Tulum (bagpipe)
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Tulum ( Turkish " goatskin bag " ) is a bagpipe with two equally large, interconnected chanters without drone that is played in folk music in the north- east of Turkey. Main distribution area of the traditional shepherd's instrument is the mountainous highlands of eastern Anatolia between the provinces of Artvin to the north and Muş in the south.
The tulum came with the expulsion of the Pontic Greeks in 1923 to Greece and is known under the name tsambouna on some of the northern islands. The Thracian bagpipe gaida comes in Turkey only in the European part. In contrast to the tulum it has a playground and a separate drone.
Origin and Distribution
From the ancient Greeks a bagpipe with two games and a drone is delivered. A connection of the tulum with the Balkans as gaida ( and similar spellings ) known bagpipe is considered unlikely, the designs are quite different and the term tulum does not occur for Thracian bagpipes. Derived from Turkic means otherwise tulum in several languages on the Balkans " hose " or "bag". In addition went Ottoman tulumba ( " Timpani " ) and tulumbaz ( " Paukenspieler " ) in the meaning " drum " in Serbo-Croatian ( talàmbas ) and similar in other languages a in the Balkans.
There are similarities in design with bagpipes in Armenia ( parakapzuk ), Georgia ( stwiri or gudastviri ), and Adjara in the Caucasus ( shi chi bonuses or bonuses ). In this north-eastern region of origin of tulum is suspected. The Mari and other Finno- Ugric peoples in western Russia call a bagpipe -like schuwjir (also shuvyr ), came up with the Turkic Chuvash the shabr (also Shapar ) to Eastern Europe. The tulum - bagpipes type is much further outside than inside the Turkish border known, as the range of the notes played on the Balkans, bagpipes ( Turkish gayda ) Turkey includes only the European part. From the Ottoman writer Evliya Çelebi ( 1611 - after 1683 ) which presumably earliest record of tulum comes in a Turkish text. It specifies the Tulum duduki was invented in Russia ( duduk, düdük or similar is the onomatopoeic name for various wind instruments ).
In the province of Artvin the tulum is the most played folk music instrument. The living there hydrolases call a particularly large bagpipe guda. This word untreated animal hides are designated otherwise; it may have nothing to do with the Eastern European gaida - spellings. The term specifying tulum zurna to distinguish the suffix for the Kegeloboe from tulum zurna as the " bag a Ziegenbalg ". In nomadic household such bags are used traditionally for storage and transportation of food (water, oil, cheese).
The tulum is part of the semi-nomadic way of life and culture of the shepherds, pull up to the high pastures ( yayla ) of the Pontic Mountains ( Kaçkar Dağları ). Here is the transition to the Black Sea coast, where the landscape is dominated by the cultivation of hazelnuts and the music of the peasants by the fiddle kemençe. Apart from the provinces of Artvin and Muş the tulum comes in the provinces of Bayburt to the west Gümüşhane, Erzurum and on the coast in the province of Rize used. Outside of this region takes on the endgeblasene Rohrflöte kaval the role as a leading musical instrument of shepherds.
In belonging to Azerbaijan Republic Nakhichevan of tulum zurna the old national instrument of Azerbaijanis, which today is, however, played by only a few musicians.
Design
The tulum is bordunlos and has two connected chanters from pipe with five finger holes. The pipes have a length of 13-14 cm and an inner diameter of 10 millimeters. In addition to the general concept nav chanters are also regional yatırular ( " dangling things " ), toprak kamışı ( " earth tube " ) or in the valley of Çoruh called Deden. Mostly they consist of pipe of a water grass that is strengthened especially in Çoruh Valley by heating or cooking in oil, and rarely made of wood. According to a report from 1937, the handles of old umbrellas were processed in particularly rainy area of Rize. The distance between the finger holes increases downwards from 19 to 24 millimeters. In one of the pipes (depending on the handedness of the player ) the top two or three holes are sealed with beeswax sometimes.
Both game tubes are mounted side by side with beeswax in a wooden box, which consists of boxwood and walnut timber and nav in Çoruh Valley, is otherwise called tekne. The box is open at the top or covered in the finger holes through a sheet which is cut on the finger holes. At the bottom of the tubes open into either a fixed also with beeswax horn support ( karaxsin, of Georgian kar, " horn " ), or more often in a boxwood ( Şimşir ) carved rectangular bell. Nav The non-Turkish word can also be related to the entire component. With the proximal end of the tubes stuck in a wooden box, which is closed at this point on all sides, and so the three -centimeter-long ideoglotten Easy reeds ( zizmak or dillik ) hides. The crook has unlike other bagpipes no valve, the player closes it by inhalation with the tongue.
The two chanters can also be used without the bellows. As a double clarinet with the name nav to match the Arab midschwiz.
For the bellows ( göğde in Artvin ), the young animal fur ( oğlak ) of sheep or goat is the most popular. For larger instruments it needs the fur of adult animals. The hair is removed and, in most cases, the skin is tanned. If the skin is not tanned, we mechanically removed the meat scraps and puts them in a strong brine for protection against bacterial blight. An instrument with a skin thus prepared should be kept moist, because the skin usually becomes stiff and brittle. Tanning takes place for a week in a alums solution ( SAP), then scraps of meat and hair scraped and sun- dried the rest.
A local method of tanning that is applied by the musician himself or specialists in the villages, leads to the result to animal skins, which are referred Hasil with the dialect word. An aqueous solution of the ashes of hornbeam ( gürgen ), which is mixed with corn flour, and fermented, slightly boiled milk ( yogurt ) is hereby made and painted on the fur side of the skin. Fold together the skins and leaves it two days until they start to stink. This is the sign that can now be easily scrape off the hair. The subsequent tanning of the skin is still wet is done with a mixture of some alums, corn flour and salt, which is sprinkled over. After a day, the skin on the flesh side is gently scraped and pocketed after another day with olive oil.
Now, little more than olive oil after smelling skin can be sutured. In one of the front leg portions of the mouthpiece ( dialect name goda or lülük ) is sewn in, it can consist of different types of wood or bones exist. At the point of the other foreleg, the chanters are fitted, the rear leg sections are stitched.
Play
The two foremost phalanges of one hand are over two adjacent holes of time, usually to cover the fingers of the right hand, the two upper holes from the three fingers of the left hand, the lower three -hole pairs. The lowest tone is obtained when all the holes are covered, he was with g1, determined at some instruments with a1 and forms the final tone of each melody. Since the pipes are not overblown, the ambitus in contrast to the zurna is low. He is a major sixth, so even less than in the short oboe mey. By sealed with wax finger holes results in a faded two -part playing. Are two of the holes closed so can still generate four tones.
The musicians make absolutely sure that both chanters are voted as closely as possible the same in order to avoid beatings. Accordingly, both pipes are tuned carefully before the game. However, the reason for the use of two instead of one chanter is not in a larger volume, since it is only 10 to 20 percent higher than one, but in the possibility of a more coherent game with two pipes.
Typical of the tulum game are very short melody strings that are repeated continuously. These include the choppy acting aksak - cycle sequences, a rhythm pattern ( usul ) of a series of odd and even beats, the main impacts are mashed to the floor. The pitch can practically unaffected and the intervals can not be slurred. Likewise, the options are limited, affecting the sound and volume.
The tulum is used to accompany several regional dance styles, the tulumcu ( tulum player) occurs either as a soloist and performs the dance group or he accompanied a singing voice. In the Black Sea region is the horon popular, in which the participants hold each others hands and to the musicians who pretends heckle the motion sequences, forming a circle or semi-circle. Türkülü horon means horon with vocals ( türkü ), after the text is often a love song. On the Appearance of tulumcu heard that he vigorously moving their bodies, sometimes mittanzt or his game breaks through singing performances.
The tulum plays an essential role in identifying design, weddings and other family celebrations in his home region. He stands for the " own music ". Thus, the instrument has the same meaning as the kemençe for the hazelnut farmers on the Black Sea, with the tulum slightly more awkward sounds when the wild in parts played fiddle. In Giresun horon dance tunes were recorded in which the kemençe played at half the usual rate to parody imitate the playing style of tulum, amid the laughter of the audience.
In traditional music Nachitschewans the tulum plays with the Kegeloboe zurna, the cylindrical balaban short oboe, flute Tutek the beak and the cylinder drum naghara ( to distinguish it from the boiler drum gosha naghara ) together.
Outside of regional folk music is a band around Birol Topaloğlu an example of how the tulum can be used in contemporary ethno-jazz music. In Kadıköy, one lying on the Asian side of Istanbul's gather occasionally passers-by on the harbor for horon dance in a big circle around a tulumcu. As a nationally -known traditional tulumcu applies Mahmut Turan. He played with in the Grup Yorum, the student scene in the left held a musically important role from the mid- 1980s. In 1996 the group took one of the first songs in lasischer language with electric bass and tulum on. The tulum has since been incorporated as other regional musical instruments in new, composite styles as " ethnic " constituent.