top and a wooden body with a shield at the bottom. Also, strings are attached below and stretched to the kolkoimpatv.

Information about domra in Russia has been preserved in ancient palace records and in popular prints. Domra players were called domra players. It is very likely that domra, which still exists among the Kalmyks (under the name domra), and among the Tatars and Kirghiz (under the name domra, dunbura, dumbra), was brought to Russia during the Mongol yoke (although this is doubtful for other researchers, so how the Mongol-Tatars never moved to the Russian metropolis).

Types of domra

Three-string domras are of several types: piccolo, small, mezzo-soprano, alto, tenor, bass and contrabass. In the orchestra of Russian folk instruments, piccolo, small, alto and bass domras became widespread.

Device

Small domra consists of three parts: body, neck (neck) and head.

Frame has a body, a soundboard that closes the body from above and is edged along the edges with a shell, buttons for fastening the strings and a nut that protects the soundboard from the pressure of the stretched strings. In the middle of the soundboard there is a round hole - a voice box with a figured rosette. Above the soundboard, near the fingerboard, there is a hinged shell that protects the soundboard from scratches when playing. Above the strings and the saddle, sometimes a stand is strengthened - an armrest.

Vulture inserted into the body and fixed in it. An overlay is glued on top of the neck, and a nut is attached at the junction of the headstock with the neck of the neck. Thin transverse cuts are applied to the overlay, into which metal sills are inserted. The gaps between the metal nut are called frets. Their ordinal count starts from the top. Frets II, V, VII, X, XII and XIX are marked with white circles.

On the headstock there are peg rollers for fixing the strings. Their tension is regulated by the rotation of the pegs.

The height of the strings above the fingerboard depends on the location of the bridge and the nut. Strings that are too high off the fretboard make it difficult to play the instrument, they are difficult to press on the frets. On the stand and on the nut, recesses (slots) are made for the strings. The stand is mounted on the deck at a precisely defined location. This place should be at the same distance from the top nut to the 12th metal nut, and from the 12th metal nut to the stand. On the top of the stand, stickers are made even or curly. Figured stickers serve to align the instrument's system.

Domra is being made from seasoned dry wood. The body, consisting of seven staves, is made of maple or rosewood. Deca - from straight (resonant) spruce. The neck of the neck is glued from three longitudinal parts of hardwood. The best material for making a coaster is maple. The sticker on the stand, as well as the nut and nut, are made of ebony or white bone. The maple hinged armrest is attached with screws to the body shell. The shell is also made from hard wood or plastic. Metal tuning heads are firmly attached to the head of the tool, the tuning pegs rotate easily and smoothly.

Strings are made made of special steel and have a different cross section (thickness): the first is 0.30 mm (possibly 0.32 mm), the second is 0.40 mm, the third is 0.56 mm (possibly 0.58 mm). The third string is entwined with tinsel with silk threads. Each string is secured by a loop on its corresponding button. Then, stretched from the button through the saddle along the recesses in the stand and in the saddle, it is fixed with two or three turns (counterclockwise) around the base of the tuning pin.

All parts of the instrument must fit well. The quality of its sound largely depends on this.

history-fate

The fate of domra is amazing and unique in its kind.

Where it came from, how and when domra appeared in Russia, still remains a mystery to researchers. In historical sources, little information about domra has been preserved, even fewer images of ancient Russian domra have come down to us. And whether domras are depicted on documents that have come down to us, or some other plucked instruments common in those days, is also unknown. The first mention of domra was found in the sources of the 16th century. They talk about domra as an instrument that was already quite common in Russia at that time.

At present the most probable versions of the origin of domra are two.

The first and most widespread version- about the eastern roots of Russian domra. Indeed, instruments similar in design and method of sound extraction existed and still exist in the musical cultures of the countries of the East. If you have ever seen or heard the Kazakh, Turkish baglama or Tajik rubab, then you might have noticed that they all have a round or oval shape, a flat soundboard, the sound is extracted by striking a plectrum of different frequency and intensity. It is generally accepted that all these instruments had one ancestor - the eastern tanbur. It was the tanbur that had an oval shape and a flat soundboard; they played it with a special chip, carved from improvised materials - a plectrum. Presumably, the instrument, which later transformed into a domra, was brought either during the time of the Tatar-Mongol yoke, or in the course of trade relations with the countries of the East. And the very name "domra" undoubtedly has a Turkic root.

Another version proceeds from the assumption that domra leads its ancestry from the European one. In principle, in the Middle Ages, they called any stringed plucked instrument that had a body, neck and strings. , in turn, also came from an oriental instrument - Arabic al-ud. Perhaps the appearance and design of the domra was influenced by the instruments of the Western, European, Slavs, for example, the Polish-Ukrainian and its improved version -. Just borrowed a lot directly from. Given that the Slavs in the Middle Ages were constantly in complex historical and cultural relationships, of course, domra can also be considered akin to all European stringed-plucked instruments of that time.

Thus, based on the knowledge and research accumulated to date, it can be concluded that domra was a typical Russian instrument, which combined, like much in the culture and history of our state, both European and Asian features.

Nevertheless, whatever the true origin of the domra, it is precisely established that an instrument with this name existed in Russia and was an integral part of Russian culture in the 16th-17th centuries. It was played by buffoon musicians, as evidenced by the well-known proverb to researchers “I am glad the buffoons are about their domras”. Moreover, at the royal court there was a whole “Amusement Chamber”, a kind of musical and entertainment group, the basis of which was the buffoons with their domras and other ancient Russian musical instruments. In addition, according to some researchers, domra at that time had already formed a family of ensemble varieties. The smallest and squeaky was called "domrishka", the largest and lowest sounding - "bass domra".

It is also known that domra and domra performers - buffoons and "domrachi", enjoyed considerable popularity among the people. All kinds of celebrations, festivities and folk festivals at all times and among all peoples were accompanied by songs and playing musical instruments. In Russia in the Middle Ages, entertaining the people was the lot of "domracheev", "goosemen", "skrypotchikov" and other musicians. On domra, like, they accompanied the folk epos, epics, legends, and in folk songs the domra supported the melodic line. It is authentically known that handicraft production of domras and domra strings was established, records of the deliveries of which to the court and to Siberia are preserved in historical documents ...

Presumably, the technology for making domra was as follows: a body was hollowed out from a single piece of wood, a stick-vulture was attached to it, strings or animal sinews were pulled. They played with a sliver, a feather, a fish bone. A relatively simple technology, apparently, allowed the instrument to be widely used in Russia.

But here in the history of domra comes the most dramatic moment. Worried about the development of secular culture, the ministers of the church took up arms against the musicians and declared the performances of buffoons "demonic games." As a result, in 1648, Tsar Alexei Mikhailovich issued a decree on the mass extermination of innocent instruments - the tools of " demonic games". The famous decree reads: “And where will domras, and surnas, and horns, and psaltery, and hari, and all sorts of buzzing vessels ... ordered them to seize and, having broken those demonic games, ordered them to burn.” According to the 17th-century German traveler Adam Olearius, Russians were banned from instrumental music in general, and once several carts loaded with instruments taken from the population were taken across the Moscow River and burned there. Both musicians and buffoonery in general were persecuted.

Perhaps, such a truly tragic twist of fate has never happened to any musical instrument in the world. So, whether as a result of barbaric extermination and prohibition, or for other reasons, but after the 17th century, researchers do not find any significant mention of the old domra. The history of the ancient Russian instrument ends here, and one could put an end to it, but ...

Domra was destined to literally be reborn from the ashes!

This happened thanks to the activities of an outstanding researcher and musician, an unusually talented and extraordinary person - Vasily Vasilyevich Andreev. In 1896, in the Vyatka province, he discovered an unknown instrument with a hemispherical body. Assuming by its appearance that this is domra, he went to the famous violin maker S. Nalimov. Together they developed the design of a new instrument, based on the shape and design of the found one. Historians are still arguing about whether the instrument found by Andreev was really an old domra. Nevertheless, the instrument reconstructed in 1896 was called "domra". A round body, a medium length neck, three strings, a fourth system - this is how the reconstructed domra looked like.

By that time, Andreev already had a balalaika orchestra. But in order to realize his brilliant idea, the Great Russian Orchestra needed a leading melodic group of instruments, and the restored domra, with its new capabilities, was ideal for this role. In the period 1896-1890. V. Andreev and S. Nalimov designed ensemble varieties of domra. And the first few decades after its new birth, domra developed in line with orchestral and ensemble performance.

However, almost immediately, some limitations on the capabilities of the Andreev domra were revealed, in connection with which attempts were made to improve it constructively. The main task was to expand the range of the instrument. In 1908, at the suggestion of the conductor G. Lyubimov, master S. Burov created a four-string domra with a fifth system. The “four-string” received a violin range, but, unfortunately, was inferior to the “three-string” in terms of timbre and color. Subsequently, its ensemble varieties and an orchestra of four-string domras also appeared.

Interest in domra grew every year, musical and technical horizons expanded, virtuoso musicians appeared. Finally, in 1945, the first instrumental concerto for domra with an orchestra of Russian folk instruments was created. The famous concerto in g-moll by Nikolai Budashkin was written at the request of the accompanist of the orchestra. Osipov Alexey Simonenkov. This event opened a new era in the history of domra. With the advent of the first instrumental concert, domra becomes a solo, virtuoso instrument.

In 1948, the first department of folk instruments in Russia was opened in Moscow at the State Musical and Pedagogical Institute named after. Gnesins. The first domra teacher was the outstanding composer Yu. Shishakov, and then the young soloists of the orchestra named after. Osipova V. Miromanov and A. Alexandrov - the creator of the first school of playing the three-stringed domra. Thanks to higher professional education, the originally folk instrument domra in a short time passed the path on the academic stage, which took centuries for the instruments of the symphony orchestra (after all, it was once a folk instrument!).

Domra performance is moving forward at a gigantic pace. In 1974, the I All-Russian competition of performers on folk instruments was held, the winners of the competition were outstanding domra virtuosos - Alexander Tsygankov and Tamara Volskaya (see the Interview section), whose creative activity determined the direction of development of domra art for decades to come, both in the field of performing itself and and domra repertoire.

Today, domra is a young promising instrument with a huge, primarily musical and expressive potential, which has truly Russian roots and, nevertheless, has risen to the heights of the academic genre. What will be his future fate? The word is yours, dear domrists!

Video: Domra on video + sound

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

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