Caval, Fluier, Cimpoi

  

Ștefan Dicu

"Jocuri mândre de la noi"

Tracks:

01. Sarba-n bataie, Sarba ca la Vartop, Sarba ca la Vrata (caval, bagpipe, flute)
02. Hora cujmirenilor - caval
03. Baluta - caval
04. Hora ca la Gruia - flute
05. Sarba ca la Corbu - flute
06. Sarba ca la Calafat - bagpipe
07. Tinca popii, Hora pe furate, Hora-n doua parti (caval, flute, bagpipe)
08. Sarba ca la Prejna - caval
09. Boierasca - caval
10. Bulgareanca - flute
11. Hora Nutei - flute
12. Floricica - bagpipe

 

Personnel:

Ștefan Dicu: caval, flute (fluier), bagpipe (cimpoi).
& Orchestra Ansamblului "Maria Tanase" Din Craiova

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The caval is an aerophone instrument of Balkan farmers, especially shepherds. It can be found throughout in the south east (Wallachia, Oltenia, Moldavia) as well as in the mountains of central Romania. The caval is a big straight flute (approximately 80 cm long) made of ash, cherry or plane wood. It consists of a tube partially closed at the top by a cork (dop) with five finger holes and a rectangular mouth hole (vranã) on the opposite side.

Farmers make the caval in a number of sizes. The one in the photo is an average size, about 76 cm in length. Recently, the caval has been tuned to an F-scale to make it easier to play in folk music groups.

The caval can produce from two to four or five partial sounds simultaneously. Its hoarse, soft and expressive tone is sometimes imitated by violinists who play "like the caval". Its instrumental effects include changing pitch in the same piece (by blowing harder) and playing in parallel octaves (on the first and second harmonics).

When playing the caval, the musician produces a throaty sound: "in tune" and stable in relation to the melody (in Oltenia) or of an undetermined and fluctuating pitch (in Wallachia and Moldavia, like the recording here). The caval can easily play complex melodies that are highly ornamented with appogiatura, mordents, trills, small glissandi and tremolos. Its rich and varied repertoire includes long songs (doinã), lyric songs in instrumental versions, dance tunes and the instrumental poem "The shepherd who lost his sheep".

C.M.

 

Pipe musicians are generally from rural Romanian backgrounds and not from gypsy lăutari families. In the town and state ensembles they play fluier and caval, with additions of tilinca, nai, cimpoi (bagpipe) and may be other not so common pipes, clarinet or taragot, and when it comes to their solo this is most often a suite which progresses through all the different pipes in succession.

 

source

 

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Kaval

  

Kaval 

The Great Bulgarian Masters

Tracks:

1. Theodosii Spassov - Igra s kaval
2. Nedyalko Nedyalkov - Bavna melodia
3. Nedyalko Nedyalkov - Trakiyska rachenitsa
4. Dancho Radulov - Bavna melodia
5. Dancho Radulov - Varnensko horo
6. Dancho Radulov - Gebedjiysko nastroenie
7. Stoyan Alexandrov - Bavna melodia
8. Stoyan Alexandrov - Shumensko horo
9. Matyo Dobrev - Jensko horo
10. Matyo Dobrev - Bavna melodia
11. Nikola Toskov - Bavna melodia
12. Nikola Toskov - Nenovsko horo
13. Nenko Tsachev - Bavna melodia
14. Nenko Tsachev - Kotlensko horo

  

♫☆`*♥¸¸.•*¨*•♫☆`*♥¸¸.•*¨*•♫

        

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♫☆`*♥¸¸.•*¨*•☆♫`*♥¸¸.•*¨*•♫

  

The Kaval is a wooden pipe that comprises three parts. The uppermost part of the Kaval has no finger- holes. There is a special ring made either of antler or of bull horn which is fitted there and from where the sound itself is produced. The middle part has eight apertures, seven on the front part and one on the back. Musicians use only these eight holes. The third part has only four holes. The uppermost hole sets the basic tone and the remaining three are resonant. Without them the Kaval cannot produce sounds in the lower register. 

  

Kaval & Duduk

Kaval is the father of our contemporary flute. Scientific researches so far have proved that the descent of this unique wind instrument is from Ancient Persia. Thereafter this flute was transferred by proto-Bulgarians into Eastern Europe it was spread and widely used as a solo and accompanying instrument in ensembles for folksongs and dances. May be our Lord had blessed some Bulgarian master-musicians and they managed to approve the acoustic qualities of this flute, as they have also developed a new model. They turned the Kaval into a work of art by wood-carving, inlay, engraving with ornaments from Bulgarian folklore and this did not change its tone qualities.

source

  

The kaval (Turkish pronunciation: [kaˈvaɫ]) is a chromatic end-blown flute traditionally played throughout Azerbaijan, Turkey, Bulgaria, Macedonia, Albania, Kosova, southern Serbia (кавал), northern Greece (καβάλι or τζαμάρα), Romania (caval), and Armenia (Բլուլ or blul). The kaval is primarily associated with mountain shepherds throughout the Balkans and Anatolia.

Unlike the transverse flute, the kaval is fully open at both ends, and is played by blowing on the sharpened edge of one end. The kaval has 8 playing holes (7 in front and 1 in the back for the thumb) and usually 4 more near the bottom of the kaval. As a wooden rim-blown flute, Kaval is similar to the Ney of the Arab world. The name "Kaval" may once have been referred to various Balkan duct and rim-blown flutes, accounting for the present day diversity of the term’s usage.

  

  

        

 Bulgarian Kaval
 
The kaval that is most common in Bulgaria is the one in middle (D) register. The kaval in lower (C) register is also not uncommon for this country. What is characteristic for the Bulgarian style of kaval performance is the incredible diversity of sound shades and techniques. According to the pitch there are 4 different registers that can be achieved with the Bulgarian kaval. What controls which register the performer works in is mostly the air flow and to some extent the position of the mouth and the lips on the end of the kaval. A very characteristic sound of kaval is achieved in the lowest register. It could sound very mild and gentle if blown lightly while by changing the air stream a deeper (flageolet like) sound is achieved. This sound is so outstanding that some consider it another register that they call - kaba. It is also very interesting to notice that the technique of circular breathing is successfully utilized while playing the kaval. This technique lets the performer play without interrupting the air flow, while taking a breath through the nose. In the past it has been considered an extraordinary skill while nowadays it is used by more and more young performers. 

 

wiki

  

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