Living Buddha

  

World Morin Hoor Master: Chi Bulag

Wild Horse Morin Hoor Troop

The Golden Hall of Vienna

2005

Tracks:

01. Krzysztof Moron River
02. Rising Sun
03. Dances and Song
04. Mongolian Dance
05. Recall Song
06. Ordos Plateau
07. Eagle River Palace
08. Blue Lullaby
09. Pentium Mustang
10. Fantasia
11. Mongolian Lullaby
12. Genghis Khan's Two Horses
13. Bird Song
14. Ga Da Mei Lin
15. Full Steam Ahead

   

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♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

  

On August 16th in 2005 world morin khuur Master: Chi Bulag with Wild Horse Morin Hoor Troop
played in Vienna's Musikverein Golden Hall, they finally made it...  :)

  

  

Chi Bulico, Master of the Horse-head Fiddle

 

Chi Bulico 齊寶力高, also spelled Ci Bulag, or Ci Bu-Lag, or Qi Baoligao.

In 1907, a Japanese scholar mentioned an instrument in his journal describing it as a chordophone with a horse head carved on the top. He called it a Matouqin, literally translated as horse-head fiddle in English. A symbol of Mongolian ethnicity, the horse-head fiddle has been played by Mongols for centuries. Chi Bulico, an artist who has been playing the horse-head fiddle for more than 50 years, has brought about significant changes in the development of the ancient instrument.

The horse-head fiddle was called Morin Khuur in Mongolian, and gained popularity among Mongols in the 13th century. The resonant and far-reaching sound made by the fiddle is described as "a wild horse neighing" or "a breeze in the grasslands". Some even say the notes produced by the instrument paint a better picture of the grasslands than any painter or poet. The horse-head fiddle is indeed considered the most important musical instrument of the Mongolian people.

The descendant of Jochi, the eldest son of Genghis Khan, Chi Bulico was born in 1944, and was made a living Buddha when he was 3 years old. At an early age, Chi Bulico showed his talent in music through his exquisite sense of sound.

"In the summer, the telephone lines set up on the grassland buzzed while they swayed in the endless winds. During the winter, the frozen lines made strident sounds. I was enchanted by all the different sounds in the grasslands, and could spend days listening to them. The first time I heard the music of a horse-head fiddle on the radio, I was deeply touched. My heart began to beat faster when I heard the instrument. It will always do, until the day I die."

At the age of seven, Chi Bulico got his first two instruments called "Chao Er" and "Si Hu" from his father. And he was able to play several dozens pieces of music with other folk artists the next year even without knowing the scores. After learning from a horse-head fiddle master San Duren, Chi Bulico got a much better understanding of music and the instrument.

In 1970s, Chi Bulico made several improvements to the ancient horse-head fiddle, and modernized it so that it could be used in the symphony orchestra. According to Chi Bulico, his ideas were inspired by the legendary Italian violin master Niccolò Paganini.

"I admire Paganini the most. He took violin playing to the next level using his knowledge of the guitar. And I improved the horse-head fiddle using the violin. The improved bow can now play many different tunes. If I had not learned the violin, there would not have been these new techniques of playing the horse-head fiddle now."

With only two strings, the current horse-head fiddle can make quite a number of fascinating sounds.

Although he has never entered middle school or learned composing, Chi Bulico is considered the master of the horse-head fiddle. His playing skills are the standards of teaching materials today and over 80 percent of fiddle music has been written by him. Using just three notes - Do, Re and Mi - he has managed to compose a song that is 15 minutes long.

"I don't compose music according to the music theory. I compose because I am moved by the melody. I use different tunes to express my feelings and emotions."

In the eyes of others, Chi Bulico's performances are replete with expressions and emotion. Miyazaki Emi from Japan is one of them and is learning horse-head fiddle from Chi Bulico.

"My master is true to his feelings. Happiness, anger, loneliness... Whatever he feels, he expresses through his performance, holding nothing back."

In 2001, Chi Bulico created a Guinness World Record by performing a piece called Galloping Horses together with 1,000 horse-head fiddle players. And the once solo instrument became suitable for tutti.

Today, Chi Bulico has a collection of over 100 horse-head fiddles, among which the oldest one is an ancient fiddle he spent 28 years to get. It is considered the oldest fiddle existing in the world. Many people ask to leave their horse-head fiddles with Chi Bulico for a while, because it is said that will improve the timbre of the instrument.

Once a living Buddha in Inner Mongolia, Chi Bulico is still esteemed by many Mongols. However, he holds a different view of the Buddha.

"In my opinion, the real Buddha is the one who serves and helps the people. I play the horse-head fiddle with all my energy for the people, and they like it. I think that's what a living Buddha should do."

  

source

 

  

Morin Khuur

  

Even though the morin huur does not own a long history, its direct predecessor Chuurqin has a long history. In Tang dynasty (600s~800s), when the ethnic Mongols were still a branch of Shiwei people, there appeared to be records of huqin. In Northern Song dynasty, when the Mongols are forming, horse-tail huqin (馬尾胡琴) appears. Since then, the chuur fiddle has been separated from general huqin till now.

One legend about the origin of the morin khuur is that a shepherd named Namjil the Cuckoo received the gift of a flying horse; he would mount it at night and fly to meet his beloved. A jealous woman had the horse’s wings cut off, so that the horse fell from the air and died. The grieving shepherd made a horsehead fiddle from the now-wingless horse's skin and tail hair, and used it to play poignant songs about his horse.

Another legend credits the invention of the morin khuur to a boy named Sükhe (or Suho). After a wicked lord slew the boy's prized white horse, the horse's spirit came to Sükhe in a dream and instructed him to make an instrument from the horse's body, so the two could still be together and neither would be lonely. So the first morin khuur was assembled, with horse bones as its neck, horsehair strings, horse skin covering its wooden soundbox, and its scroll carved into the shape of a horse head.

Chinese history credits the evolution of the matouqin from the xiqin (奚琴), a family of instruments found around the Shar Mören River valley (not to be confused with the Yellow River) in what is now Inner Mongolia. It was originally associated with the Xi people. In 1105 (during the Northern Song Dynasty), it was described as a foreign, two-stringed lute in an encyclopedic work on music called Yue Shu by Chen Yang. In Inner Mongolia, the matouqin is classified in the huqin family, which also includes the erhu.

The fact that most of the eastern Turkic neighbors of the Mongols possess similar horse hair instruments (such as the Tuvan igil, the Kazakh kobyz, or the Kyrgyz Kyl kyyak), though not western Turkic, may point to a possible origin amongst peoples that once inhabited the Mongolian Steppe, and migrated to what is now Tuva, Kazakhstan and Kyrgyzstan.

wiki

 

  

In 2001, Chi Bulico created a Guinness World Record by performing a piece called Galloping Horses together with 1,000 horse-head fiddle players...  : )

want to read some more?

 

♥

Kazakhstan 9

   

Daulet Myktybayev & Zhappas Kalambayev

Kobyz
Asyl Mura - 2005
 
Tracks:
 
Daulet Myktybayev
 
1. Ykylas “Korkyt”
2. Ykylas “Airaukty Naschi Kyi”
3. Ykylas “Shynyrau”
4. Sarbiyev “Sary Arka” (Golden Steppe)
5. Ykylas “Еrden”
6. Ykylas “Zhalgyz Ayak”
7. Ykylas “Zholaushynyn Konyr Kyi”
8. Ykylas “Zholaushynyn Konyr Kyi”
9. Ykylas “Kazan”
10. Ykylas “Kertolgau”
11. Ykylas “Kambar Batyr”
12. Folk kyi “Akku” (White Swan)
 
Zhappas Kalambayev
 
13. Korkyt “Konyr”
14. Ykylas “Munlyk-Zarlyk”
15. Ykylas “Khanshaim”
16. Folk song “Kanattaldy”
17. Folk song “Shynar-ai”
18. Folk song “Gaini”
19. Okili Ybrai “Gakku”
20. Аbai “Kozimnin Karasy”
21. Sadyk Karimbayev “Koktem” (Spring)
22. Folk song “Karatorgai” (Sparrow)
23. Zhayau Musa “Kokarshyn” (Dove)
24. Folk song “Saulemai” 2nd version
25. Тattimbet “Sylkyldak”
26. Folk kyi “Kaskyr” (Wolf)
27. Ykylas “Zhez Kiik”

   

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♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

    

Zhappas Kalambayev and Daulet Myktybayev
  
The origin of kobyz is connected with the name of the legendary Коrkyt – the first musician and patron of shamans. Legend has it that when Korkyt was 20 years old, he saw a dream in which some people said to him that he will live only 40 years. So, Korkyt decided to seek immortality. He saddled his camel Zhelmaya up and went on a journey. Wherever Korkyt went, he met the people in white attires digging a grave for him. Then Korkyt returned to the “center of land” – the Syr-Dariya river. Here, he sacrificed his camel and made an instrument in which the skin of Zhelmaya served as the upper deck. Then he laid a carpet on the surface of water and, sitting on it, played a “song of life” on kobyz. As Korkyt was playing, the death did not dare approach him. But once, completely exhausted, Korkyt fell asleep for a moment, and the death in the image of snake overtook him: Kairak-zhylan bit Korkyt, and he died. The legend has reached us with the kui “Korkyt”, glorifying the great power of music capable to defeat death.
  
Kobyz is the instrument of surprising form and unusually expressive rich timbre. One people compare it with a bird: “The sounds of it, when touching its strings made of horse's hair with the bows also made of horse's hair, are similar to the swan's shout, as well as the instrument itself has the form of a swan” (P. Pallas). The others heard a human voice in the sounds of kobyz (B. Sarybayev), “sad and sorrowful” (I. Gmelin). Each of 2 strings and a bow consist of 40 long horse's hair. The height of sound is regulated by a touch of the tips of nails or fingers “by the weight” above the body of the instrument (the play of frazholets). From here is the originality of sounding rich with overtones.
  
This instrument's lot has been a hard one. Kobyz can be named as an original carrier of ethnic history of the Kazakhs presented by the epic literature and instrumental music. However, this did not protect it from persecutions. Initially, kobyz was the instrument of shamans (baksy), and it was this circumstance that became a convenient reason for withdrawing it from the new built civilized world “as a vestige of the dark past”, and thus “condemning it to disappearance” ( А . Zatayevich). As a consequence, with the beginning of the 20 th century, new kyis (instrumental music) were not been composed for this musical instrument. Also, the family traditions of playing kobyz “from father to son” began to abandon. The last legendary classic of kobyz music was Yklas Dukenov, who was born in the mid-19 th century. There were many attempts to recreate the forgotten culture, but only few managed to break “through time”. Among such musicians were Zhappas Kalambayev (1909-1970) and Daulet Myktybayev (1904-1976). We are obliged to them for preserving the traditions of playing this instrument and musical kobyz heritage. Due to these musicians the invaluable creations of the past were recorded. They were the first to enter the concert stage and the first to become the teachers of the kyl-kobyz class opened at the Almaty Conservatoire in 1968.
  
Zhappas Kalambayev was born in 1909 in the Talap collective farm, Suzak region of Shymkent oblast. From childhood he mastered the art of playing kobyz independently. He learned Yklas' kyis from Yklas' pupil – the dombra player Sugur. It was Zhappas Kalambayev who returned the works of the classic of kobyz music, Yklas, from dombra versions to kyl-kobyz. Zh. Kalambayev was the participant of the 1 st Republican Meeting of Fork Performers held in 1934. He was at source of the creation of the Kurmangazy Orchestra of Folk Musical Instruments, and was the soloist and concertmaster of the alto-kobyz group (1934-1967). In the words of А . Zhubanov, “ the kobyz players performing now at the Kurmangazy Orchestra (1950s-1960s), took the first lessons from Zh. Kalambayev”. Among his pupils are the People's Artists of the Kazakh SSR G. Bayazitova and F. Balgayeva, and the candidate of sciences in art, professor B. Sarybayev. With the opening of the kyl-kobyz class, Zh. Kalambayev taught this instrument at the Almaty Conservatoire (1968-1970), combining teaching with active concert activity. He is known as a collector of musical folklore, who recorded and deciphered the unique pieces of folk music. He was the author of his own compositions – kyis and romances – and was among the first members, who entered the structure of the Union of Composers of Kazakhstan (1939). The Kazakhstan government has highly appraised Zhappas Kalambayev's work by awarding him the honorable title “The Honored Art Figure of the Kazakh SSR” (1944). He was also awarded the “Order of the Red Banner” and medals.
   
Daulet Myktybayev was the descendant of the legendary Yklas. He was born in 1904 in the Korgaldzhy region of Tselinograd oblast. He inherited the art of playing kyl-kobyz from Yklas's pupil, Abiken Tokhtamysyly, while the best kyis for kobyz – from his uncle Tusupbek, the son of Yklas. D. Myktybayev started his creative activity at the Karaganda Regional Radio Committee (1933). His first serious public performance was held at the 1 st Republican Meeting of Folk Performers in 1934. In Karaganda , D. Myktybayev began his concert activity as a soloist of the Regional Philarmonic Society (1937). However, this work was interrupted by the Great Patriotic War, at the front of which he served all its years (1941-1945). Upon returning from the front, D. Myktybayev connected his life with Alma-Ata , where he worked as a soloist-kobyz player at the Zhambyl Kazakh State Philarmonic Society and Ка zakhconcert (1945-1965). Like Zh. Kalambayev, he led the kyl-kobyz class at the Almaty Conservatoire (1970-1976). Among his pupils are many remarkable followers continuing Yklas' traditions: the Honored Art Figure of the Kazakh SSR К . Azhmuratov; head of the kobyz and bayan faculty of the Conservatoire, professor B. Kosbasarov; and the teacher of the K. Baiseitova Musical School А . Zhumabekov. D. Myktybayev has his own compositions for kobyz – kyis and transpositions of folk music.
   
The main difficulty the performers are facing today is a lack of repertoir. On the thorny path to kobyz survival there were serious losses. We know about some kyis due to the legends accompanying the performance of kyis, because the tradition assumed the retelling of the plot ether prior to the performance of kyis, “kyi and legend”, or inserting in kyi – “kyi with legend”, “kui in legend”, or “kyi-legend” ( А . Mukhambetova). Filling up a repertoire was also the merit of Zhappas Kalambayev and Daulet Myktybayev. They were the first who began to transpose the Kazakh folk songs and dombra music to kobyz, thus considerably enriching the repertoire of performers.
  
Unfortunately, the available fund lacks recordings in the performance of the outstanding kobyz players, Zhappas Kalambayev and Daulet Myktybayev. Some of these recordings are of poor quality, but nevertheless the present CD covers the most significant genres of kyl-kobyz music. This is a traditional genre of kyi represented by the compositions of the primogenitor of kobyz music, Korkyt, “K о nyr” (13), folk kyis “Akky” and “Kaskyr” (12, 26), and kyis of the outstanding Yklas (1, 2, 3, 5, 6, 7, 8, 9, 10,11, 14, 15, 27), as well as by the “secondary” genres-transpositions of Kazakh instrumental and song cultures represented by the “Sylgyldak” dombra kyi by Tattimbet (25), songs by Ibrai (19), Zhayau Musa (23), А bai (20), S. Karimbayev (21), Sarbiyev (4), and folk pieces (16, 17, 18, 22, 24).
  
We would like to thank Sayan Akmolda for the information and advices in the compilation of this CD.
 
source

  

   

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Horses 5

      

"One shaman who had no horse put his kobyz to participate in a horse race. During shamanic rites, it was the kobyz and dangyra-tambourine that turned into fast horses on which the shaman backed to whatever place of the Higher, Middle and Lower Worlds inhabited by people and spirits, both good and evil. Knowing the super natural power of his kobyz the shaman tied it to a big tree in order to give the ordinary horses an upper hand in the start. The people who gathered at the finish watched in amazement as the kobyz lead the race dragging the uprooted tree behind it in a cloud of dust."

   

  

 

Kazakhstan 4

Eternal Melody
kazakh kuis performed by qobyz, sybyzghy
and other traditional music instruments

Kobyz(kylkobyz)  Kobyz was  sacred  instrument. Ordinary people even were afraid to touch that instrument, because they believed, that kobyz like the  owners  of the instrument - baksis, had wonderful magic force and could influence ' the fate of man. According to the legends, kobyz and music of kobyz could banish evil spirits, illnesses and death. Kobyz   -   an   antique   two-stringed bow instrument. It is an ancient type of bow instrument, which was used by the peoples of Siberia, Central Asia, along the Volga, and in the Caucasus. Each people have their own name for bow instruments of this kind, but they resemble each other in structure, hair strings, tuning, and method of playing. The structure of the instrument itself speaks to its antiquity. The kobyz is made of one piece of juniper, maple, pine, or birch. The instrument consists of three parts: the head (bas), middle (basis-keude) and lower (ayak). The basis of the instrument is made as an open cup, stretched downwards. Its lower part is covered in leather (the sounding board). Strings for kobyz are still made of horsehair. The bow is arch-shaped and resembles an arrow bow: a bunch of horsehair is bound to both ends of a curved branch and fastened by a firm thread of camel wool. The performer embraces the bow from one side by his palm. This shaman’s instrument looked very unusual: the head was crowned by an eagle’s feather, hung by different metal plates as a kind of horny curls, figures of birds, which rang with the measure of music; on the bottom of the cup there was a mirror. Those were not only decorations, but also shaman’s symbols. The kobyz has an unusual rich and colourful timbre. The philosophical legend about Korkyt - the creator of this amazing instrument is connected with kobyz.

 Eternal Melody - Qobys Kuis - CD 1

1. Zhappas Myqtybai - Qongyr
2. Dawlet Myqtybai - Qorgyt (1.Version)
3. Musabek Zharqynbek - Qorgyt (2.Version)
4. Musabek Zharqynbek - Qorqyt Saryny
5. Musabek Zharqynbek - Zhelmaya
6. Shamshi Erenbek - Zhelmaya
7. Musabek Zharqynbek - Ushardyng Uluuy
8. Musabek Zharqynbek - Auppai
9. Musabek Zharqynbek - Targhyl Tana
10. Musabek Zharqynbek - Bashpai
11. Musabek Zharqynbek - Elim-ai, Khalqym-ai
12. Sayan Aqmolda - Tolghau
13. Qazbek Aben - Saryn
14. Qazbek Aben - Qongyrzhai
15. Qazbek Aben - Aqqu
16. Qazbek Aben - Qoshtasu
17. Qazbek Aben - Torghai Tolghauy
18. Qazbek Aben - Sybyzghy
19. Saghyntai Elepan - Kozimbetting Sayny
20. Saghyntai Elepan - Saghyntaidyng Kuii
21. Bazarkhan Qosbasar - Saryn
22. Alquat Qazaqbai - Baqsy

Eternal Melody - Qobys Kuis - CD 2

1. Zhappas Qalambai - Munglyq-Zarlyq
2. Zhappas Qalambai - Qongyr
3. Zhappas Qalambai - Qanshaiym
4. Zhappas Qalambai - Qasgyr
5. Zhappas Qalambai - Yqylas
6. Zhappas Qalambai - Qazan (2 Version)
7. Zhappas Qalambai - Zhez Kilik (1 Version)
8. Zhappas Qalambai - Zhez Kilik (2 Version)
9. Zhappas Qalambai - Marsh
10. Saghyntai Elepan - Kertolghau (1 Version)
11. Daulet Myqtybal - Kertolghau (2 Version)
12. Daulet Myqtybal - Erden
13. Daulet Myqtybal - Zhalghyz ayaq
14. Daulet Myqtybal - Qazan (1 Version)
15. Daulet Myqtybal - Airauyqtyng Ashy Kuii
16. Daulet Myqtybal - Zholaushynyng Qongyr (1 Version)
17. Daulet Myqtybal - Zholaushynyng Qongyr (2 Version)
18. Daulet Myqtybal - Qambar Batyr
19. Daulet Myqtybal - Shyngyrau

Eternal Melody - Qobys Kuis - CD 3

1. Daulet Myqtybai - Aqqu
2. Smatai Umbetbai - Erden
3. Smatai Umbetbai - Qambar Batyr
4. Smatai Umbetbai - Zhalghyz Ayaq
5. Smatai Umbetbai - Kertolghau
6. Smatai Umbetbai - Qongyr
7. Smatai Umbetbai - Toghyz Tarau
8. Smatai Umbetbai - Qazan
9. Smatai Umbetbai - Aqqu
10. Smatai Umbetbai - Zhez kiik
11. Sayan Aqmolda - Airauyqtyng Ashy Kuii
12. Sayan Aqmolda - Shyngyrau
13. Nurghazy Zhienkhanuly - Arqa Saryny
14. Nurghazy Zhienkhanuly - Arghyn Ama

The Sybyzgy is the instrument most frequently mentioned in ethnographic literature of 18th-19th centuries. However, since the end of 19th century it is rarely met. It is easily made by perforating three or four finger holes in a cane 500-700 mm long. Since the 19th century sybyzgy is also made of metal. It is a favourite instrument of herdsmen and mostly used for playing songs and kyuis of lyrical character, which helped to preserve the most ancient mi: cal art, The playing technique is complex due to its primitive nature. However, it is this design that gives the quivering, 'natural' timbre and rich overtone sounds that makes playing the ancient bourdon duo phony possible. Blowing the three-holed instrument produces a scale of over two octaves.

Eternal Melody - Sybyzghy Kuis - CD 4

1. Bolat Sarybai - Uzbe
2. Bolat Sarybai - Nar Idirgen
3. Bolat Sarybai - Qongyr
4. Bolat Sarybai - Salawat
5. Bolat Sarybai - Qambar Batyr
6. Shanaq Aughanbai - Qylang Batyr
7. Shanaq Aughanbai - Balqurai
8. Talghat Mughysh - Sary Ala Qaz
9. Talghat Mughysh - Arbiyan Qongyr
10. Talghat Mughysh - Angshynyng Zary
11. Talghat Mughysh - Begim Ber
12. Talghat Mughysh - Sary Ozen
13. Talghat Mughysh - Kenges
14. Talghat Mughysh - Boz Inggen
15. Talghat Mughysh - Toqta Bayau
16. Talghat Mughysh - Qozy Korpeshting qoshtasuy
17. Talghat Mughysh - Beibitshiik Quzy
18. Talghat Mughysh - Zharaly Aqboken
19. Talghat Mughysh - Sal Qula

Eternal Melody - Sybyzghy Kuis - CD 5

1. Kalek Qumaquai-uly - Arman
2. Kalek Qumaquai-uly - Balzhyngger
3. Kalek Qumaquai-uly - Boken Zaarghaq
4. Kalek Qumaquai-uly - Beijinn Sary Atan
5. Kalek Qumaquai-uly - Boz Ingen
6. Kalek Qumaquai-uly - Zhorgha Ayu
7. Kalek Qumaquai-uly - Zhayau Deldal
8. Kalek Qumaquai-uly - Sary Ozen
9. Kalek Qumaquai-uly - Tepeng Kok
10. Kalek Qumaquai-uly - Keng Zhailau
11. Beiilkhan Qaliaqpar-uly - Aqqabanyng Tolqyny
12. Beiilkhan Qaliaqpar-uly - Angshyny Zary
13. Beiilkhan Qaliaqpar-uly - Aqsaq Auy
14. Beiilkhan Qaliaqpar-uly - Aqymzhannyng Qongyry
15. Beiilkhan Qaliaqpar-uly - Boghda Bultary
16. Beiilkhan Qaliaqpar-uly - Boz Inggen
17. Beiilkhan Qaliaqpar-uly - Bolenkhannyng Qongry
18. Beiilkhan Qaliaqpar-uly - Buqtyrma Ozeni
19. Beiilkhan Qaliaqpar-uly - Ertis Tolgyny
20. Beiilkhan Qaliaqpar-uly - Zher koksegen Sary Atan
21. Beiilkhan Qaliaqpar-uly - Qara Ospan Biding Qara Qulag Atynyng Zhurisi
22. Zhumakhan Shotpaq-uly - Zhalghyz Zhigit
23. Zhumakhan Shotpaq-uly - Katiden koshkendegi tengizding tolgyny
24. Qusman Maqmyrza - Maidajal
25. Qusman Maqmyrza - Adasqan Qaz
26. Qusman Maqmyrza - Zhelmaya
27. Qusman Maqmyrza - Qorqyttyng Qoyzy
28. Qusman Maqmyrza - Qorqyttyng Kuii
29. Qusman Maqmyrza - Qabanbai batyrdyng zhaugha shapqandaghy Qubas Aty

The shankobyz is a metallic, tongue-played instrument made of silver and other precious metals. To play it, it is held by the teeth and the mouth cavity serves as a resonator. Real polyphony is achieved owing to the easily achieved overtones and their distinctiveness. Its chamber sound is most suitable for the lyrical songs. The shankobyz is a favourite instrument for children and women alike.

Saz syrnai - an ocarina-type flute is made of fired clay. Uskirik and tastauyk ('tas' - tone, 'tauyk' - a bird in Kazakh) are similarly made. These arc children's instruments used to imitate the voices of birds and animals in addition to playing simple tunes. Improved types are very popular nowadays due to their fascinating mild timbre and used to provide a kind of colouring to the modern ensemble music.

The zhetygen earned its name from the seven strings pulled over the frame, which is an empty box about one meter (3 ') long. Two supports in the shape of knucklebone, asyk, are placed on each side under the strings and the instrument was tuned by varying the span between them.
It is played by plucking at the strings and simultaneously pressing it on the opposite side of the support. This variation in tension of the strings produces vibrations of the sound pitches (micro pitching) giving special characteristics to the sound. By the 20th century, not even one of the zhetygen was found with Kazakhs, but thanks to the recollection of old people it has been restored. Improved types of the zhetygen are nowadays used in traditional musical ensembles and orchestras.

The next instrument, sherter, combines features of the dombra - shape - and the kobyz -gouged frame, finger-board without frets, two or three horsehair strings and leather upper board. It is smaller than the dombra and according to legends, shepherds used played it to round up the sheep. The sound it produces is so pleasing to the ear that even birds alighted beside the player. It was played in accompaniment to songs and epics. Today, improved versions are widely used in ensembles and orchestras.

Eternal Melody - Kuis performed by other age-old musical instruments - CD 6

1. Gulsara Pirzhan - Qyz Mungy ( Shang Qobyz)
2. Talghat Sarybal - Tolghau (Shang Qobyz)
3. Talghat Muqysh - Kerbez Qyz (Saz Syrnai)
4. Gulzhan Nurghali - Bulbul Torghai
5. Nurgul Zhaqypbek - Kokserke (Zethigen)
6. Nurgul Zhaqypbek - Kokserke (Zethigen)
7. Nurgul Zhaqypbek - Sur Borte (Zethigen)
8. Nurgul Zhaqypbek - Zheldirme (Zethigen)
9. Nurgul Zhaqypbek - Zhalghyz Kiik (Zethigen)
10. Ersaiyn Basyqara - Qara Zhorgha (Sherter)
11. Zamzagul Izmurat - Asem Tolghau (Sherter)

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 Kyuis

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KAZAKH MUSICAL INSTRUMENTS

http://www.bukhara-carpets.com/kazakh-musical-instruments.html

http://www.kazakhstan-tourist.com/page.php?page_id=538&lang=2

http://musicheritage.nlrk.kz/index.php/en/menu/show/25

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