Privalov wind instruments zhaleika pdf. What wind instruments are included in the folk orchestra?

Musical instrument: Zhaleika

At one time, Grigory Alexandrov’s wonderful comedy “Jolly Guys” about the funny adventures of the talented and cheerful shepherd Konstantin Potekhin was very popular in our country. There are comical sequences in the film that made the audience laugh uncontrollably.

Kostya's pets: cows, sheep and piglets, hearing the familiar sounds of their shepherd's instrument, who was asked to play a little music during a dinner party, burst into the main hall and committed a grandiose pogrom there. Animals, even those that belong to livestock, are quite intelligent creatures, distinguish well and always follow a familiar sound, so many shepherds used to skillfully play folk wind instruments, as this greatly helped them in their work. The shepherds held special respect for the pipe, horn and zhaleika - an ancient Russian folk instrument, originally used in funeral rites in Rus'. Its interesting name comes either from the word pity, or from the word to regret.

Read the history of the pity and many interesting facts about this musical instrument on our page.

Sound

The sound of the pitiful can be described by such words as loud, shrill, assertive and even noisy. It is practically devoid of overtones and is almost incapable of dynamic shades. The timbre of the instrument has a pitiful and slightly nasal tone.

The sound of the instrument is the result of the vibration of the reed, which occurs under the influence of the air blown in by the performer.

The zhaleika, which generally has a diatonic scale, can also be chromatic.

The range of the instrument, depending on the number of sound holes, is very small and includes only one octave.

Playing the pity is not easy, since accurate intonation on the instrument requires great skill from the performer.

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Interesting Facts

The zhaleika is probably the only instrument that has so many names in one country. It is called duda, fletlet, pishelka, keychain, sipovka, zhalomeyka, pishik, ladushka or simply a horn.
The sound of the pity is so loud that it can be heard six kilometers away.
In Rus', a shepherd in a village was considered a very important person, whom everyone respected. He got up before everyone else at first light and played the wake-up call on his instrument. Passing by a house, the shepherd performed a certain tune, the hostess, hearing him, knew that it was time for her to drive out the cow.
The best performers at the zhaleyka in Russia were not professional musicians, but shepherds.
The shepherd, having played his instrument, could easily gather the animals. Even a lost cow could find its way back to the herd by the sound of a familiar instrument.
An entire generation of Soviet pop music fans remembers well the name of the wonderful singer Valentina Vasilievna Tolkunova. In the artist’s very diverse repertoire there were two very popular songs in which the ancient Russian instrument zhaleika was depicted in a very poetic way.

Design

The rather simple design of the pity includes a tube, a bell and a mouthpiece (pischik).

The tube, the length of which varies from 10 to 20 cm, has a cylindrical shape. If earlier shepherds used mainly reed reed, willow, maple and elderberry to make it, today the material used is very diverse. This is apple wood, mahogany, as well as ebonite and aluminum. There are usually 3 to 7 sound holes on the tube barrel.
The bell, which acts as a resonator, is attached to the lower end of the tube. For the most part, it is made from cow horn or birch bark. The junction of the pipe and the horn is usually decorated with a ring, which is usually made of brass.
The mouthpiece, called the pike, is located at the top of the instrument. This is a small tube of a certain size and shape, made of wood, ebonite, metal or plastic. A single cane (tongue) made of reeds or thin plastic is attached to the pika using two so-called cambrics.

Varieties

The zhaleika family is very diverse and includes instruments that vary in size, pitch, tuning and design.

Zhaleiki, differing in size and pitch: piccolo, soprano, alto and bass.

Tools that differ in design are the keychain and the double sting.

The keychain, unlike the pity, has a softer sound, since the bell is made not of cow horn, but of birch bark, and instead of a single tongue, a double one is used.

A double jig is a tool whose design consists of two tools joined together. It is possible to perform two-voice melodies on a double pity.

Story

Today, unfortunately, we cannot trace the history of the pity from the very beginning of its emergence. Wind instruments have existed on Russian soil since time immemorial. In the era of Kievan Rus, they were used without fail in military affairs: they notified of danger by making so-called protective sounds, and also pleased princes at feasts and amused the common people at festive festivities. Unfortunately, no one gives us an accurate description of the instruments played by our ancestors, and even in ancient chronicles there is almost no mention of them.

We also know very little about the pity; we have only received information that she was an indispensable participant in funeral rites called “pity.” Perhaps it is because of this everyday custom that the instrument has such a strange name. Also, the pity was very loved by shepherds, who used it not only in their direct work, but also to amuse people at various holidays. In addition, the instrument was in demand among amusing people popular in Rus' in the 15-17th centuries - buffoons, whose performances were very loved by the common people. However, the performances of these traveling artists often contained caustic attacks on secular and ecclesiastical authorities, causing them serious discontent. As a result, buffoons in the mid-17th century during the reign of Alexei Mikhailovich Romanov were subjected to disgrace and persecution, and their instruments were mercilessly destroyed as the product of demonic forces. Russian national musical culture was then dealt a strong blow, and it suffered great losses. But, nevertheless, the shepherd's pity continued to sound and traditionally greeted the first rays of the rising sun with its sound.

The era of revival of interest in national culture occurred at the end of the 19th and beginning of the 20th centuries. Thanks to real patriots, including V. Andreev, N. Privalov, O. Smolensky, G. Lyubimov and other enthusiasts, many Russian folk instruments received a second life. They were not only restored, but significantly improved, and then included in the first orchestra of Russian folk instruments under the direction of V. Andreev. The zhaleika, or, to be more precise, its variety, the keychain, has also undergone some changes and has also found its rightful place in the orchestra. The keychain, unlike the zhaleika, had a softer sound, since it was made entirely of bredina, a type of willow tree, hence the name of the instrument. The improvement of the pity continued; in the workshops of musical instruments created in Moscow by G.P. Lyubimov, an ethnographer, musician, performer and conductor, an attempt was made to create an instrument with a chromatic tuning. Later he became a soloist of the Great Russian Orchestra under the direction of V. Andreev O.U. Smolensky, a guslar and a psaltist, designed instruments of various sizes: piccolo, soprano, alto and bass, which were subsequently used in the psaltery quartet, and then in the famous “horn-player choirs.” Today, the pity is used very rarely as a solo instrument; its sound is mainly used in orchestras of Russian folk instruments, as well as ensembles performing folk music.

Recently, attention to ancient Russian folk wind instruments, including the zhaleika, has been constantly increasing. Many musicians are passionately trying to master the art of playing them. This trend suggests that interest in national culture is growing, and with it in the musical instruments played by our ancestors. Ancient folk wind instruments will not only not be forgotten, but the performing arts on them will also be preserved.

Video: listen to the pity

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The Zhaleika is a reed wind musical instrument, considered, along with the Chalumeau and the Hungarian Tarogato, to be the harbinger of the modern clarinet. This unpretentious and easy-to-make tool has many varieties. They play tunes of a wide variety of genres on the penny, alone, in duets, and also in an ensemble with other instruments and singing. This musical instrument got its name due to its “compassionate, sometimes... crying” sound. In some areas, two more names have been assigned to the pity - horn and pika. Such names most likely determined the design and material from which the craftsmen made this instrument.

Often the pity is made from a wooden pipe with several holes, into which a goose feather is inserted on one side, and the other side is inserted into a bull's horn (hence the name “horn”). The pischik can also be made not only from goose feathers, but also from reed, walnut, and hazel. Some craftsmen have adapted to making a squeaker out of wood, since reed ones quickly get wet, disrupt the tuning and do not sound at all. The pipe itself can be made of willow, elderberry, maple, reed (sometimes even tin). The five finger holes on the pipe are called “voices” and are numbered from bottom to top. During the game, all the holes are never open. If you close it one by one, a scale system is formed: do, re, mi, fa, salt, etc. The length, size and diameter of the horn into which the second end of the pipe is inserted affects the pitch, strength and timbre of the sound. The horn is usually taken from a bull, since a cow’s horn is ribbed. They sand it, cook it for a long time, drill a hole, and then adapt it to the pipe, sometimes they glue it, sometimes not.

In the villages of Alekseevsky and Krasnogvardeisky districts of the Belgorod region, the double zhaleika, or pishik, was especially common. The pika differs from a simple pity in that it has two pipes, which are again inserted into a well-cleaned bull's horn, so that the walls become thin and glow.

The bell of the horn should be more bent. This affects the strength of the sound. From the stories of folk instrumentalists of the Belgorod region E.M. Saprykina (born in 1905, Afanasyevka village, Alekseevsky district) and M.V. Sychev (born in 1910, the village of Streletskoye, Krasnogvardeisky district), we can conclude that making an instrument is a delicate and scrupulous matter. It requires from the creator not only strict adherence to technology, but also a love of music in general. The method for making a pika is as follows: tongues are cut on the trunks of peeled reeds; both pipes are fastened together and united by one bull's horn bell. Tool barrels are named according to the number of holes there, that is, “tee”, “gear”.

The instrument is tuned so that one peep continues the scale of the other. In general, pikas do not have a standard scale. The structure of the instrument depends on local traditions, repertoire and the individual characteristics of the performer. Most of the pity players' repertoire consists of dance tunes.

From the materials of folklore expeditions to the Alekseevsky and Krasnogvardeysky districts of the Belgorod region, it became known that at the end of the last century there were few masters of playing the unique traditional musical instrument that was previously widespread here - the double pity. The most famous among folklorist researchers were two of them. This is Fedor Grigorievich Voronkov (born 1914), who lived in the village of Kazatskoye, Krasnogvardeysky district. The names of his tunes have been preserved since the 19th century: “General”, “Steppe”, “Let me come out”, “Petrakova”, “Cruspy”. The head of the folklore ensemble “Userd” in the village of Nizhnyaya Pokrovka, Krasnogvardeisky district, Viktor Ivanovich Nechaev (born 1965), is also known. He plays the pity and knows the tradition of its making. He also spoke about the design of a modern pitiful car.

However, not only folk musicians play and perform pitifully. Professional musicians began to do this with enthusiasm. Here is the story of V.I. Nechaev about the design and features of modern pitiful:

Nowadays, metal or ebonite tubes are often used, the body of which can have from three to seven holes to change the pitch of the sound. The jingle with seven holes in the tube has a full diatonic scale within an octave. It is tuned, as a rule, to a major scale with a lowered VII degree, which is typical for the Russian folk musical tradition. Depending on the size, the penny can have different tunings, which is important in ensemble and orchestral playing. Folk wind instruments do not have exact standards, so each of them has certain individual qualities (design, tuning, range, timbre).

The most important structural part of the pity is the mouthpiece with the reed. In order for an instrument to have a well-defined tuning, the mouthpiece with a reed (reed) must itself, without a resonator, produce the basic tone of this tuning - for example: “D” in D major. On ancient penny-liners, the craftsman cut the tongue (pischik) directly on the main tube or on a separate small tube, which was inserted into the channel of the main tube. In this case, the performer had to close the free end of the squeaker tube with his tongue.

Nowadays, the design of the mouthpiece has been somewhat improved. Its free end is made blind; a rectangular narrow cut is made along the mouthpiece towards its blind end, which opens the internal cavity. A tongue (squeaker) is installed above the cut, which is attached at the base of the cut with a ring of polyvinyl chloride tube. This fastening not only makes it possible to securely attach the tongue to the mouthpiece, but also, which is very important, to change the tuning of the instrument, within a quart, by moving the ring in one direction or another. A small tube-cap is placed on top of the main tube of the pity, which protects the tongue from accidental damage, and at the same time, thanks to it, the technical capabilities of the design are expanded. The size and location of the holes on the main tube of the instrument do not have exact dimensions. In folk practice, the distance between the holes is approximately equal to the thickness of the finger (i.e., about 25 mm). The size of the holes (their diameter) is determined when setting up the tool experimentally. The larger the hole, the higher the sound. In addition, the diameter of the main tube bore also affects the size of the holes and the distance between them.

Making sound on a penny requires some effort. The greater this effort, the higher its tuning can rise (within ¼-½ tone), and vice versa. In addition, this instrument can also play intermediate chromatic sounds by partially closing the holes. In principle, it is possible to manufacture instruments in any tuning. The range of the pity usually covers an octave, but can be even wider by a quart. In addition, an experienced performer can expand the range by pressing the base of the tongue with the upper teeth and thereby extract 2-3 additional sounds of the scale. Professor of the Moscow Conservatory A.V. Rudneva notes that in Kursk villages a zhaleika with a small bell made of a cow's horn is called a "horn", and a zhaleyka with a large bull horn and a lower tuning is called a "gudilo".

Zhaleika has an octave diatonic scale in the tuning “A-”, “E-”, “F-”, G major. Pitys of other keys are also used. Lowering the tuning down simultaneously increases the size of the pity and, at the same time, the distance between the finger holes (scale), and vice versa, which creates additional difficulties when playing.

In sheet music, the pity is written in the treble clef, in the first octave. The zhaleika is a primitive instrument. Its endless improvement would ultimately lead to the creation of the clarinet, and then its main amazing originality would be lost.

The pitiful consists of a tube with six holes on top and one (for the thumb of the left hand) at the bottom, a specially processed cow horn, a squeak with a cane and a mouthpiece. All these five elements “work” in unity, so the thoughtless replacement of one component with another, even looks the same - it is unlikely to bring the desired result.

The pity is held with both hands in front of you at chest level, almost horizontally. The ring, middle and index fingers of the right hand cover the three holes closest to the horn. The right thumb supports the tube at the bottom. It is necessary to strictly ensure that the thumb of the left hand covers the seventh, lower hole. Otherwise, the column of air inside the tube breaks, and the pity makes one uncontrollable sound. It is very important to develop a feeling for the necessary force of air blowing. When producing higher sounds, more breathing is required and vice versa. When making sound, the metal mouthpiece is not removed from the pity. It’s best to get used to melody by extracting middle notes rather than extreme notes. In this case, the correct feeling of the force of air blowing comes. It is impossible to play the piano on the path. Excessive sound volume is unacceptable. When monitoring by ear, you need to determine this limit for yourself. If the force of air injection is clearly overestimated, the pity will “stick”. It should be remembered that the top two notes do not have precise tuning and, in part, depend on the skill of the performer. Each sound corresponds to a certain number of open and closed holes. Each note has its own fingering. No “amateur activity” is acceptable in this case. If the performer has experience playing the pipe, recorder, etc., then getting to know the pity will not be more difficult for him. The predominant technique of playing the penny is “legato”, in which sounds of different heights are performed in one breath, using a clear and smooth fingering. “Staccato” also sounds good. In this case, the tongue, touching the mouthpiece, cuts off the air supply after each note.

When mastering the pity, you may encounter the following problem: condensation and saliva naturally accompany playing this instrument and interfere with sound production. For trumpeters and other musicians, this problem is solved by the presence of a special valve, which removes excess moisture. There is no such device on the pity, so after a long game you need to carefully remove the aluminum mouthpiece and dry the ebonite peep and reed with a piece of newsprint. This must be done if the abundance of moisture clearly interferes with the game. Without this need, there is no need to disturb the cane again. At the same time, you need to vigilantly ensure that no crumbs of wet paper remain under the cane. Otherwise, the structure of the pitiful will be disrupted.

The sound is produced using a technique that can be conventionally called “dry spitting”. With continued practice, the drying method will be used less and less and, over time, the need for this will disappear. The mouthpiece, pipe and reed must be kept extremely clean. In addition to purely hygienic requirements, you need to know that a crumb of tobacco, for example, or a piece of thread, etc. caught in a cane can nullify all the work. Therefore, when moving, it would be good to wrap each sting in a separate plastic bag. When folded together, they provide excellent shock absorption when transported in a balalaika case along with the balalaika.

Setting up a pity is a very delicate process. The reed is attached with two or three plastic rings, with two rings holding the reed, and the third is used for tuning. Moving the tuning ring a fraction of a millimeter from the horn increases the tuning and vice versa.

The reed should only be replaced if it breaks, although it can last for years under normal use. Changing a cane is a rather capricious process. It is impossible to make two exactly identical reeds, so the new reed will be different from the old one and will need to be “customized”. You need to start this operation in a good mood, given that success cannot be achieved in one minute. Having strengthened the new reed with cambric rings, you need to carefully tune it. Moving the cane along the slot of the ebonite squeak also gives a good result. In this case, the rings do not move, only the cane moves.

If the sound turns out to be “flimsy” and the reed sticks at the “tops,” you need to free the reed from the rings and carefully trim its working end by a fraction of a millimeter with a sharp knife. This thickens the vibrating part of the reed and thickens the sound. If the sound turns out to be clearly rough, you need to remove the reed, press it tightly against a piece of glass (a mirror, for example) and scrape the working part with a razor blade, reducing it to “nothing.” This makes the vibrating part of the reed thinner. Clarinetists can give good recommendations for making plastic reeds for pity.

When did the pity appear? Where did the word "pathetic" come from?

Why is the zhaleika considered a Russian folk instrument?

The history of the creation of the “pity” tool (accessible to children).

Description of the musical instrument "zhaleika".

The word “zhaleika” is not found in any ancient Russian written monument. The first mention of pity is in the notes of A. Tuchkov, dating back to the end of the 18th century. There is reason to believe that the pity was present before in the guise of another instrument.(jcomments on)

In a number of regions, the zhaleika, like the Vladimir horn, is called the “shepherd’s horn.” As a result, when a written source speaks of a “shepherd’s horn,” we cannot know exactly what instrument we are talking about.

The origin of the word "pity" is unknown. Some researchers associate it with “jelly” or “zhalie” - a funeral rite that in some areas includes playing the jellie. To study the question of when the Russian tradition of playing zhaleiki arose, an instrument called “pischiki”, widespread in the southern Russian regions, may be useful.

There are two types of zhaleika - single and double (double-barreled). A single sting is a small tube made of willow or elderberry, 10 to 20 cm long, into the upper end of which is inserted a squeak with a single tongue made of reeds or goose feathers, and a bell made of cow horn or birch bark is put on the lower end. The tongue is sometimes cut on the tube itself. There are from 3 to 7 playing holes on the barrel, thanks to which you can change the pitch of the sound.

The scale of the instrument is diatonic, the range depends on the number of playing holes. The timbre of the pitiful woman is shrill and nasal, sad and pitiful. The instrument was used as a shepherd's instrument; tunes of different genres were played on it alone, in duets, and in ensembles.

A double pitty consists of two tubes of equal length with playing holes, folded side by side and inserted into one common bell. The number of playing holes for paired pity pipes is different; as a rule, there are more of them on the melodic pipe than on the echoing one.

They play both pipes at the same time, extracting sound either from both at once, or from each pipe separately in turn. Paired zhaleiki are used for one-voice and two-voice playing. Single stingers are common mainly in the northern regions of Russia, and double ones - in the southern regions.

In the Tver province, shepherds made zhaleiki from willow, locally called nonsense, which is why zhaleyki there began to be called “trinkets.” The entire body of the keychain consisted of wood, which is why its sound was softer.

In 1900, V.V. Andreev introduced an improved type of pity into his orchestra, which he called a keychain. In its appearance, this pity is similar to the folk one; it has a double reed of the oboe type. In addition to the usual playing holes, it has additional ones with valves that allow you to obtain a chromatic scale.

Once upon a time, pity was widespread throughout Russia, Belarus, Ukraine and Lithuania. Nowadays it can be seen, perhaps, only in orchestras of Russian folk instruments.

Making Zhaleika

The instrument is a hollow wooden or reed tube 130-500mm long, 8-15mm in diameter, with playing holes, numbering from 3 to 10. On one side of the tube there is a squeak inserted with a tongue that produces sounds. On the other hand, sometimes a bell made of horn is installed.

If you don’t have reeds at hand and drilling a through hole in a wooden stick is not possible, don’t despair. In the age of modern technologies and materials, you can always find a way out. A plastic water pipe, which can be easily found in almost any hardware store, is suitable for this tool. The plastic from which the pipe is made is easy to drill and process and does not require additional impregnation against moisture.

So that your efforts are not in vain, you need to start with making a squeak; the sound of the pity will largely depend on it. It can also be made from scrap materials, taking, for example, an old felt-tip pen with a diameter of 5-8 mm and first removing all the insides from it. The hole must be cut according to the attached drawing.

Pika drawing

Photo of a pika. Side view.

The tongue is made of a hard, springy material, much like on plastic bottles or something similar. It is attached to the body of the pika using synthetic threads or thin fishing line to prevent damage from moisture; ordinary threads will do, but the service life will be shorter.

Before drilling play holes, it is necessary to mold the bell of the tool on some kind of mandrel, preheating it. The number of holes and their diameter will depend on the original size of the tube itself, its diameter and your wishes. By experimentation, trial and error, by spoiling one or two workpieces, you will achieve the desired result. The attached drawing (section of the sting) shows the approximate dimensions and diameters of the holes for the initial guide.

Pathetic cut. Drawing. Basic dimensions.

Setting up the pity comes down to selecting the length of the tongue by winding additional turns of thread (shorter the tongue - higher tone) and boring the holes (they must first be made slightly smaller than necessary).
Zhaleika, photograph of a folk instrument (without mouthpiece).

The price of one meter of plastic pipe is about 20 rubles, and from it, at least, you can make 4 pity pipes. Thus, for just 5 rubles you will receive not only an original folk instrument, but also, paraphrasing famous poems, you can play a sonnet on the water pipe clarinet, since the principle of the clarinet is similar to the pity. Plus a lot of pleasure from the process of working on the instrument.
Start making your instrument immediately!

Clay pitties.

A pitty can be made from any suitable tube. By making a piece of clay, you can achieve the desired sound and any decorative finish of the instrument.
Additionally, it should be noted that the optimal length of the instrument will be 25-30 centimeters, with an internal diameter of 6-8 millimeters.

The squeak tongue can also be made from a safety razor blade, cutting it to the desired size using ordinary scissors and grinding the edges on sandpaper. It is convenient to attach the tongue to the squeaker using radio-mounted vinyl chloride tubes (PVC cambrics).

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The zhaleika is one of the simple musical instruments. Learning to play the penny is accessible to everyone; you just need to make some effort to master the technique of producing sound on the instrument.

Sound production on a penny requires stronger air pressure than, for example, on a recorder, where the principle of sound formation is completely different. In order to understand the necessary air pressure for the harmonious sound of the pity, you should play notes on the instrument from bottom to top with a button accordion or piano “legato” (connected), then two notes each “legato”. After you have achieved a clean, harmonious sound, you need to play intervals, starting from the bottom note from the second onwards (example: Do-Re, Do-Mi, Do-Fa, etc.). Then you can combine intervals from top to bottom. You can also start the exercise with “legato”, then you can move on to “non-legato” and “staccato” (abruptly).

Below is the fingering. The diagram will help you understand the correct position of your hands and fingers when playing the instrument using the example of the C Major penny.

Please familiarize yourself with the diagram of the arrangement of notes on the instrument using the example of the pathetic C Major. Please note that the holes must be closed tightly.

It is advisable not to remove the cap from the pity unless absolutely necessary, so as not to bend the reed and disrupt the structure of the instrument. If it is necessary to adjust the instrument, the upper ring (which is located on the instrument’s squeak and holds the reed), depending on whether the squeak is high or low, should be moved up (if it is low) or down (if it is high) carefully by fractions of a millimeter.

An ancient Russian folk pipe - a wooden, reed or cattail pipe with a bell made of horn or birch bark.

Zhaleika is also known as pity.

Origin, history of the pity

In a number of regions, the zhaleika, like the Vladimir one, is called the “shepherd’s horn.” As a result, when a written source speaks of a “shepherd’s horn,” we cannot know exactly what instrument we are talking about.

The origin of the word "pity" is unknown. Some researchers associate it with “zheli” or “zhalei” - a funeral rite that in some areas includes playing the zhalei.

To study the question of when the Russian tradition of playing pity games arose, a tool called “ squeakers“, widespread in the southern Russian regions.

Once upon a time, pity was widespread throughout Russia, Belarus, Ukraine and Lithuania. Nowadays it can be seen, perhaps, only in orchestras of Russian folk instruments.

Design and types of pity

There are two types of zhaleika - single and double (double-barreled).

Single pity It is a small tube made of willow or elderberry, 10 to 20 cm long, into the upper end of which a squeak with a single tongue made of reeds or goose feather is inserted, and at the lower end there is a bell made of cow horn or birch bark. The tongue is sometimes cut on the tube itself. There are from 3 to 7 playing holes on the barrel, thanks to which you can change the pitch of the sound.

Scale pitifully diatonic. Range depends on the number of playing holes. Timbre pitiful, shrill and nasal, sad and pitiful.

The zhaleika was used as a shepherd's instrument; tunes of different genres were played on it alone, in duets, and in ensembles.

Double (double-barreled) pity consists of two tubes of equal length with playing holes, folded side by side and inserted into one common bell. The number of playing holes for paired pity pipes is different; as a rule, there are more of them on the melodic pipe than on the echoing one.

In the Tver province, shepherds made zhaleiki from willow, locally called nonsense, which is why they began to call zhaleyki there. The entire body was made of wood, which made its sound softer.

In 1900, V.V. Andreev introduced an improved model into his orchestra, which he called. In its appearance, this pity is similar to the folk one; it has a double tongue type. In addition to the usual playing holes, it has additional ones with valves that allow you to obtain a chromatic scale.

Video: Pity 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:

Selling tools: where to buy/order?

The encyclopedia does not yet contain information about where you can buy or order this instrument. You can change this!