D.D.
INSTRUMENTS
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Doli
Percussion
Doli is common in the lowlands of Georgia. The drums are played mainly by men; During the dance, Dolly emphasizes the rhythm of the dance. The percussion is often combined with one of the other instruments in the ensemble, for example, Chonguri and Chiboni, rarely Salamuri.
The function of Doli is to emphasize the rhythmic image of the dance. Doli is played with hands or sticks. It is held under the left elbow or is hung. It is played in a sitting position. Sometimes the player also dances.
Diplipito
Percussion
Diplipito is mainly played in the ensemble. It was first introduced to the orchestra by M. Ipolitov-Ivanov in "Caucasian Sketches", (1894). Later diplipito was used in operas by D. Arakishvili "Legend about Shota Rustaveli", S. Vasilenko "Wonderful Joseph", R. Glier ("Shahsenem") and others.
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The diplipito consists of two small jars of clay of different widths and equal heights covered with kidskin. Diplipito is played with two small sticks, so called "Goat feet." To enhance the sound, the leather should be stretched, for this the jars are placed on the grill, the skin is made moist to loosen it.
Chonguri
Strings
Chonguri is mainly spread in western Georgia (Guria, Samegrelo, Imereti, Adjara). According to Ivane Javakhishvili, Chonguri should have entered Georgian vocal music after XI-XIII centuries. Chonguri is a more sophisticated version of the fanduri (three-stringed instrument). A fourth string called "Zili" was added, which completely changed the sound of the instrument.
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During collective labor, women performed songs accompanied by chonguri. The women 's "Nadi" used to gather at night when they were in charge of family affairs. Their job was to spin wool, weave, spin cotton, spin feathers, and so on. Chonguri was more often played by women.
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Chonguri top deck, belly and handle are made of different materials. The belly is made of mulberry wood, the upper deck is made of Christmas tree in Guria and Samegrelo, and it is made of pine of Adjara. The handle is made of walnut in Guria-Samegrelo, and in Adjara it is made of mulberry wood. Chonguri strings are made from silk thread. The silk thread is twisted and filled with candle. Strings Gurian name "Dzapi" must be related to this material. Chonguri neck is inlaid with sapwood or bone. Sometimes wood is used instead of saddle.
Chonguri-Contrabass
Strings
Modern trends in the development of Georgian folk music have necessitated the existence of a low-pitched instrument. For this purpose it was most justified to make a new double bass style instrument based on Chonguri. In the 1930s, K. Vashakidze began attempts to improve Chonguri. Under his leadership, the Chonguri group Prima, Bani and Contrabass were formed. The construction of the low-rise Chonguri is similar to the classic Chonguri and it is made in the same way. Unlike the classic Chonguri, the new Chonguri had 12 permanent lads in addition to the neck, giving it a range of chromatic tones. The new sound of Chonguri-Contrabass added new touches to Georgian folk music.
Abkhartsa
Bowed
Abkhartsa was often widespread in Abkhazia at the end of the 19th century, remaining only in the Gudauta and Ochamchire districts until the late 1960s. At present this tool is preserved only in museums.
Chuniri
Bowed
Chuniri is an ancient Georgian bowed instrument. The time of its creation is unknown. According to legend, Rostom (a fairy-tale hero) accidentally killed his son. By the advice of the fortune-teller he went down the pit; On his son's hands and feet he tied the strings made of his beard and created Chuniri. The legend of the creation of Chunuri indicates that this instrument, was mainly associated with the cult of the dead.
Chunuri is widespread in Svaneti. In Guria, Racha, Khevsureti and Tusheti it is found under the name of Chianuri. In ancient times, Chuniri was played by women and men (Svaneti, Tusheti). It is an accompaniment instrument. It is often played with Salamuri. Solo songs, heroic poems, and dance melodies were performed with them. Chuniri and Changi unite in an ensemble while performing three vocal songs.
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Chunir occupied a wide place in ritual practice as well. In this regard, there was tradition of "soul arrest" in Svaneti: when someone died far from home and the body was brought home, care was taken to return his soul. According to the old belief, the soul remains at the place of death. Relatives would invite a good Chuniri player, they would bring the rooster and go to the place where their relative had died. They would start playing on Chuniri until the rooster crowed, which meant that the spirit had been found. A similar ritual was performed in Racha to search for the soul taken away by the avalanche to return it home. The connection of the bowed instrument with the cult of the dead speaks of its antiquity.
Larchem-Sionari
Wind
Larchem-Soinari - in Samegrelo known as Larchemi is derived from the word "letsami" (reed) and in Guria known as Soinari, from the Greek word "Solinar" (tube). Wind instruments especially reed Salamuris are recognized by various peoples as an attribute of the shepherd, with multi-layered Salamuris are associated cattle. Similar instruments are known from the Early Neolithic era. It was originally a signaling device that later evolved and became canonic instrument performing tunes.
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In Guria and Samegrelo, the production of larchem and soinar was passed on to the descendants. Larchem and sionar are made by those who play on it, because it is tuned at the time of production. Larchem is made from the plant larch. The instrument made of this material gives a clean and clear sound. The larch reed is cut in late July, the earlier cut is damp and the instrument will not have a good sound.
Larchem-Soinari is still signal instrument played by shepherds today. The production of the shape of the instrument is related to the tradition of two-vocal performance. That was caused by the prevailing form of polyphony - complex polyphony- in the corners of western Georgia . Only men perform polyphonic Salamuris. Shepherd and dance melodies are performed on this instrument. In Samegrelo there are 3 different tunes of Larchemi: when the flock is lead to pasture, when it returns and when it is grazed. In addition, in Samegrelo, larch was played at weddings, parties and church holidays. In Guria, soinar is a signal instrument. The hunters used to gather at the sound of this instrument. In Samegrelo there was a competition of Larchemi players - "Nirzi", during which two performers divided the six-stem Larchemi in the middle and competed with each other for endurance and skillful performance.
Chiboni
Wind
Chiboni is variety of Gudastviri. It was widespread in Adjara, Meskheti, Racha, Kartli and Pshavi. Guda-stvir-like instruments were known to many people. According to the chronological table of the origin of musical instruments, Guda-Stviri dates back to the 1st millennium BC. Based on written sources, Ivane Javakhishvili suggested that Guda-Stviri should have been spread throughout Georgia under the name of Chiboni / Chimoni. Today, this name has been preserved by Adjara instruments. Adjara Chiboni is the most developed among Chibones. Its principal feature is, on the one hand, the possibility of real ambiguity, and, on the other hand, the existence of a mechanical chamber. The latter was known to the old Georgian tribes from a very early age and was used in practics. It is referred to the advanced field of agriculture - iron metallurgy, where mechanical chamber "Guda" is used as a saber.
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Guda of Adjara Chiboni is made of goat (rarely sheep) leather. It is believed that goat skin is easy to process and lasts a long time (10-15 years). Guda has a furry side inside. The hind limbs and throat are tightly packed so that no air can escape. A mirror is often inserted in the place of the throat as a decoration. A tube is placed on one of the front limbs, from where the blow is made. Saberavi is made of Didguli, rarely beech or spruce, Satuche (lip part) is attached to it. The originals are also made from dudguli. The junction of the reeds and the originals is decorated with a candle. The horn of a bull or a goat is used as a horn.
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Chibon, like all Guda-stvirs, is played by men. It is mostly an instrument for accompaniment, although it features solo melodies too. Chiboni was quite a popular instrument. Professional Chiboni performers were welcome guests at weddings, parties and folk celebrations. If two or more players gathered together, a competition was held between them. Chiboni performer was requested by families in advance. Chiboni was rarely accompanied by a song. According to the common canon in Adjara, Chiboni performer played and the song was performed by others (unlike Racha, where the player sings himself). There were cases when the performer played on Chiboni, sang, and danced simultaneously.
Buki (wooden)
Brass
Buki is a signal wind instrument. Has a sharp strong taste. According to his Sulkhan-Saba Orbeliani, Buki is a big trumpet. It has been mentioned in Georgian written sources since the IX century. Buki was played at military parades, on marches, at the royal court, with the blessing of kings, and during religious ceremonies and celebrations. Through Buki, people were informed of the danger of attack. It was also used to declare war. Buki was also used to bring people together to address issues of need.
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Buki is mainly made of metal, but Georgia has a story of using also wooden Buki. Wooden Buki is considered to be used before people started to learn extracting and processing metal.
Today the beech is preserved in Racha and Svaneti. Buk's vocalizations are described in medieval literature: "Shahnameh", "Vepkhistkaosani" and "Visramyan". Historians of Queen Tamar also described how they met the victorious Queen Tamar with a beech.
Changi
Harp
Changi is one of the oldest harp instruments. The existence of a Changi instrument is confirmed in Georgia in BC. In VII-VI centuries in the ancient settlement of Uplistsikhe. The name "Changi" itself is not found in ancient Georgian written sources, according to I. Javakhishvili, it should have appeared in the X-XI centuries. Chang was a very popular instrument in Georgia. Unfortunately, Changi is preserved only in Svaneti today. In Svaneti it is considered an instrument of grief. According to one narrator, the harp was played to alleviate grief. There is a legend about the recognition of Changi's as a grief instrument. According to this legend, the invention of the Changi is attributed to an old man whose son died. Changi's body is the young man's arm, the strings - his hair, and Changi's gall voice - the tears of a sad father. Among Svan people, Changi is also called "Shimekvshe", which means "broken arm". This name must be related to this legend. The origin of the harp is thought to be that it originated from a bow. The bow did not belong to any one people, so the harp originated from it in different peoples independently. Harp-type instruments were common in ancient Eastern countries: Egypt, Sumer, Iran, China, and Greece.
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Changi is mostly played by women. Changi is, first and foremost, an accompaniment instrument. Solo songs are accompanied by Chang. Solo tunes on the Changi are a transcription of Svan folk songs and not purely instrumental melodies. Only one Changi is used in both accompaniment and solo tunes, the union of two or more chants in an ensemble is not actually confirmed in Svaneti. But the unification of Changi and Chuniri into an ensemble is frequent. Changi is not found in any other ensemble.
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Changi is made from coniferous wood species. More often used spruce, as well as pine, rarely spruce. Coniferous wood has better acoustic properties.