Koncovka

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Koncovka with a natural surface

Koncovka is in the folk music of Slovakia used nuclear fission flute without finger holes, which is traditionally played by shepherds. The player can at the Harmonic belonging koncovka by Overblowing a number of and by closing the lower opening overtones above the fundamental note produce. Koncovka means “end flute” in Slovak (a “flute played from the end”, derived from konec , “end”).

Origin and Distribution

Of the more than 200 folk musical instruments known from Slovakia, the beak flutes, with around 35 different shapes, form the largest group. The most characteristic Slovak wind instrument is the over 180 centimeters long, vertically held core- gap flute fujara with three finger holes. Otherwise there are flute types with two, three, five and six finger holes, overtone flutes without finger holes and the double beaked flute dvojačka made of two parallel music tubes.

In contrast to end-edge flutes without a headjoint, which have to be blown freely against the upper edge, the core gap flutes are easier to play. The most common European form is the recorder type . An 11th century French illustration is the earliest evidence of a magnetic slit flute in Europe; In a Byzantine illumination from the 13th century, a magnetic split flute with seven finger holes can be seen for the first time. The magnetic flutes, played vertically with both hands, presumably came from Asia and reached Eastern Europe on the one hand with the Slavs and on the other - according to Curt Sachs - via Islamic North Africa to southwestern Europe, where the name of the oriental flute became shabbaba in al-Andalus ajabeba . Beaked flutes from the Caucasus region and Central Asia, which are related to the Eastern European flutes, are the tulak played in Tajik music , the Armenian tutak , the Azerbaijani tutek , the Georgian salamuri , the Russian swirel (свирель), the Ukrainian sopilka (со) and for Eastern Europe the Bulgarian swirka is used as a representative .

A special group of magnetic resonance flutes was classified as a " tongue duct flute" . Although they have a cutting edge, instead of the recorder head they have an open end into which the tongue is inserted in order to narrow the opening to a suitable wind tunnel. This type occurs in Slovakia and is otherwise known to other Slavs and Finno-Ugric peoples . In Finland this rare flute is called mäntihuilu , with the Mari in the Russian republic Mari El shialtysh and in Ukraine dudka or a slightly larger variant gudilo tongue- split flutes are used as overtone flutes with finger holes and without finger holes. In Slovakia, two types are known as overtone flutes and one type with six finger holes. All three have been played by shepherds since ancient times.

Straight top

Tongue-gap flutes are easier to manufacture than beak flutes (core-gap flutes with a curved mouthpiece). The overtone flutes without finger holes include beak flutes as well as the even simpler end-edge flutes that are blown over the edge of the open upper end. This type of flute is represented in Eastern Europe by the Romanian tilincă and the Ukrainian telenka (теленка), among many others .

The main focus of the handhole-free core gap flutes is the Slavic language groups in Eastern Europe. In addition to the koncovka , these include the Russian kalyuka and the Moldovan csilinko . There is also the related seljefløyte (“willow flute”) made in Norway from a willow branch . The 60 centimeter long seljefløyte is blown across because the blowhole on the core is strangely positioned to the side and can produce eight to ten tones.

To what extent a parallel can be drawn to the south - western European one-handed flutes , which are played by a musician together with a cylinder drum ( tabor ), is the subject of the specialist discussion. One-handed flutes usually have three finger holes with which a range of more than two octaves can be achieved. However, the French composer Benjamin de Laborde (1780) mentioned a one -handed flute (tambourine pipe) called jombarde without finger holes. The mouthpiece of the jombarde was therefore covered with thin leather, which fits an Aragonese one-handed flute (generally Schwegel in northern Spain and southern France). Overtone flutes without a finger hole were probably also used in medieval English folk music, as an illumination from the beginning of the 14th century shows.

As a shepherd's flute, the koncovka has a broad connection with the flutes played by shepherds for private entertainment from the High Tatras over the Carpathian arch ( fluier flute types) reaching as far as Romania and to the southern Slavs . In Poland, the shepherd's flute is known as fujarka, a core- gap flute with five to eight finger holes or a double flute , and in the Balkans the Slavic flute types meet the Turkish shepherd's flutes ( kaval ).

Design and style of play

Koncovka

Available overtones of a tuned to G koncovka . The row of notes is created by alternately closing (shown as “●”) and opening (shown as “o”) the lower end.

According to the Hornbostel-Sachs system , the koncovka is an open internal gap flute without finger holes (421.221.11). There is no standardized length or pitch for the koncovka . Depending on the desired range, lengths between about 40 and 85 centimeters are common. For the production, dried elder branches are drilled out cylindrically, whereby the natural, slightly curved growth is retained. About two centimeters from the top, a hole is made with the cutting edge ( oblôčik, from Slovak oblok , "window"). The angle of the cutting edge has no significant influence on the sound quality. The upper end that has just been cut is closed with a wooden plug, except for the wind tunnel. The finely sanded surface is often decorated with burnt-in or black-drawn geometric patterns. Modern flutes are sometimes made from PVC tubing.

A very weak blowing pressure brings out the keynote . A series of natural tones can be produced by increasing the blowing pressure . Closing the lower opening with your finger creates another series of overtones above a second fundamental tone. If the musician blows alternately with the lower end open and closed and with different blowing pressure, he receives a full scale of the Lydian or Mixolydian mode common in Slovakia .

Traditional Slovak music is classified according to the time of origin, genre and regional characteristics. The numerically largest group of Slovak folk songs - around 30 percent - belong to the "shepherd style", which developed between the 14th and 18th centuries and whose melodic structure is formed by the intervals of a fifth or third and fifth. Geographically, the shepherd style is assigned to the central and northern Slovak mountain areas. Almost two thirds of these melodies are based on the root F, in addition to G, C and D scales. Typical for many villages in northern Slovakia is the tone sequence d-f-sharp-g-a-b-c'-d'-e'-f ', which corresponds to the overtone series of the finger-hole flute.

With the decline of the traditional pasture economy in the 19th century, the flute music traditionally used by cattle herders and the production of these flutes lost their cultural affiliation. By the beginning of the 20th century, the shepherd's flutes had almost disappeared from everyday life. The revival of the folk music tradition in the second half of the 20th century is based on changed cultural ideas. The flutes of the folk music tradition serve primarily to represent national culture on a local and supraregional level.

Related Slovak overtone flutes

Some regional flute types in Slovakia are also core gap flutes without finger holes. The general Slovak name for flutes, including overtone flutes, is píšťala (dialectal spellings píšťalka, píšťelka, píštela, píščela, píščelka or píščelka ). The willow bark flute vŕhová píšťala (" willow flute ") is 40 to 50 centimeters long and has a beak-shaped mouthpiece, as does the goralská píšťalka, the goralská píšťalka , which is also known as the točená píšťalka (turned flute), named after its homeland among the Gorals in northern Slovakia ) is known. It has a cylindrical wooden tube 54 to 80 centimeters long, an outer diameter of 2.4 to 3.1 centimeters and an inner diameter between 1.3 and 2.1 centimeters. For the Goralenflöte are usually in late autumn hazelnut branches, rarely the woody branches of the wild rose cut. These are drilled out conically tapering towards the bottom by initially using a larger drilling diameter for the upper third of the length than for the lower two thirds. The hole is then smoothed with a glowing wire turned in a circle. A dry piece of hazelnut wood serves as the core. The player encloses the beak mouthpiece with his lips and holds the instrument at an angle to the side. The musically usable tone sequence is a - f '. The Goralen flute is the only Slovak overtone flute with which the fundamental note can be played when blown open. With the lower end closed, only the third overtone can be used.

The tube of the lower flute podolka ("lower", so "lower flute "), also liesková píšťala ("hazel flute"), in the east of Moravia it is called koncovka , consists of two split halves of a hazelnut branch, in which the pulp is twisted out as a strand and in Is extended towards the top. Then the two half-grooves are placed on top of each other and wrapped in full length with hemp, bast or willow bark strips. The bore of the lower flute is strongly conical. Their inner diameter at the upper end is up to twice the diameter at the lower end, the upper outer diameter is one and a half times the lower diameter. With a length of 85 to 95 centimeters, the lower flute is one of the longest Slovak flutes after the fujara .

The elliptical flute, rífová píšťala (" ellen flute") or otáčaná píšťala ("wound flute") is similarly composed of two halves and wrapped with bark . With their exceptionally strong conical bore, the upper inner diameter is more than twice the lower. The production of hazelnut flutes depends on the season and the weather, and storage of flutes made from fresh wood also has an impact on the constantly changing acoustic behavior. With appropriate treatment, such flutes can be used for several years.

literature

Web links

Commons : Koncovka  - collection of images, videos and audio files

Individual evidence

  1. ↑ Oskár Elschek, 1983, p. 131
  2. ^ Oskár Elschek: Slovakia. II. Traditional music. In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians , Vol. 23, Macmillan Publishers, London 2001, p. 519
  3. ^ Curt Sachs : Handbook of musical instrumentation. Georg Olms, Hildesheim 1967, p. 302
  4. ↑ Blowing device for the split tongue flute (Slovakia). Illustration in: Oskár Elschek: Typological working methods for folk musical instruments. In: Studia instrumentorum musicae popularis I, Stockholm 1969, pp. 23-40
  5. ↑ See Ernst Emsheimer: A Finno-Ugric Flute Type? In: Journal of the International Folk Music Council , Vol. 18, 1966, pp. 29-35
  6. ^ Ernst Emsheimer: Tongue Duct Flutes Corrections of an Error. In: The Galpin Society Journal , Vol. 34, March 1981, pp. 98-105, here p. 102
  7. ↑ Reidar Sevag: Seljefløyte. In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Vol. 4, Oxford University Press, Oxford / New York 2014, pp. 462f
  8. ^ Hermann Moeck : European Block-and-Duct Flutes. In: The Galpin Society Journal, Vol. 25, July 1972, p. 147
  9. ^ Benjamin de Laborde: Essai sur la Musique. Paris 1780, p. 268, cit. according to: Curt Sachs: Real-Lexikon der Musikinstrumenten at the same time a polyglossary for the entire field of instruments. Julius Bard, Berlin 1913, p. 198b
  10. ↑ Hermann Moeck: Origin and tradition of the core-gap flute of European folklore and the origin of the music-historical core-gap flute types. (Dissertation, Göttingen 1951) Reprint: Moeck Verlag, Celle 1996, p. 203
  11. ↑ Zbigniew J. Przerembski: Fujarka . In: Laurence Libin (Ed.): The Grove Dictionary of Musical Instruments . Vol. 2, Oxford University Press, Oxford / New York 2014, pp. 360f
  12. ↑ Anna Danihelová, Zuzana Danihelová, Martin Čulík: The Timbre of an Experimental Edge Blown Pipe - Slovak “Koncovka” (Typical Simple Slovak Folk Flute Without Finger Holes) when Changing the Geometry of the Tone Forming Part and Tube Wood. In: Euronoise, European Acoustics Association, Prague 2012
  13. ↑ Martin Takáč: Overtone flute (koncovka) playing technique.
  14. ^ Oskár Elschek: Slovakia. II. Traditional music. In: Stanley Sadie (Ed.): The New Grove Dictionary of Music and Musicians, Vol. 23, Macmillan Publishers, London 2001, pp. 517f
  15. ↑ Marian Friedl, 2015, p. 80
  16. ^ Oskár Elschek, 1983, p. 165
  17. ^ Ludvík Kunz: The folk musical instruments of Czechoslovakia. Part 1. (Ernst Emsheimer, Erich Stockmann (Hrsg.): Handbook of European Folk Musical Instruments, Series 1, Volume 2) Deutscher Verlag für Musik, Leipzig 1974, p. 103f
  18. ↑ Oskár Elschek, 1983, pp. 129–132
  19. ↑ Oskár Elschek, 1983, pp. 135, 138