Kemençe
Kemençe are two Turkish painted box necks that differ in their design and musical use. Karadeniz kemençesi is a slender boat-shaped lute with a characteristic teardrop-shaped pegbox, which is played in the folk music of the eastern Turkish Black Sea coast . In Greece , the same three-stringed instrument is known as the Pontic lyre . The fasıl kemençesi , also armudi kemençe , used in classical Turkish music , has a pear-shaped body and is related to several European sounds such as the Cretan lyre and the Bulgarian gadulka .
etymology
The word kemençe comes from the old Persian kamānča . The root word kemen (Persian kamān ) means "bow" and today in Turkish denotes the European violin . The ending -çe takes the place of the Persian diminutive suffix -ča and is a word-formation suffix in the Turkic languages such as -ce, -ca and ça (depending on the sound alignment). It describes the property kemençe , literally translating from Turkish as "bow-like" or "with a bow (played)". The property became the noun kemençe , which translates as “the one played with the bow”.
Keman or kamān is also included in the name of the Persian classical spiked fiddle kamānča , the spiked fiddle kabak kemane , which is played in Turkish folk music, and other spiked fiddles in the region: Armenia ( kemancha ), Azerbaijan ( kamancha ) and Georgia ( kemanche ). The kaman is a short-necked lute found in Armenia and the kamaica is a bowl- necked lute in northwest India. The spiked fiddles are not related to the kemençe .
Origin and Distribution
The word context kamān includes three types of bowed lute instruments:
- pike sounds crossed with a bow:
The oldest Persian name, kamānča , and most other names stand for instruments that have long necks and a small body made of bronze, wood, coconut or pumpkin. This also includes the Turkish Kabak-Kemane . These instruments correspond to the first bowed string instruments mentioned by writers who wrote Arabic, often from Central Asia, from the 11th century onwards. The starting point for the development of these string instruments of the kamānča type, especially for playing with the bow, is to be found in Ḫwarizm , in Sogdian Transoxania and Ḫorasân , i.e. in the area of today's eastern Iran , northern Afghanistan , Turkmenistan and Uzbekistan .
- bow-struck short-necked lutes:
These include the turkish karadeniz kemençesi and armudi kemençe or fasıl kemençe, described below . Similar instruments are the Pontic lyra in Greece and the Bulgarian gadulka .
- modern instruments of the European violin family:
Violin and viola supersede both in traditional art music and in folk music of the countries concerned. B. in Egypt, more and more the original bowed short-necked and long-necked lutes and sometimes adopt their traditional names.
Fasıl kemençesi
The "classical kemençe" is actually called armudi kemençe ( Eng . "Pear kemençe") or fasıl kemençe ( fasıl is an instrumental series of lectures, Eng. Literally "section"). It is an instrument of Ottoman art music and has a length of 40–42 cm and a width of 14–15 cm. Its sound box , which resembles half a pear, its neck and the elliptically wound end of the neck are carved from a single hollowed-out piece of wood. There are two large D-shaped sound holes on the ceiling with the edges facing outwards. There is a groove on the back of the instrument. The "classical kemençe" traditionally has three strings, which are mostly tuned to d1, g1 and d2. In the past, melodies were only played on the highest string, the other two strings were occasionally used for drone sounds. Since this century the "classical kemençe" has also been built with four strings. An experienced player can now manage a range of around two octaves.
When playing, the tail-shaped end piece is placed on one knee, the peg box is usually leaned against the chest. The fasıl kemençe can also be held between the knees. The strings are 7-10 mm above the body and stem of the instrument. They are not pressed down on the fingerboard with the fingers, but touched with the fingernails.
Karadeniz kemençesi
The “Black Sea Kemençe” with three steel strings is also made from a single piece of wood by hollowing out and carving. Like many folk instruments, it has neither a standard size nor an unchangeable shape. Nowadays, a length of 56 cm has generally prevailed. The resonance body, whose edges are rectangular and whose back is flat, is preferably made from the wood of the plum or juniper tree. The short, barely offset neck has only a short grip surface, as the instrument is usually played in the first position. This enables the player to play the karadeniz kemençesi while standing or dancing, holding the instrument freely in the air with the left hand. If the player is seated, he holds his instrument between his knees. The karadeniz kemençesi is often played to accompany dances and songs, but also to perform as a soloist. In the eastern Black Sea region, like the bagpipe Tulum in the mountainous hinterland, it is the leading folk musical instrument. The musical regions of played by farmers karadeniz kemençesi in the coastal mountains and the Tulum of pastoralists in the higher mountains are related to each other. Kemençe players also take on the melodies of Tulum songs. The strings are tuned with fourths apart , making it easy to play melodies in fourths . If the melody is only played on the top or middle string, the two strings below or the string above act as a drone .
Well-known Kemençe players are Picoğlu Osman (1901–1946), Bahattin Çamurali (1931–1991), Katip Şadi (* 1932) and Birol Topaloğlu (* 1965).
Web links
literature
- Eliot Bates: Mixing for Parlak and Bowing for a Büyük Ses: The Aesthetics of Arranged Traditional Music in Turkey. In: Ethnomusicology, Vol. 54, No. 1, Winter 2010, pp. 81-105
- Jürgen Elsner: Kamānče , in Music in Past and Present (MGG), Sachteil, Vol. 5, Kassel 1996
- Ralf Martin Jäger, Ursula Reinhard: Turkey , in MGG, Sachteil, Vol. 9, Kassel 1998
- Kurt Reinhard , Ursula Reinhard: Music of Turkey, Volume 1: The art music (paperbacks for musicology; 95). Wilhelmshaven 1984
- Kurt and Ursula Reinhard: Music of Turkey, Volume 2: The folk music (pocket books for musicology; 96). Wilhelmshaven 1984
Individual evidence
- ^ Jean During, Robert Atayan, Johanna Spector, Scheherazade Qassim Hassan, R. Conway Morris: Kamāncheh. 1. Spike fiddles. In: Grove Music Online , 2001
- ↑ Robert At'ayan, Jonathan McCollum: K'aman. In: Grove Music Online, September 22, 2015
- ↑ Laurence Picken : Instrumental Polyphonic Folk Music in Asia Minor. In: Proceedings of the Royal Musical Association, 80th Sess. (1953-1954). Taylor & Francis, pp. 73-86, here p. 77