Tibetan horn
The Dungchen ( Tib: ing chen) is a played in the Tibetan music brass wind instrument made of copper or a copper alloy, which is part referred to in Tibet generally manure ( "Shell " ) natural trumpets. The alternate name Dun dmar is translated as " red trumpet " and refers to the material used.
The Dungchen is similar to the Alphorn and produces a deep and voluminous sound. It is frequently used in Tibetan Buddhist ceremonies outdoors or in the Assembly Hall in ensembles of at least two or more players are used. The instruments are tuned to the same pitch. The Dungchen is blown with a tuba - like instrument mouthpiece. Like any brass instrument, it has a conically expanding from the mouthpiece to the sound hole tube. The length varies from about 0.9 up to 4.5 meters. Large Dungchen are made of three parts that are telescoped into each other so that they can be easily transported.
The company produces three notes from the harmonic series at intervals of one octave. The tones are designated dor for the deepest, Gyang for the middle and ti for the highest tone. When dor the lower lip covers the inside opening of the mouthpiece and moves back and forth, while the upper lip touches the mouthpiece at the top. When Gyang the lips are pressed together; even more in ti, in which the lips are fully pressed into the mouthpiece. An absolute unison of the two instruments is not reached yet this is considered desirable. Nor it comes to defined pitches or harmonies.
A shorter by about 1.2 meters in length variation is the dsog -making, which is played only in the assembly halls. In an orchestra the Dungchen resound with the conch dung- kar, the stem bell drilbu, the small hourglass drum with mallets damaru, the shorter metal trumpet tsog -kang silnyen with " crocodile mouth", the vertically held pair pelvis and held horizontally pair basin rol -mo ( rölmo ).
Because of its great length shall be Dungchen be blown with heavy pressure, so youthful students rKang only on the shorter metal trumpet practice gling ( kang- ling ) or the conch and may play only Dungchen from about 13 years. Dis then, they have learned by observing the daily music and events the way of playing.
The notation of the sounds made in the monasteries of the Karma Kagyu tradition with the help of cloud-like curved lines. Each sheet represents a change to another overtone, the thickness of the lines indicates the volume. In contrast, the tones in belonging to the Gelug tradition Nechung Monastery are recorded by a series of vertical bars. The three tones are there with a circle, a vertical straight line and a line with hooks shown above. A < -shaped bulge on the vertical bar denotes an asymmetric change in the dynamics. The sound is gradually louder and then suddenly breaks off again to the silent output sound.