How to play on the wheeler. Wheel Lyre (Organular, Hardy Gardi)

20.06.2019

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Wheel Lyra - String musical instrument, in shape resembling a violin case.

The performer holds Lira on his knees. Most of its strings (6-8) sounds at the same time, vibrating as a result of friction about the wheel rotated with his right hand. One or two separate strings, the sounding part of which is shortened or lengthened with the help of a rod left hand, reproduce the melody, and the remaining strings make a monotonous buzz.

In England, this tool is called Hurdy-Gurdy (Hardy Gardi, and in Russian), in Germany - Drehleier, in France - Vielle à Roue, in Italy - Ghironda or Lira Tedesca, in Hungary - TEKERő. In Russian, he is called a wheevy Lira, Belarusian - Lіra, in Ukrainian - Kolіsna Lіra or Rel, and in Polish - Lira Korbowa.

The sound of the wheeler is powerful, sad, monoton, with a small hint. To soften the sound, the strings at the point of contact with the wheel rim turned out flax or wool fibers. The sound quality of the tool also depended on the accurate centering of the wheel; In addition, it should have been smooth and well inacculen.

In the X-XIII centuries. The wheeler Lira was a bulk tool (organoder) on which two people played. The tool found the application in the monasteries, they performed church music on it. By the XV century, the wheevy Lira lost popularity and became the tool of beggars and vagrants, often blind and embankled, performed songs, poems, fairy tales for an imperious accompaniment. In the time of Baroque, a new tool flourishing has come. In the XVIII century, the wheez Lira became a fashionable toy of French aristocrats who were fond of rural life.

In Russia, the wheez Lira received distribution in the XVII century. The tool mastered the beggars and blind tramps, "Kaliki disturbing". In order not to make anger of the royal and God, they performed spiritual poems under the sounds of their lira.

The wheels (Hardy Gardi) were used former members of the Led Zeppelin Group Jimmy Page and Robert Plant in the NO Quarter joint project. Unledded. " On the instrument played the performer Nigel Yaton (Nigel Eaton). Currently, the wheel line can be found among the arsenal of musical instruments of the In Extremo groups (in particular, in their song "Captus Est" with a single "Nur Ihr Allein"), Blackmore "S_NIGHT (in particular, in the song" The Clock Ticks on "with Album "Paris_moon") and ELUVEITIE, METALLICA (in Low Man's songs "s Lyric, The Memory Remains)

Painting:

Georges de la Tour "Sharganger with a dog"

Willem Van Mieris "The Hurdy Gurdy Player Asleep in A Tavern"

David VinckBoons "The Blind Hurdy-Gurdy Player"

Theodore Aksentich "Librik and Girl", 1900 g

Casimir Pravalsky "Lirenik", 1885

Vasily navosti "Song of the Lire"

ancient engraving "Girl playing on the lyre"

Georges de la Tour "Playing on the Wheel Lire with Ribbon", 1640

Georges de la Tour "Playing on the Wheel Lare", 1631-36 g.

Casimir Pravalsky "Librik in front of the Hat", 1887

Unknown French artist "Dance"

Peter Bruegel-ml., "Sharmanwger", 1608

Jan Van De Venne "The Hurdy-Gurdy Man"

Jules Richomme "The Hurdy-Gurdy Girl"

Osmertkin Alexander Alexandrovich. "Still Life with Lear and Gitar", 1920

Photos:

hungarians, photo 1980

lirnik on Moscow Street -1900g.

Blind cobzar with a guide boy. Belarusians. Photo Archive Ram

France-20-30E years of the 20th century

Varieties of wheevy lir.

In European countries there are many types of wheels, including Russian tool varieties. The wheeler Lear in Russia has never been applied in professional music and existed only in the medium of domestic and amateur physication. Three varieties of this tool are common in Russia. Type number 1: Wheel Lira Great Russian. It has a relatively small type of body in the form of a viola, a narrow sound and a peculiar repertoire. Type number 2: Don fish. This tool is spread on the territory of the Don Troops. It is an old type of tool with an organorem case. Type №3: Wheel Lear of Ukrainian View. It is distinguished by the originality of the design details, adopts of the game and the repertoire.

Setting up wheels

Unified well-established whether the wheel lira does not exist. A variety of designs of this tool, as well as various musical traditions, often require various ways to configure. Setting up the wheel lire is performed using a bar and keyboard mechanism. The rotation of the flask is achieved by the necessary height of the string, and with the help of a neat folding of the checkboxes, the keys are accurately setting the murzure of the game string.

Settings option:

To achieve a beautiful melodic sound, part of the string at the pairing site with a game wheel Wrap a small amount of common wool or soft wool. The surface of the game wheel to enhance friction about the string abundantly soda is a simple violin rosin. After all the preparatory procedures, start the rotation of the wheel and continue to twist continuously for 3-5 minutes, correcting your wool on strips if necessary. After that, translate the Spirit. Everything can be played.

____________

Features of the care of whears

Wheel Lira - a peculiar tool, requiring active attention. The thinnest moment is the pairing of strings with a playing wheel. Always have a piece of cotton wool or wool with you and learn how to get winding it right. Whether the wheel line from the rain and dampness. During operation, pollution occurs on the surface of the lyure. If your tool began to lose its presentable look, we recommend using special means in the form of polyterols and cleaning facilities for musical instruments. For storage of the whether, be sure to use the case.

Strings for wheevy

The choice of strings for the wheeler is largely individual. Balayaker recommends using a set of a gaming nylon string and a bardon strings in a metal felling. Such an option allows the lyre to sound bright, rich and balanced.

History of the wheeler

brief historical certificate

Wheel Lira - an old musical instrument of European origin. The first mention of it is found in historical sources of the IX-X centuries. At first, the wheeler was used mainly to accompany the church services, but already in the Epoch of the Middle Ages spread in many European countries as a tool for the widest repertoire.
On the territory of the Moscow kingdom, the wheez Lira appeared at the turn of the XVI-XVII centuries. The tool is penetrated into Russian lands through Ukrainian and Belarusian territories together with immigrants, merchants, interventories and other active people. The wheeler Lira firmly entrenched and persisted until recently in the traditions of some regions of Russia - Bryansk, Orlovskaya, Kursk, Rostov and some others. Interestingly, in the 1920s, stray leir could be found even on the streets and markets of Moscow. Its wheevy Lira was also a famous connoisseur of People's Music Mitrofan Pyatnitsky.
The Russian wheeler, unlike the European relative, was a tool for mostly people, few familiar noble and professional musical circles. The Russian Lira was distinguished by simplicity of manufacture, a relatively small sound, a small amount of strings (2-4 pieces) and a distinctive repertoire. The widest application of the Lira found in the wagon and professional beggar environment for which it was a professional tool for earning. They could be found in crowded places for the execution of spiritual poems and psalms. However, in some regions, the game on Lira advocated and as escorting the lengthy songs. For example, in the traditions of the Don Cossacks, the Lira (local name - swarves) was used to accompany the songs and was maintained up to the first third of the XX century. On the wheeler, they played under the dance, and under dancing, and under the chastushki, and even under the romance. One of the last Russian Lirnikov Klimimenti Foktististovich Shmatov lived until the 50s of the 20th century in the Starodubsk district of the Bryansk region and until last days played in rural bazaars. The wheeled Lather, purchased from him in 1953 today is stored at the Moscow Conservatory.
Nowadays, the wheevy Lira reappetes the attention of the public. It becomes more and more likely to appear on the horizon, participating in programs of folk musicians, experimenters and performers of spiritual music.

On the knees. Most of its strings (6-8) sounds at the same time, vibrating as a result of friction about the wheel rotated with his right hand. One or two separate strings, the sounding part of which is shortened or lengthened with the help of a rod left hand, reproduce the melody, and the remaining strings make a monotonous buzz.

In England, this tool is called Hurdy-Gurdy (Hardy Gardi, and in Russian), in Germany - Drehleier, in France - Vielle A Roue, in Italy - Ghironda or Lira Tedesca, in Hungary - TEKERO. In Russian, he is called a wheevy Lira, Belarusian - Lіra, in Ukrainian - Kolіsna Lіra or Rel, and in Polish - Lira Korbowa.

Device

Wheel Lyra - Three-string tool with a deep wooden casing of the eight-shaped form. Both decks are flat, shelter bent, wide. At the top there is a head with wooden rings for setting strings. A short silent box is attached to the housing to the housing, often ending with curl.

Inside the case, in its lower part, there is a wooden wheel (it is located on the axis passed through the shell and rotating handle), which serves as an "endless bow". Through the slot on the deck rim wheel protrudes outward. To protect it from damage, an arcuate fuse from a loose is installed above it.

In the upper deck, resonator holes are cut in the form of brackets or "ephle"; On it, it is longitudinally located the keyboard-hole mechanism consisting of a box with 12-13 keys representing narrow wooden planks with protrusions. When you press the protrusions, like keyword tannts, they touch the string, making it into two parts: sounding (wheel - protrusion) and unlucky (protrusion - upper threshold). The protrusions are strengthened in such a way that they can, turning, shift to the left and right and in such a way to align the sound when adjusting it within the halftone.

Lira has 3 living strings: Melodic, called spikes (or melody), and 2 bardon - bass and pidbasok (or tenor and Baorok). The melodic string passes through the box, bardon - outside it. All strings are tightly in contact with the wheel rim, which is rubbed by the resin (rosin) and when rotating it leads them to sound. In order for the sound to be smooth, the wheel should have a smooth surface and accurate centering. The melody is performed by using the keys inserted into the side cuts of the boxes. The keys there are protrusions (tangers), which, pressed to the string, change its length, and hence the height of the sound. The number of the key of various lira ranges from 9 to 12.

Scale diatonic. Burdon strings are adjusted as follows: Pidbasok - octaves below melodic, bass - quinte below Pidbask. At the request of the artist, one or both bardon strings can be turned off from the game. To do this, they are pulled from the wheel and fix on the pins.

Playing on Lira

Before playing The performer pins a belt on the shoulders attached to the body, puts the tool to the knees, the peak box to the left and with the inclination from herself so that the free keys under their own severity drop away from the string. It is evenly right, but not quickly, rotates the wheel of the wheel, and the left hand fingers presses the keys. The nature of the execution on Lira is similar to the game on Volynka and the beep, all three are poured continuously sounding bourdons. The sound quality is largely depends on the friction wheel: it should have an accurate centering, a smooth smooth surface and good lubricant resin, otherwise the sounds will be "sailing" and "add".

During the game The tool is put on the knees to the head left and with the inclination, so that the keys under the action of their own severity are dropped from strings. To make the tool easier to keep, the musician throws a belt on the neck attached to the lyra body. Rotating the wheel with his right hand, he presses the left hands to the keys. Lyra sounds strong, but somewhat bezavo and buzz.

When playing sitting Tools keep kneeling when playing standing - suspended on the belt over the shoulder, neck left and with a slope so that the keys under the action of their own severity protrused from the melodic string. Rotating the right hand the wheel and pressing the left to the left to the keys, execute the melody; Burdon strings sound continuously (if they are not disabled). Sound Lyra buzzing, bent. Its quality is largely dependent on the wheel: it should have an accurate center, completely smooth and well-grated resin (rosin) rim. Sound a lira diatonic, its volume is about two octave.

History

In the X-XIII centuries. The wheeler lira was a bulk tool ( organister) on which two people played. The tool found the application in the monasteries, they performed church music on it. By the XV century, the wheevy Lira lost popularity and became the tool of beggars and vagrants, often blind and embankled, performed songs, poems, fairy tales for an imperious accompaniment. In the time of Baroque, a new tool flourishing has come. In the XVIII century, the wheez Lira became a fashionable toy of French aristocrats who were fond of rural life.

Writing information about the existence in Russia, the Wheel Lyra belongs to the XVII century. (Talking contemporaries about DM. Safety). Perhaps she was listed here from Ukraine. Soon the Lira was quite widespread in the folk medium, as well as in the court and boyars musical life. The Liri used mainly stray musicians-singers (most often caliqi disturbing), who had folk songs, spiritual poems and the observed dances under its accompaniment. Currently, Lira is rare.

Lyra was predominantly distributed among the stray professional musicians who had spiritual verses, household and especially humorous songs under its accompaniment, and sometimes the Duma. Among the Lirnikov there were a lot of blind people who went with the guide from the village to Selu, from the city to the city, to the market square and wedding pies. To play at the weddings, Lira was considered a more suitable tool thanks to her loud sound and a fun repertoire.

In Ukraine, there were special schools of learn with a rather large number of students. So, for example, in the 60s. XIX century in p. Cosos (on the Podol) at Lirenik M. Kolesnichenko was engaged simultaneously to thirty people. The eldest of them passed the practice, playing in the neighboring villages in the bazaars and weddings, and the money earned and the products were given to the mentor as a fee and content, as they were on its full dependency. Having finished learning, the young musician kept the exam on the knowledge of the repertoire and hold the game on Lira. The exam was happening with the participation of "grandfathers" - old experienced lirnikov. The teacher donated to the instrument and the so-called "dispersion" (obviously, from the word "visil" - "Liberation") - the right to play independently. Dedication to the Lirniki was accompanied by a special rite: the teacher took over the LIRA, designed as a student's reward, the student covered it with his scroll, after which the tool belt shouted from the Neck of the teacher on the neck of the student, and the teacher lowered the coin of the coin to the resonator slot.

Lirniki united into groups (corporations), and each of them, headed by a shopmaster (shopmaster), or a nomewater, had its own strictly defined territory; The game in other places was forbidden. Violators of the order were subjected to severe punishment (right up to the deprivation of the right to play), and they were selected tool.

Until the end of the past - the beginning of the current century, Lira was so popular in Ukraine that N. V. Lysenko even suggested that she would overpay. However, this was not realized: she asked the "competition" and was further developed, and Lira came to almost complete oblivion. The reason for this was the limitations of its musical and expressive and technical means and the timbre specificity - the bellows. But the most important reason is undoubtedly the fact that the social environment disappeared into Soviet times, in which the instrument was.

In the Soviet years, Lira was subjected to various improvements. A very original tool is designed by I. M. Sklyar. It has 9 strings configured by small flares, and a koyan-type keyboard mechanism, thanks to which it can easily and quickly learn to play a biantist. The wooden wheel is replaced with a plastic transmission ribbon, providing a more even sound. With the help of a special adaptation, the degree of pressing of the string may vary, which is achieved by changing the tool's sound strength. The lyrics of improved samples are episodically found the use of folk instruments in ensembles and orchestras.

Hours of extraordinary take-off The tool survived about two hundred years ago in France, when professional musicians became interested in them. A lot of works were written for the organization.

Wheel Lira in our time

Now the instrument pratically disappeared from folk music, but not all the musicians betrayed him.

In Belarus, the wheel Lira is part of the State Orchestra and to the orchestral group of the State Folk Choir of Belarus, the musicians of the "Pesnyary" ensemble are used by the musicians. In Russia, it is played by the musician and composer Andrei Vinogradov, Mitty Kuznetsov multi-toolist ("Ethno-Forge"), a group of Rybinsk "Differentia" and others.

Abroad, Hardy Gardi can be heard, for example, at the concerts of R. Blackmore in the Blackmore's Night project.

The wheels (Hardy Gardi) were used former members of the Led Zeppelin Group Jimmy Page and Robert Plant in the NO Quarter joint project. Unledded. " On the instrument played the performer Nigel Yaton (Nigel Eaton). Currently, the wheel line can be found among the arsenal of the musical instruments of the In Extremo group (in particular, in their song "Captus EST" with a single "Nur Ihr Allein").

Video: Wheel Lyre on Video + Sound

Thanks to this video, you can familiarize yourself with the tool, watch the real game on it, listen to his sound, feel the specifics of the technique:

Sale: Where to buy / Order?

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Wheel Lather
(Hurdy-Gurdy)

Wheel Lare, Herdi Gördi, also known as a wheel violin ( "Wheel Fiddle") - This is a string musical instrument, the sound in which is extracted by friction of the infanithic wheel driven by the lever, the strings. This wheel on its essence performs the function of the bow, turning the tool into something like a mechanical violin. The melody is played using the keys to be strengthened cams - wooden clins, clamping strings in the right places. Like most acoustic strings, the wheevy lira has a resonator that enhances the oscillation of the strings.

Most of the wheeled lire have several bardon strings that give a constant tone during the game, in many respects similar to the principle of boils. For this reason, the wheel liera is often used with a hazard or instead of it, for example, in the French and Hungarian folkmusca.

Many musical festivals collect groups with the participation of performers on the wheellie, the most famous such festival - festival in San Chairt, in Central France in the IndDR Department, which is held around July 14.

Origin and History

It is believed that Höldi Gördi appeared in Western Europe earlier than the 8th century AD. One of the early forms of the tool was an organister holder - a large tool with a guitar formator and a long neck, on which the keys were strengthened (in the range of one diatonic octave). The organizer had one melodic string and two bardon, which were stretched through the usual bridge and a small wheel. Because of its size, the organizer was played together - one musician rotated the wheel, the other - pulled the keys. To pull (and not press) the keys were not easy technician, so the tool was mostly slow melodies. Organular was adjusted by pythagorean tempera, and used primarily to accompany the church and monastic choral singing. ODO Abbot from Klyoni (Um.942) is considered the author of a small description of the device of an organology called Quomodo Organistrum Construatur. (As an organist is arranged), known from later copies, but his accuracy is quite doubtful. One of the earliest images of the organization is a sculpture of 12V. At the cathedral in Santyago de Compostela in Spanish Galicia, depicting two performers on the instrument.

Later, the organizer has acquired smaller sizes, more convenient for use by one musician. Organisters solo was known in Spain and France, but soon it was changed by symphony (Simfonia), a small version of Höldi Gördi with a rectangular resonator, three strings and a diatonic keyboard. At about the same time, the pressure keys were invented. Such keys were much more suitable for the game quickly melodies, were much more comfortable and soon completely outstretched the exhaust. Medieval symphony images demonstrate both types of keyboards.

In the time of late revival, two characteristic forms of the instrument resonator - a guitar form and a set of riveting, rounded lute-shaped, were approved. The latter form is especially characteristic of French tools.

By the end of the 17th century, the changed tastes required large polyphonic capabilities from the wheel and, not possessing them, it became the tool of the lower classes and as a result received names, for example, such as German Bauernleier. "Peasant Lira" or Bettleerleier. "Bednyatskaya Lira."
During Rococo, however, the revival of interest in the peasant topics again turned the gaze of the highest classes to the instrument, and he gained great popularity in the highest light. For the wheel lira, the famous composers wrote classic works (for example, known - Il Pastor Fido. Vivaldi). At this time, the six-string tool shape called titled vielle à roue. Such a tool had two melodic strings and four boron, which could be disconnected and turned on if there was a need to play in different tonalities.

At the same time, the wheel lira began to penetrate further to the east, where development in Slavic countries, Eastern German regions and Hungary was developed in different versions. Most of the national tools extorted to the beginning of the 20th century, but some have survived to this day, the most famous of which are French vielle à roueVensensky tEKERőLANT. and Spanish zanfona.. In Ukraine, a variety called lira Widely used by blind stray musicians, most of which were destroyed by Stalin in the 1930s. In many countries - in Sweden, Germany, Austria, Czech Republic, Poland, Russia, Italy and Portugal, recently had a revival of the instrument, as a result of which he penetrates into a variety of musical directions and styles, including modern music, in the context of which no one before the wheels Did not consider.

In the 18th century name hurdy Gurdy. also applied to a small portable tool, as well as called "BARREL ORGAN" - Sharmanka, on which stray musicians often played.

Wheel Lather in Eastern Europe

In Eastern Europe, in particular in Hungary, Poland, Belarus and Ukraine, there is a developed tradition of playing on a wheel lire. In Ukraine, the tool is known called Lira or relay, and was used mainly by professional wandering musicians, often blind, which were called lirniki. Their repertoire consisted mainly of religious topics, as well as epic songs called duma and folk dances. In the 1930s The tradition was practically interrupted, because the Soviet government of the learn was declared a socially undesirable element and massively destroyed. Now the instrument is actively reborn and applied in various folk projects.

Terminology

Due to the development of the French wheelchair tradition, many of the parts of the instrument and receptions of the game are called French terms. For example:

trompette. : The highest bardon string, which is tensioning through the buzzing bridge
mouche. : Burdon string, customized by quart or Quint below the string trompette.
Petit Bourdon. trompette.
gros Bourdon. : Burdon string, customized to octave below strings Mouche.
chanterelle (s) : melodic string (strings), in English are also called chanter or chanters.
chien. : (literally "dog") buzzing bridge
tiRant. : a small ring on a strip, designed to adjust the sensitivity of the buzzing bridge

Tool names

In accordance with the Oxford etymological dictionary, the word-monopoietic word by origin, and reproduces a repeating creaking sound, characteristic of the tools with solid wooden wheels, which were swamped from humidity; Or the sound of a buzzing bridge.

Some adhere to another, folk etymology:

hurdy. - back, man's back + gurdy. - Wheel with a lever, for pulling fishing networks into a boat

This etymology is in doubt for several reasons: firstly, hurdy. - not the English word, secondly - the name of the lever ( hurdy Gurdy. , but not gurdy.) It was first fixed in 1883 and was transferred to it due to an analogy with a musical instrument, and not vice versa.

Another folk etymology says the name hurdy Gurdy. Comes from the English-shaped form of French harpe de Gourde. .

Sometimes the tool is descriptively called "Wheel Violin", however, among the performers, such a term is not used. Hungarian tEKERőLANT. and its option forgólant. - both mean a "swivel lute." German Bauernleier. means "peasant lira." (The words Leier, Lant. - Denote the tools of the Lute family or Lyra, but historically they denoted a wider range of values \u200b\u200band used for many types of string instruments).
Another Hungarian word for the designation of the wheel lire - nyenyere which is presumably onomatopoietic and denotes the creak of an uneven wheel. It is worth noting that this term had a derogatory significance in Hungarian plains, but was generally accepted on the island of Csepel south of Budapest.

Device

The generally accepted standard for the device of the wheel lire does not exist, although in Europe the most typical French vielle A Roue.. Outside France, it has several regional forms, but beyond its limits, the tool was considered folk, and there was no single standard.

There are two most common types of contemporary wheel lire resonator - guitar and lute. Both options are in the French-speaking regions, the guitar will generally be generally accepted. Symphony with a rectangular resonator also walking among the performers of early music and historical reconstructors.

Strings

Historically, the strings were made from the lived, which still prefer some musicians, but the most common metal strings are most common, which are most convenient for low bardon strings. It also uses nylon, but many performers do not prefer them.
Burdon strings produce a continuous sound of one tone. Melodic (ye) string (s) is clamped with cams fixed on the keys and shorten or lengthen the sounding part of the string, just as the fingers of the guitar player on the jiff. In the earliest wheeled lies, the keys were tuned in the Pythagorean temperature, later tools were configured in different ways, now the uniform temperature is most common for the convenience of playing with other tools. But, since each cam on any key of the wheel lire can be individually adjusted, then almost any types of temperament are possible. Most of the modern wheeled lire has 24 keys, which give the range in 2 chromatic octaves.

To obtain the desired voice and sound quality, each wheel string is wrapped by a piece of cotton wool or other similar fiber. A small amount of wool is usually wound on the melodic string, on the bourged - more. Incorrect amount of wool can lead to too sharp or too deaf sound, especially on the top of the range. In addition, hotel strings (especially melodic) require adjustment of lifting over the wheel using small pieces of paper lined under the strings on the bridge. This process is called shimming. Shimming and winding wool are related processes, since both influence the geometry of the tool strings.

Buzzing bridge

In some types of wheeled lire, especially in French vielle à roue (violin with wheel) and in Hungarian tEKERőLANT (TEKERő. - short) applies a device called "Buzzing Bridge", chien. (Franz. Dog) or recsegő. (Weng. Buzza). On modern French instruments there may be up to 4. This mechanism consists of a free bridge, which is stretched by a bardon string. One leg of this bridge is inserted into the groove on the deck (or, in the Hungarian tools, it is kept using a ring) and keeps the bridge in place. The free end, called the "hammer" adjacent to the deck and can more or less freely vibrate. When the wheel is spinning slowly, the pressure of the string (in French tools called trompette.) Holds your bridge in place, and only strings sounds. When the musician speeds up the rotation, the hammer is lifted and begins to vibrate, the assuming surface of the deck and producing a characteristic rhythmic buzz that is used to create a rhythmic percussion accompaniment, especially in dance melodies.

On French Tools, the sensitivity of the buzzing bridge can be adjusted with the help of a ring, which is called tiRant., It is attached to the tool stripper and connects to the string. trompette. Using wire or thread. TiRant. Changes the lateral pressure on the string and thus adjusts the sensitivity of the buzzing bridge relative to the speed of rotation of the wheel. There are various techniques of rotation of the wheel, accelerating its rotation in different phases. Each "jerk" (sharp acceleration) of the wheel gives a distinct buzzing sound. Such jerks are not automatically produced, but are under full control of the performer.

In Hungarian instruments, such an adjustment is carried out using a clina, which is called recsegőék. (Adjustable wedge (literally "wedge of buzzing")), which rejects a bardon string down. In the traditional performance, the bunting bridge is fully controlled by the artist's wrist and has completely different sound and rhythmic possibilities compared to French tools.

Regional types

Regional Types of Wheel Lire Since Renaiss Day, you can classify relatively
a) wheel size and
b) availability or absence of a buzzing bridge.

1. Male wheel

Tools with a small wheel (with a diameter of less than 14 cm.) Are characteristic of Central and Eastern Europe. They are distinguished by a wide string box (KeyBox) and bardon strings that pass inside Her. Due to the small diameter of the wheel, these tools usually have three strings - one melodic, one tenor and one bass string. Strings can sometimes be more - up to five.

German tool with pear-like Drehleier resonator . Two or three bardon strings and one or two chromatic melodic. The characteristic wedge-shaped form "Grid head", on which sheds are attached. Often abundantly decorated. On the tools of this species, a buzzing bridge with an adjusting ring is used, which is reinforced next to the string, and not on the stripper as on French tools.

in). Buzzing bridge with wedge adjustment

Hungarian TEKERőLANT. : Usually 2 bourdon (sometimes 3) and one or two melodic chromatic strings. A wide string box is often carved or abundantly decorated.

Tyrolean Drehleier (Austria): Very similar to TEKERőLANT.But usually has a diatonic setting. It is very likely that this tool was the prototype of Hungarian.

from). Without a buzzing bridge

lira Korbowa. (Poland). Guitar form resonator. Two bourdon and one melodic diatonic string.

Wheel Lare / Fly / Flowers (Russia). Guitar form resonator. Two bourdon and one melodic diatonic string. Flat keyboard.

lira (Ukraine). Two bourdon and one melodic diatonic string.
Three types of resonator: Dolled from one piece of wood, guitar with side slices and set with vertical rods. Flat keyboard.

Ninera / Kolovratec. (Slovakia). Guitar form resonator. Two bourdon and one melodic diatonic string. Wide string box. Outwardly similar to the Hungarian TEKERő, but does not have a buzzing bridge.

grodalira / vevlira. (Sweden). Revived in the 20th century by historical samples. Two forms of the resonator: an oblong boxed and elongated pear-shaped. It usually has a dictional setting, but it can be extended to chromatic by adding additional keys that are located below the usual diatonic row (and not higher, as on most wheel lires).

German tulip-shaped Drehleier . Three Bourdona and one melodic diatonic string.

2. Close wheel

Tools with a large wheel (diameter from 14 to 17 cm.) Are characteristic of Western Europe. Such tools usually have a narrow string box, inside which only melodic strings are tensioned. They usually have more strings, they often occur their duplication or tripling. Some modern tools have up to 15 strings, although their usual number is 6.

a). Vegetable bridge with the adjustment of the string

Wheel Lyra Wheel Lira

In the XII century The wheeler Lira was a bulk tool that served two people (the musician and his assistant, who mechanically rotated the handle). After in the XIII century. Lightweight (portable) tools appeared, whether the whether the whether the wheel was rapidly spread across Europe and became one of the most characteristic attributes of the MEDIUMED CULTURE. By the XV century, the wheevy Lira lost popularity and became the tool of beggars and vagrants, often blind and embankled, performed songs, poems, fairy tales for an imperious accompaniment. In the time of Baroque, a new tool flourishing has come. In the XVIII century, the wheez Lira became a fashionable toy of French aristocrats who were fond of rural life. Currently, it is used in folk music of some European countries, primarily France and Hungary.

In Russia, the wheez Lira received distribution in the XVII century. The tool mastered the beggars and blind tramps, "Kaliki disturbing", who performed historical songs, ballads, spiritual poems under the sounds of their lire.

The process of playing sound

The performer holds Lira on his knees. Most of its strings (3-11) sounds at the same time, vibrating as a result of friction about the wheel rotated with his right hand. One to four separate strings, the sounding part of which is shortened or lengthens with the help of a rod left hand, reproduce the melody, and the remaining strings make a monotonous buzz (the so-called Bourdon). On Western European instruments, there is also t. N trompette. - string based on a loosely attached stand and allows you to reproduce a rhythmic accompaniment, changing the speed of rotation of the wheel.

Other names and instrument execution options

At various times and in different countries, the instrument was called differently: in Germany - Leier, Drehleier, Bettlerleier, Bauernleier; in England hurdy-Gurdy. (hardy Garde, meets in Russian), in France (including in historic Provence) - symphonie, Chifonie, Sabyût, Sambuca, Vierelète, Vielle à Roue (also abbreviated - vielle.); in Italy - ghironda, Lyra Tedesca, Rotata, Sinfonia; in Hungary - tEKERő.; in Belarus - colanaya Lіra, in Ukraine - kolіsna Lіra, rіl, rile or roli., in Poland - lira Korbowa,in the Czech Republic - niněra .

Using a tool in modern music

This section is an unordered list of a variety of facts about the subject of the article.

Please provide information in encyclopedic species and separate the articles on the relevant sections. According to the decision of the Wikipedia Arbitration Committee, the lists are preferably founded on secondary generalizing, containing the criterion for incorporating elements to the list.

British singer Donovan composed song Hurdy-Gurdy Man
The wheels (Hardy Gardi) were used former members of the Led Zeppelin Group Jimmy Page and Robert Plant in the NO Quarter joint project. Unledded. "
On the instrument played the performer Nigel Iton (Eng. Nigel Eaton.).
Currently, the wheel line can be found among the arsenal of musical instruments of such groups as in Extremo (in particular, in their song "Captus EST" with a single "Nur Ihr Allein"), Eluveitie, Blackmore "S Night (in particular, in the song" The Clock Ticks ON »From the Album" Paris Moon "), Metallica (in the songs of Low Man's Lyric, The Memory Remains), Saltatio Mortis, Subway to Sally, Arcade Fire (in the song Keep The Car Running), Satarial, Faun and others.
Hurdy-Gurdy was used in the records of the Australian Irish Dead Can Dance Group and Swiss Folk Metal Group ELUVEITII.
Herdie Gördi was used when recording Mummer's Dance Lorina McKennitt.
Herdie Gördi was also used when recording the album "The Christmas Cornucopia" of the Scottish performer Annie Lennox.
In Russia, the wheel line is used: The Origin Ensemble musical team, an ancient music ensemble Insula Magica, a soloist executor Viktor Luferov, the ensemble of medieval music Laterna Magica, the Ensemble of the Old Russian spiritual music "Sirin", Russian Neo-Folk Moon Far Away.
Spanish Folk Jazz Quartet Kaulakau
Used when recording the Album The Civil War 2003 electronic group Matmos.
In the soundtrack to the film "Cold Mountain" "You Will Be My Ain True Love" performed by Alison Krauss and Sting.
Used Belarusian VIA "Pesnyary" in the performance and recording of folk songs and songs in Belarusian
In the Rauta clip of the Finnish folk metal group Korpiklaani, the soloist holds the wheels in his hands.
Used when recording the album of the moon and a penny of the Moscow Folk-metal of the "Kalevala" group.
Since 2008, the leader of the "hostel" group, Yuri, is played by an unconventional tool - Wheel Lira for Russian rock music.
The tool was used in the COIL Group records, Herdi Gördi can be seen in the recording of the last living concert of the group in Dublin
The Netherlands-Belgian Group Omnia actively uses the tool in records and concerts.
Used by the Bear McCreary composer in the main music topic of the series "Black Sails". Also, the composer used this tool in writing music to the series The Walking Dead (Eng. The Walking Dead.).

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Notes

Literature

Bröcker, Marianne.. Die Drehleier. 2. AUFLAGE. Bonn - Bad Godesberg: Verlag Für Systematische Musikwissenschaft, 1977.

Links

wheel Lyry. (Originals of articles and illustrations)



Smychkovy

Plug

Shock-string

Shock-keys

Plumko-keys

Close-keys	Wheel Lyra

Other

Exconstituing wheels

"Yes, I was very differently brought up," the eldest, beautiful Countess Faith, smiling.
But the smile did not decorate the faces of faith, as it can usually happen; On the contrary, her face became unnatural and from unpleasant.
The eldest, faith, was good, was a slider, he studied fine, was well brought up, her voice was pleasant, what she said was fair and appropriate; But, a strange thing, everything, and the guest and the Countess, looked at her, as if they were surprised why she said it, and felt awkwardness.
"Always with the elder children wisely, they want to do something extraordinary," Guest said.
- What sin to hone, Ma Chere! Grandfather wisely with faith, "said Count. - Well, yes what! All the same, nice came out, "he added, approvingly winking faith.
Guest got up and left, promising to come to dinner.
- What is the manner! Sorry, sat! - said the Countess, conducting guests.

When Natasha came out of the living room and ran, she deceived only to the flower. In this room she stopped, listening to the guess in the living room and waiting for the exit Boris. She has already begun to come in impatience and, stuck with a foot, it was selected to cry because he did not go now when not the quiet, not fast, decent steps of a young man.
Natasha quickly rushed between the dask of flowers and hid.
Boris stopped in the middle of the room, looked back, brushed his hand with the sleeves of the uniform and walked over to the mirror, looking at her beautiful face. Natasha, having sorted, peeking out of his ambush, waiting for it to do. He stood a few times in front of the mirror, smiled and went to the day off. Natasha wanted to call him, but then he was thinking. "Let it seek," she said to himself. Just that Boris came out, how painted Sonya got out of the other door, through the tears of something viciously whispering. Natasha was kept from his first movement to run out to her and stayed in his ambush, as under the happier invisible, looking out for what was done in the world. She experienced a special new pleasure. Sonya whispered something and looked at the living room door. Nikolai came out of the door.
- Sonya! What's the matter? Is it possible? - said Nikolai, running towards her.
- Nothing, nothing, leave me! - Sonya buried.
- No, I know that.
- Well, you know, and fine, and come to her.
- Soon! One word! Is it possible to torment me and yourself because of fantasy? - Nikolai said, taking her hand.
Sonya did not pull his hands from him and stopped crying.
Natasha, not moving and did not breathe, brilliant heads looked from his ambush. "What will happen now"? She thought.
- Sonya! I don't need the whole world! You're alone for me, "Nikolai said. - I will prove to you.
- I do not like when you say so.
- Well, I will not, well, sorry, Sonya! - He pulled her to him and kissed.
"Oh, how good!" I thought Natasha, and when Sonya and Nicholas came out of the room, she went to them and caused Boris to him.
"Boris, Fly here," she said with a significant and cunning look. - I need to tell you one thing. Here, here, "she said, and led him to flower to the place between the dress, where she was hidden. Boris, smiling, went for her.
- What is the one thing? - he asked.
She was embarrassed, looked around himself and, seeing his doll abandoned on the tub, took her in his hands.
"Kiss a doll," she said.
Boris attentive, looked at her busy face and did not answer.
- You do not want? Well, so, come here, "she said and went deeper into flowers and threw a doll. - closer, closer! She whispered. She caught the arms of an officer for the collapse, and in his reddish face was visible were solemnity and fear.
- Do you want to kiss me? - She whispered a little heard, look at him, smiling and almost crying from the wave.
Boris blushed.
- What are you funny! - He said, flexing to her, even more blushing, but not taking anything and waiting.
She suddenly jumped on a tub, so she became above him, hugged him with both hands, so that thin naked handles bent the above his neck and, throwing his hair moving back, kissed him on the most lips.
She slipped between the pots on the other side of the colors and, lowering his head, stopped.
"Natasha," he said, "you know that I love you, but ..."
- Are you in love with me? - interrupted his Natasha.
- Yes, in love, but please, let's not do what now ... for another four years ... then I will ask for your hand.
Natasha thought.
"Thirteen, fourteen, fifteen, sixteen ..." she said, counting on thin fingers. - Okay! So over?
And the smile of joy and calm illuminated her busy face.
- Preen! - said Boris.
- Forever and ever? - the girl said. - To death?
And, taking it at hand, she with a happy face quietly went with him next to the sofa.

Countess is so tired of visits, which did not tell anyone else, and the Swiss was ordered only to call certainly to eat all who will still come with congratulations. Countess, I wanted to talk with the eye to the eye to talk with a friend of my childhood, the princess of Anna Mikhailovna, which she did not see carefully from her arrival from St. Petersburg. Anna Mikhailovna, with his appointed and enjoyable face, moved closer to the Countess chair.
"I will be completely frank with you," said Anna Mikhailovna. - There are few days left, old friends! From this, I'm so rushing your friendship.
Anna Mikhailovna looked at faith and stopped. Countess shook his hand to his friend.
"Faith," said the Countess, turning to the eldest daughter, obviously unloved. - How do you have no idea? Don't you feel that you are excess here? Some sisters, or ...
Beautiful faith smiled contemptuously, apparently not feeling not the slightest insult.
"If you were told me for a long time, Mama, I would immediately leave," she said, and went to his room.
But, passing by the sofa, she noticed that two pairs were symmetrically sat in her two winds. She stopped and smiled contemptuously. Sonya was sitting near Nikolai, who rewritten poems to her, for the first time those composed by him. Boris and Natasha sat for another window and silenced when Vera entered. Sonya and Natasha with guilty and happy persons looked at faith.
It was fun and touching to look at these girls in love, but the appearance of them obviously did not excite in faith of a pleasant feeling.
"How many times I asked you," she said, "do not take my things, you have your own room."
She took from Nicholas inklinitsa.