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43-465: The Chernihiv musical instruments factory opened in 1933. Initially it made balalaikas , mandolins , guitars , and domras . There is evidence that Mykhailo Yerchenko made five banduras in the late 1930s. These instruments were probably diatonic Kharkiv style banduras. In time, more instruments Mykola Martynchuk made instruments at the factory. In 1950, the factory began to manufacture pianos. Eventually it made banduras, based on construction plans by

86-429: A Chernihiv bandura maker named Olexander Kornievsky. Ivan Hladlin—working with Oleksander Shulaikovsky, Mykola Martynuk, and Oleksiy Kilochytsky—continued this series until 1954. In 1953 the factory began to manufacture 100 banduras a month. In 1954, they began to making banduras designed by Ivan Skliar . This serially made instrument had no mechanism, and the form was based on a design by Opanas Slastion . Until then,

129-502: A Persian verb that means "to make, to compose". According to The New Grove Dictionary of Music and Musicians , "the terms 'bağlama' and 'saz' are used somewhat interchangeably in Turkey. 'Saz' is generally used interchangeably with 'enstrüman' (instrument) and it is used to refer single or group of musical instruments like 'üflemeli sazlar' ( wind instruments ). Like the Western lute and

172-506: A body shape similar to the Instrument called panduri in Georgia. According to the historian Hammer, metal strings were first used on a type of komuz with a long fingerboard known as the kolca kopuz in 15th-century Anatolia. This was the first step in the emergence of the çöğür (cogur), a transitional instrument between the kopuz and the bağlama. According to 17th-century writer Evliya Çelebi ,

215-562: A method of placing colored decoration around the side of the bandura. Bandurist Andry Omelchenko suggested the one-sided head in the early 1960s. D. Vasiliev designed the Taras Shevchenko bas-relief . To earn hard currency , the factory began to manufacture instruments for export. In the late 1960s they received their first orders from North America. The Kyiv experimental workshop that moved to Chernihiv also made orchestral banduras and chromatic tsymbaly , also designed by Ivan Skliar with

258-563: A special bandura workshop existed in Kyiv —initially set up by Hryhory Paliyivetz—and after he was arrested, directed by Tuzychenko . After the war, Ivan Skliar became director and the factory primarily made instruments for the Kyiv Bandurist Capella and associated bandurist ensembles. To capitalize on the availability of experienced bandura makers and better conditions for drying and storing materials, they move to Chernihiv. They established

301-529: A special workshop at the factory for these craftsmen. In 1955, they made their first concert banduras with mechanism. Initially, they made around 10 concert banduras a year, and customers had to have special written permission from the Ministry of Culture to buy one. Skliar made a great contribution to Kyiv style bandura development at the Chernihiv factory, but other craftsmen contributed too. Oleksy Kilotsky developed

344-571: Is a Russian stringed musical instrument with a characteristic triangular wooden, hollow body, fretted neck, and three strings. Two strings are usually tuned to the same note and the third string is a perfect fourth higher. The higher-pitched balalaikas are used to play melodies and chords. The instrument generally has a short sustain , necessitating rapid strumming or plucking when it is used to play melodies. Balalaikas are often used for Russian folk music and dancing . The balalaika family of instruments includes instruments of various sizes, from

387-540: Is a synthesis of historical musical instruments in Central Asia and pre-Turkish Anatolia . It is partly descended from the Turkic komuz . The kopuz , or komuz , differs from the bağlama in that it has a leather-covered body and two or three strings made of sheep gut, wolf gut, or horsehair. It is played with the fingers rather than a plectrum and has a fingerboard without frets. Bağlama literally translates as "something that

430-567: Is also under question. Some authorities feel that Ukraine does not need a piano manufacturing facility. In 2008 it had become an automobile servicing centre. Bandura manufacturing in Ukraine has come to a standstill. There are two makers in Chernihiv who still make banduras in their own homes and charge $ 850 US (1999) per instrument. In 2007, the price of a used Kyiv concert bandura made in the Chernihiv Musical Instrument Factory

473-456: Is drilled into one of its corners. It is possible that the emergence and evolution of the balalaika was a product of interaction with Asian-Oriental cultures. In addition to European culture, early Russian states, also called Rus' or Rusi , were also influenced by Oriental-Asian cultures. Some theories say that the instrument is descended from the domra , an instrument from the East Slavs . In

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516-804: Is now the Verkhotursky district of Russia. Peter the Great requested balalaika performers to play at the wedding celebrations of N.M. Zotov in Saint Petersburg . In the Ukrainian language , the word was first documented in the 18th century as "balabaika"; this form is also present in South Russian dialects and the Belarusian language, as well as in Siberian Russia . It made its way into literature in

559-582: Is played in several regions in the world such as Europe, Asia, Black Sea , Caucasus regions and many countries including Syria , Iraq , Iran and Bosnia and Herzegovina . It is commonly used by the ashiks . Bağlama ( pronounced [baːɫaˈma] ) is derived from the Turkish word bağlamak meaning "to tie". Used notably in Azerbaijan, the alternative name, Saz ( Persian : ساز , romanized :  sāz ) means "musical instrument", derived from

602-409: Is tied up", probably a reference to the tied-on frets of the instrument. The word bağlama is first used in 18th-century texts. The French traveler Jean Benjamin de Laborde, who visited Turkey during that century, recorded that "the bağlama or tambura is in form exactly like the cogur, but smaller." The Çoğur/Çöğur was in many ways a transitional Instrument between old Komuz and new Bağlama style and has

645-404: Is used to form chords . Traditionally, the side of the index finger of the right hand is used to sound notes on the prima, while a plectrum is used on the larger sizes. Because of the large size of the contrabass's strings, it is not uncommon to see players using a plectrum made from a leather shoe or boot heel . Bass and contrabass balalaikas rest on the ground, on a wooden or metal pin that

688-616: The skomorokhs , sort of free-lance musical jesters whose tunes ridiculed the Tsar , the Russian Orthodox Church , and Russian society in general. In the 1880s, Vasily Vasilievich Andreyev , who was then a professional violinist in the music salons of St Petersburg, developed what became the standardized balalaika, with the assistance of violin maker V. Ivanov. The instrument began to be used in his concert performances. A few years later, St. Petersburg craftsman Paserbsky further refined

731-538: The Azerbaijani saz has been a mainstay of ashiqs , minstrels who combine poetry, storytelling, dance and vocal/instrumental music into a performance art that's considered one of the symbols of Azerbaijani cultural , literary and musical identity. Since 2009 the art of Azerbaijani Ashiqs has been inscribed on Unesco's Representative List of the Intangible Cultural Heritage of Humanity . The bağlama

774-864: The Caucasus , similar instruments such as the Mongolian topshur , used in Kalmykia , and the Panduri used in Georgia are played. It is also similar to the Kazakh dombra , which has two strings. Variants of the dombra played by the Bashkirs often have 3 strings and may represent an instrument related to both the dombra and the balalaika. Early representations of the balalaika show it with anywhere from two to six strings. Similarly, frets on earlier balalaikas were made of animal gut and tied to

817-414: The sap with fishing line, which allows them to be adjusted. The bağlama is usually played with a mızrap or tezene (similar to a guitar pick ) made from cherrywood bark or plastic. In some regions, it is played with the fingers in a style known as Şelpe or Şerpe . There are also electric bağlamas, which can be connected to an amplifier. These can have either single or double pickups. Traditionally

860-469: The 18th century, first appearing in "Elysei", a 1771 poem by V. Maykov. "Balalaika" also appears in Nikolai Gogol 's Dead Souls , written between 1837 and 1842. The most common solo instrument is the prima, which is tuned E 4 –E 4 –A 4 (thus the two lower strings are tuned to the same pitch). Sometimes the balalaika is tuned "guitar style" by folk musicians to G 3 –B 3 –D 4 (mimicking

903-738: The 20th century, interest in Russian folk instruments grew outside of Russia, likely as a result of western tours by Andreyev and other balalaika virtuosi early in the century. Significant balalaika associations are found in Washington, D.C., Los Angeles, New York, Atlanta and Seattle. Baglama The bağlama or saz is a family of plucked string instruments and long-necked lutes used in Ottoman classical music , Turkish folk music , Turkish Arabesque music , Azerbaijani music , Bosnian music ( Sevdalinka ), Kurdish music , and Armenian music . It

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946-524: The Middle-Eastern oud , bağlama has a deep round back, with a much longer neck. It can be played with a plectrum or with a fingerpicking style known as şelpe . In the music of Greece the name baglamas ( Greek : μπαγλαμάς ) is given to a treble bouzouki , a related instrument. The Turkish settlement of Anatolia from the late eleventh century onward saw the introduction of a two-string Iranian dutar that Turkmen people adopted which in turn

989-586: The balalaika. In particular, Alexey Arkhipovsky is well known for his solo performances. In particular, he was invited to play at the opening ceremony of the second semi final of the Eurovision Song Contest 2009 in Moscow because the organizers wanted to give a "more Russian appearance" to the contest. See Category: Russian balalaika players (English Misplaced Pages) and a larger one in Russian Through

1032-456: The bağlama, with strings double or tripled. These string groups can be tuned in a variety of ways, known as düzen (literally, "order"). For the bağlama düzeni , the most common tuning, the courses are tuned from top downward, A-G-D. Some other düzen s are Kara Düzen (C-G-D), Misket Düzeni (A-D-F#), Müstezat (A-D-F), Abdal Düzeni , and Rast Düzeni . The musical scale of the bağlama differs from that of many western instruments – such as

1075-421: The cura is the tambura, tuned an octave lower. The Divan sazı, the largest instrument in the family, is tuned one octave lower still. A bağlama has three main parts, the bowl (called tekne ), made from mulberry wood or juniper , beech , spruce or walnut , the spruce sound board ( göğüs ) and a neck of beech or juniper ( sap ). The tuning pegs are known as burgu (literally screw ). Frets are tied to

1118-617: The design and arranged numerous traditional Russian folk melodies for the orchestra. He also composed a body of concert pieces for the instrument. The result of Andreyev's labours was the establishment of an orchestral folk tradition in Tsarist Russia, which later grew into a movement within the Soviet Union . The balalaika orchestra in its full form consists of balalaikas, domras , gusli , bayan , Vladimir Shepherd's Horns , garmoshkas , and several types of percussion instruments. With

1161-548: The establishment of the Soviet system and the entrenchment of a proletarian cultural direction, the culture of the working classes (which included that of village labourers) was actively supported by the Soviet establishment. The concept of the balalaika orchestra was adopted wholeheartedly by the Soviet government as something distinctively proletarian (that is, from the working classes) and was also deemed progressive. Significant amounts of energy and time were devoted to support and foster

1204-462: The experimental workshop manufactured 200 concert banduras a year. Each maker made 1.5-2 instruments a month. These instruments were better finished and made of better material. In the 1980s, they had 10-12 makers. Today there is only one craftsman, Petrenko. In the period of economic restructuring, the factory shrank from 1600 workers to 68. It no longer manufactures musical instruments, but now makes coffins for an Italian firm. The production of pianos

1247-438: The factory, as this is not a commercial wood. It takes a willow 20–30 years to grow to maturity, so they had to find a substitute. In the 1970s the factory began making instruments with backs of poplar . These instruments, however, did not sound as good as previous instruments. They had to make the backs heavier because poplar tended to split. They continued to use willow, when they could get it, only in concert banduras. In time,

1290-413: The fingers or a plectrum (pick), depending on the music being played, and the bass and contrabass (equipped with extension legs that rest on the floor) are played with leather plectra. The rare piccolo instrument is usually played with a pick. The earliest mention of the term balalaika dates back to a 1688 arrest document. Another appearance of the word is found in a claim dated October 1700 in what

1333-482: The following sizes: Factory-made six-string prima balalaikas with three sets of double courses are also common. These have three double courses similar to the stringing of the mandolin and often use a "guitar" tuning. Four-string alto balalaikas are also encountered and are used in the orchestra of the Piatnistky Folk Choir . The piccolo, prima, and secunda balalaikas were originally strung with gut with

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1376-667: The formal study of the balalaika, from which highly skilled ensemble groups such as the Osipov State Russian Folk Orchestra emerged. Balalaika virtuosi such as Boris Feoktistov and Pavel Necheporenko became stars both inside and outside the Soviet Union. The movement was so powerful that even the renowned Red Army Choir , which initially used a normal symphonic orchestra, changed its instrumentation, replacing violins, violas , and violoncellos with orchestral balalaikas and domras . Often musicians perform solo on

1419-505: The help of Oleksander Nezovybat'ko. Instruments bore the signatures of the individual craftsmen who made them: Oleksander Shulkovsky, Oleksy Kilotsky, Iosif Mentej, Volodymir Mentej, Mykola Yeshchenko, and Sofia Zolotar. Oleksander Shlionchyk headed the experimental workshop. In 1967 the factory began manufacturing a new Skliar design, the Kyiv-Kharkiv bandura. They made eight instruments without mechanisms. Due to Ivan Skliar's death in 1970,

1462-656: The highest-pitched to the lowest: the piccolo balalaika, prima balalaika, secunda balalaika, alto balalaika, bass balalaika, and contrabass balalaika. There are balalaika orchestras which consist solely of different balalaikas; these ensembles typically play Classical music that has been arranged for balalaikas. The prima balalaika is the most common; the piccolo is rare. There have also been descant and tenor balalaikas, but these are considered obsolete. All have three-sided bodies; spruce, evergreen, or fir tops; and backs made of three to nine wooden sections (usually maple). The prima, secunda, and alto balalaikas are played either with

1505-453: The instrument. In the early 18th century the term appeared in Ukrainian documents, where it sounded like "Balabaika". Balalaika appeared in "Elysei", a 1771 poem by V. Maikov. In the 19th century, the balalaika evolved into a triangular instrument with a neck that was substantially shorter than that of its Asian counterparts. It was popular as a village instrument for centuries, particularly with

1548-422: The instruments by adding a fully chromatic set of frets and also a number of balalaikas in orchestral sizes with the tunings now found in modern instruments. One of the reasons why the instruments were not standardised, was because people in the outlying areas built their own instruments because there was so little communication for them. There were no roads and weather conditions were generally bad. Andreyev patented

1591-434: The manufacturing process for the instrument was not perfected and the factory dropped the Kyiv-Kharkiv bandura from further production. By 1978, the factory had made 26000 pianos, 110,000 balalaikas, and guitars using over 34,000 cubic meters of wood. The manufacturing of banduras used 500 cubic meters of willow . By 1991, they had made around 30,000 banduras. The use of willow in bandura backs and bodies caused problems for

1634-541: The neck so that they could be moved around by the player at will (as is the case with the modern saz , which allows for the playing distinctive to Turkish and Central Asian music). The first known document mentioning the instrument dates back to 1688. A guard's logbook from the Moscow Kremlin records that two commoners were stopped from playing the Balalaika whilst drunk. Further documents from 1700 and 1714 also mention

1677-403: The thinnest melody string made of stainless steel. Today, nylon strings are commonly used in place of gut. Amateur and/or souvenir-style prima balalaikas usually have a total of 16 frets, while in professional orchestra-like ones that number raises to 24. An important part of balalaika technique is the use of the left thumb to fret notes on the lower string, particularly on the prima, where it

1720-596: The three highest strings of the Russian guitar ), whereby it is easier to play for Russian guitar players, although classically trained balalaika purists avoid this tuning. It can also be tuned to E 4 –A 4 –D 5 , like its cousin, the domra , to make it easier for those trained on the domra to play the instrument, and still have a balalaika sound. The folk (pre-Andreev) tunings D 4 –F ♯ 4 –A 4 and C 4 –E 4 –G 4 were very popular, as this makes it easier to play certain riffs . Balalaikas have been made in

1763-494: The çöğür was first made in the city of Kütahya in western Turkey. To take the strain of the metal strings the leather body was replaced with wood, the fingerboard was lengthened and frets were introduced. Instead of five hair strings there were now twelve metal strings arranged in four groups of three. Today, the çöğür is smaller than a medium-size bağlama. Çöğür is also used to refer medium sized short necked bağlama (kısa sap bağlama). There are three string groups, or courses , on

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1806-600: Was around $ 2000 US. All the banduras in the museum collection at the factory have been stolen. Some of the instruments were unique. Some have surfaced for sale with asking prices of $ 6000. The following are the most common banduras made by the Chernihiv factory with their 1988 price in roubles in order to compare the instruments. 51°28′44″N 31°16′21″E  /  51.47889°N 31.27250°E  / 51.47889; 31.27250 Balalaika Baglama Dombra Domra Panduri The balalaika (Russian: балала́йка , pronounced [bəɫɐˈɫajkə] )

1849-463: Was played in some areas of Turkey until recent times. The most commonly used string folk instrument in Turkey , the bağlama has seven strings divided into courses of two, two and three. It can be tuned in various ways and takes different names according to region and size: Bağlama, Divan Sazı, Bozuk, Çöğür, Kopuz Irızva, Cura, Tambura, etc. The cura is the smallest member of the bağlama family: larger than

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