The Bandura and it's potential

[Bandura]

Hnat Khotkevych

The Bandura and it's Potential


Part 1


Introduction


"The Bandura and it's Potential" was written by Khotkevych in after 1934. This was a period when nothing that Khotkevych was writing was
being published or performed. However he continued to compose and
write. After his arrest and execution, a copy of sections this
manuscript found their way into the historical archives library in Lviv.
Other sections wound up in Australia.


Bandurist Andriy Omelchenko in Kyiv had prepared parts of what was available in
Ukraine for publication by the Muzychna Ukraina publishing house that
had the work scheduled for publication in 1977 to coincide with
Khotkevychуs 100th anniversary. The book was not published.


In 1979-81 I had numerous meetings with Andriy Omelchenko at his home in
Sviatoshyno on the outskirts of Kyiv. We discussed numerous issues
regarding the bandura. The subject turned often revolved around
Khotkevych. He was interested in preparing a publication of Khotkevych's
music for the bandura but only had discovered some 8 pieces. I agreed to
bring copies of my collection of Khotkevych's manuscripts to Kyiv for him
to edit and have published. I also had the chance of reading the
manuscript that he had prepared for publication. Unfortunately, in 1981
he passed away from liver cancer and the collection of Khotkevych's music was not
published.


Before his death, Omelchenko had given me the copies on microfilm of
most of the manuscripts dealing with the bandura from the Khotkevych
archives in Lviv that he no longer needed. On the basis of these
microfilms and the materials I had in Australia we made a publication
in 1983 of Khotkevych's work and later a reprint in Bandura magazine.
In Ukraine bandurist Violetta Dutchak republished the articles prepared
for Bandura magazine in the annals of the Transcarpathian University
(without the music examples).


The following is a translation from the original manuscript
incorporating some of the newer materials that have been discovered.


Hnat Khotkevych was the first person to professionally teach bandura in
a tertiary institute. He prepared repertoire and materials in order to
make a professional foundation for the instrument. He developed and
discovered many techniques and paid particular attention to the
development of both hands. He paid particular attention to the use of
embellishments, glissandi and other technical devices many of which are
only being incorporated in the playing of professional bandurists today.
Khotkevych was a professional author and his writing has a flavor that
is often difficult to transmit into English. It is to be hoped that the
hidden humor and sarcasm Khotkevych employed will come through in the
English translation and be enjoyed by the reader.


VM


-----------------------------------
The bandura -- is a Ukrainian invention, and this maybe the reason why
the instrument was loved so much by the masses that it survived till our
time through such periods of social and political turbulence.


What was the folk bandura like?


We inherited an instrument that was not stabilized in form. It had a
diatonic tuning. Two main methods of playing were in existence: the
Chernihiv and Kharkiv.
(Footnote: Some people know of the Kyiv and Kharkiv styles, but this is
not totally accurate. In 1902 there was a statistical study of the
kobzars and it came to light that in the Kyiv province there was not one
kobzar noted. How Kyiv kobzars played when they existed we do not know.
The style of playing used in Chernihiv province has survived and been
studied at the conference in 1902 in Kharkiv. This became the basis of
the Kyiv style. The reason it is know as the Kyiv style is because one
Chernihiv kobzar (Vasylу Potapenko-VM) happened to have settled there.
He was the only bandurist there for a time. When the idea of organizing
a bandurist Capella came to fruition in certain circles of society, this
bandurist became one of the main teachers for the members of this group.
The Kyiv organization was the first bandurists Capella that had the
distinction of touring all of Ukraine, and the style that they exploited
began to be referred to as the Kyiv style. -- H. Kh)
The first was characterized by the fact that the left hand played on the
basses exclusively whilst in the later style the left hand was able to
play over the full range of the instrument just like the right hand.
This is what we received from the masses. Our generation has the task of
making a number of f decisions in particular:
1) Select a style of playing
2) Stabilize the form of the instrument
3) Discover a method of making the instrument chromatic


STYLES OF PLAYING


Regarding our first task then there really is no question as to the
style that should be selected; clearly one should play with both hands
and with all ten fingers. The Kharkiv style incorporates the Chernihiv
style. It is only one of the many hundreds of ways of playing this
instrument. As a consequence a person who plays in the Kharkiv style
will not hesitate to play on a Kyiv-Chernihiv style. However the
Chernihiv or Kyiv bandurists will not be able to play on the Kharkiv
bandura the simplest excesses because the construction of their
instrument will not allow them to play in this manner.


This is the main argument and it should be enough. For a fuller
understanding it may be beneficial to give some more reasons, e.g -- the
antimusicality of the Chernihiv style.
(Footnote: Here Khotkevych is a bit tendencial In 1902 he laid much
praise on T.Parkhomenko for his performances at the XII Archeological
conference in Kharkiv.)
Indeed we constantly hear 2 or 3 notes in the bass, occasionally
together with a chord related to the melody only because it is a bass.
Ten measures ahead you already know that the first quarter note of that
measure will have a bass played on the strong beat.


On top of this the basses consist of the contra-octave and the great
octave. The treble strings consist of notes of the small, first, second
and third octaves. As a result we hear the right hand playing in the
second octave and sometimes the third octave, and occasionally in the
first and never in the small octave -- and the bass continues to boom
non-stop in the contra-octave. This is similar to a musician on the
piano who is cut in two. Who spreads his arms out as far as they can go
and plays with his left hand 2 or 3 notes in the bass, and with his
right hand plays on the upper octaves.


One of the cardinal imperfections of the Chernihiv (Kyiv) style is that
it places restraints of the further development of technique. There just
is no where for technique to develop, no nuances, no timbre changes
everything is static. There are only 4 methods of varying the playing --
faster -- slower, louder-softer. Just like in all other primitive
instruments.


As a result, regarding the selection of the style of playing -- there is
no question. I there still exist amateurs who play the Chernihiv (Kyiv)
style, then this can only be explained in the same manner, as they say,
that one can still find people who when they are ill do not go to a
physician but to the village witch. The conclusion is simple: ONE SHOULD
USE THE KHARKIV METHOD WITH BOTH HANDS AND ALL TEN FINGERS. Apart from
the fact that the Kharkiv style incorporates the Chernihiv style, it is
also richer in unlimited technical devices, nuances that are part of the
instrument, but let us look at these separately.


STABILIZATION OF THE INSTRUMENT

[Bandura]

STABILIZATION OF THE INSTRUMENT


Concerning the stabilization of the instrument, I am not aware whether
the Chernihiv (Kyiv) instruments are now stabilized in shape, and if so,
what parameters are stabilized. As far as I know, a sort of
stabilization exists only within the realms of each Capella. Only within
each ensemble there is a need for the instruments to be of one type. In
every other Capella the shape of the bandura and the number of strings
and as well as the distances between the strings are never stable.


(Footnote: This has changed with the manufacture of banduras by the
Chernihiv and Lviv factories starting in the late 1950уs.)


It can be understood that a large number of strings on a bandura are the
pride of the primitive bandurist, just as the number of fake cartridges
on the chest of the coat was the pride of some of the Kozaks from
Kuban. It does not matter that the cartridges are fake, just like the
fake strings for the amateur bandurist. The primitive bandurist uses
only 3-4 basses however with pride he states that his bandura has 15
basses. Why 15 and not 14 or 16 he does not know. The same applies to
the treble strings. He plays on his two favorite octaves but states that
his bandura has 52 treble strings.


Technical pieces are above his capabilities, he has no need to throw his
hand over large intervals, and as a result the distance between each
string has no relevance. As a result the only requirements were to
place as many strings on the body of the instrument as you can drill
holes for the pegs in the side of the instrument. In such conditions the
stabilization of the bandura is never considered. The Kyiv instruments
however are pretty. They are made quite aesthetically (except for a
couple of provincial instruments made according to the whim of the
constructor). The rest of the attempts top make something exceptional,
original usually does not overcome the level of a curiosity. Such was
an instrument I reviewed which had a weird shape and double-chordal
stringing like that of a mandolin.

Another рinventionс by one provincial maker is the placement of a huge
hole in the center of the bandura. Through it he can squeeze his left
hand and can then play those strings that are in front of the opening???
Then there is the torban-like instrument with various animal heads
carved out instead of the scroll. This instrument has numerous fake
strings that flap about in the air. They are not played not only because
the bandurist in question does not know how to use them, not knowing how
to pluck them, but also because they make no sound. With no resonator
underneath them there is nothing to amplify their vibrations.


When considering a stabilized instrument one should take into account
only an instrument of the Kharkiv type, because the rest are not worthy
of attention. The Kyiv style returns the left hand technique back to the
days of Ostap Veresai, so there is not point in stabilizing it. Al l
that is left is the Kharkiv type of bandura.


Kharkiv type instruments have undergone some stabilization. Initially
this stabilization was done in the development of the form of the
instrument. For the Chernihiv instrument the form of the instrument
makes little difference. The musician places the instrument in between
his knees, leaning it sometimes against a table and plays. The shape of
the instrument in such a case plays little role.


We did not receive a stablized form of instrument from the folk. Folk
banduras were often rounded of pear shape however the characteristics
were similar. The neck was placed symmetrically. The Chernihiv style is
used by the Odessa bandura players and they make their instruments
symmetrical. What does this mean? Initially this does not seem
important., however under the strings we only have half of the
soundboard. In the Chernihiv bandura the instruments are placed between
the knees at an angle. Such a manner of holding the instrument does not
give any parameters for the stabilization of the form of the instrument.
Indeed one comes across instruments that look like piccolo banduras and
also instrument monsters whose only saving grace is that their sound
decay is an unusually long period of time. (Long decay times will be
addressed later.)

The Kharkiv bandura is placed parallel to the body and this already
gives us one parameter with regard to the size of the instrument. It has
to be such that the player can freely play with the right and left hands
with equal ease in both the upper and lower registers.


Illustration 3


This is the way things stand in general, but more specifically:
a) that the thumb of both hands is able to play the highest note;
b) that the distance between the strings be such a distance that will
allow the optimal development of playing technique
c) so that the maximum number of productive strings are placed on the
body of the instrument.


Let us investigate what sort of figures are produced by such parameters.


The first parameter does not give us any figures, just a general
orientation based on the length of the standard arm -- not too long, not
too short.


The second parameter gives us some figures. In the Chernihiv bandura
the distance between the strings does not matter because they do not
play large intervals. The simplicity in playing technique on such a the
bandura is one of its selling points.. Let us take for example the right
hand plays in the central register and the basses play such an
accompaniment


Example:


In such a case placement of the strings close to each other would not be
possible. In practice a distance of 10 mm between strings gives us the
potential to overcome all most future difficulties. So a distance of 10
mm -- but where? At what point on the string? On the bandura as we know
the strings are not strung in parallel but are strung in a radius from
the center. The distance of one string from the other is different on
the bridge from what it is at the nut. Where does the string have to be
10 mm from its neighbor?
This happens along the so-called line of playing of the left hand. The
exact place can be located but in such an article we have no space to
elaborate. Illustration 3 we see a curved line. This is the line of
playing. On the lower treble strings it is slightly lower than the
midpoint of the string, and on the upper strings it is exactly in the
center. As a result we need to mark out this line and measure out 10 mm
along it. Keep in mind that the basses must be placed somewhat further
apart -- say 11 mm., because the bass strings have a larger amplitude of
vibration.


Illustration


How many strings do we place on the instrument


In the Chernihiv bandura the fantasy of the maker has been extreme. For
certain categories of people there existed one measure -- "as much as
you can." Here the formula was рas many as would fit in. р There were no
rules to adhere. If the last string was between E-B then so it be. It is
understandable that such a chaotic manner of placing strings should be
placed under some rules.

If one takes a distance of 10 mm between each treble string and 11 for
the basses, one can safely place 4 octaves of stings on the body of the
instrument, from C in the contra octave to C in the third octave. This
gives us an instrument with 22 treble strings and 7 basses. However on
the standard instrument we use one can see 23 treble strings and 8
basses. Why? The appearance of the eighth bass is explained by the fact
that this string is tuned to the lower dominant.


The 23 rd treble string is explained by the fact that the bandura has
evolved primarily as an accompanying instrument and has not left that
task. (Soon it will). The most important minor key for the bandura is
that of D minor. As a result, the appearance of the high D is because of
the need to have a tonic note in the upper register.


Example:


In such a fashion we have an instrument with 31 strings with the
distance between strings of 10-11 mm., designed for the standard sized
hand. This also gives us a measurement for the horizontal width near the
strings. The unused area of soundboard is brought to a minimum.

The vertical height also needs parameters and numbers The width of the
instrument already gives us some standard on which to base the rest of
the instruments proportions. One also has to take into account the ease
of playing with the left hand because when it plays in a position that
is too high it becomes very tired.


The third parameter is associated with the decay of the strings sound.
When other plucked instruments (guitar, harp etc.) do not have strings
which have high tension. In the bandura the strings have to be tensioned
to a point just before breaking point. Only then will the instrument
sound as good as it can.

The strings have to be of such a length that they are able to withstand
such tension.


With regard to the length of the basses certain variations can be
allowed. They should not be shorter than 60 cm but making them
infinitely long is also not an option.
-------------------------------
CHROMATICISM

[Bandura]

CHROMATICISM


We received as a legacy an instrument that by nature is diatonic. Such
is the instrumentуs nature and one has to always keep this in
perspective.


The French Horn however, was also diatonic, but contemporary technology
was applied to the instrument and although some of the quality and
timbre of the instrument was lost with these developments, it did gain
the ability to play chromatic notes. It is the same situation here with
the bandura. We will most probably need to take something away from the
instrument in order to gain the possibility to play chromatic notes.


The task at hand then is to decide what we can allow to lose in order to
gain this ability.


We know an instrument has the right to exist only when it gives
something unique, because if it does not have some unique quality, but
only imitates that which other instruments give us, then there is no
need for it to exist.


The bandura has a unique quality, and one can play on it things that
cannot be played on any other instrument. This means that when we
consider adding a system of chromatisation we should be careful not to
loose these unique qualities. If we add chromatisation and we loose the
unique characteristics of the bandura, then we will not have a true
chromatic bandura but some other new chromatic instrument which has the
form of the bandura.


The incorporation of chromaticism should be done very carefully, so that
all the characteristics of the instrument remain, and that any loss of
character be kept to a minimum. Unfortunately our constructors and
inventors of chromaticism pay little attention to this simple rule and
add to their chromatic рbandurasс what ever comes to their minds. They
create such things that are truly not banduras, but something quite
strange, weird and different.


Before we turn to the history of chromaticism of the bandura let us
delve on a couple of points.


The introduction of chromaticism is good, but what should our goal be?
If we want to make the bandura into a smaller sized piano with its ease
of modulation we can safely say that this will not be successful. We
cannot turn the bandura into a piano, and in the process the
characteristics of the bandura will be lost. There are some finite
parameters in chromaticising the instrument which should not be
overstepped.


Then there are the rhetorists who state рWhat sort of instrument is it
that you cannot play everything on itс.


This EVERYTHING is a very unsafe concept. People who want to play
рeverythingс do not understand that there is no such instrument on this
earth that can play рeverythingс. Each instrument can play only that
which is composed for it. Translate this into the language of another
instrument - and this will be a transcription. This sort of music may
satisfy less demanding listeners, but this is not true Music.


And whatever instrument you may take , however rich it may be, there
will be countless pieces which you cannot play on it, or at the most
just play through on. The violin is called the queen of instruments but
it is impossible to play chordal music. It cannot play fast passages in
octaves, and there are many other things it cannot do. The piano has a
huge technical potential but the wealth of literature for the violin is
not played on the piano because it cannot play it effectively. It
cannot give a long note (especially if it is to be played as a
crescendo), nor a glissando, nor overtones etc.


Still they are referred to as the royalty of instruments. What can we
say about the lesser folk? The harp is not capable of sudden modulations
in quick tempi and playing chords with numerous chromatic signs. The
Bassoon cannot play passages in F sharp major or D flat major. The
trumpet has its limits and so does the flute. Every instrument has its
peculiar limits, and yet no-one states that they are not proper
instruments because you cannot play рeverythingс on the instrument. This
concept should be applied to the bandura as well. To demand that the
instrument be capable of playing рeverythingс is a demonstration of
musical illiteracy. The bandura requires its own literature - this is
tour main task. To disregard what has been composed for other
instruments is not a concern, but to place the bandura in a dead corner
is not warranted.. Otherwise it would be analogous to creating a
Ukrainian literature by translating the best and most popular works from
other languages and not creating anything ourselves.


As a resume of what has been discussed previously - one should not chase
after some form of special innovation in order to play some particular
modulation, but our concern should be focused on the conservation of the
characteristics of the instrument.


Let us look at chromaticism.


The first group to apply some sort of chromaticism to their instruments
on the public stage were the members of the Kyiv Bandurist Capella.
(There had been numerous primate attempts - many of which are now
forgotten.)


The Kyivites exploited the Chernihiv style of playing where the left
hand does not play on the treble strings. They found a method leaving
the main playing area diatonic and adding chromatic strings which come
out near the nut, similar to that used on the tsymbaly.


Illustration 4


The musician plays on a diatonic instrument and when he requires a
chromatic note he raises his hand and plucks the required string. As a
result the bandura became known as (and even today it is often referred
to ) as a рchromatic banduraс although this is not totally correct.


What does this method give us and what does it take away from the
bandura?


It gives us the potential to play chromatic sounds of a different
timbre, because a string struck at its mid point gives one sort of
timbre, and plucked near the edge it gives a different timbre.


It takes away allot. First of all one cannot рhearс the left hand. The
left hand cannot play over the side of the instrument and this takes
away a half or even three-quarters of the resources.


Apart from this, even in the technique of the right hand, many devices
now cannot be used. Take for example the glissando. This is part of the
standard language of the bandura, and one of its most important
characteristics. On the Kyiv bandura the glissando is not possible to
play with one chromatic signs, When the strings are placed in two rows
many types of glissandi are not possible.



Ex 6


Ex 7


Quick runs in octaves are not possible. The simplest exercise where the
strings are played legato - I do not mean playing in a rising scale
because this does not exist in the Kyiv bandura at all, but in a falling
scale is not possible. Everywhere you look, three quarters of the
resources of bandura technique are not possible, and instead the
potential of playing an occasional chromatic note with out any timbral
variation means that the note cannot be organically tied in with the
rest of the note of the chord.


This unfortunately is too little. The problems of chromaticism are not
solved and the bandura is brought down to a level of primitivism. Such a
method must be condemned The popularity of it can only be explained by
the fact that the Kyiv Bandurist Capella was the first to travel
throughout Ukraine and this is quite important. Many people saw the
bandura for the first time in the hands of the Kyivites, and as a
consequence they came to the conclusion that this is what the bandura
should be.


Let us investigate methods of chromaticism which allow the left hand to
continue functioning.


The Kyivites made instruments where the chromatic string came out
higher near the nut. This meant that at the side of the instrument you
had only chromatic notes available for the left hand to play i.e. f#,
g#, a# and c#, d#. This method of playing the chromatic strings did not
allow the left hand to play the main diatonic row.


Why not have an instrument with the reverse done on a bandura so that
the chromatic strings are higher near the bridge.


Illustration 5


Then along the main diatonic row both hands are capable of playing, and
if required the hands move down and can pluck out the chromatic string.
This method also has its faults. The method however is much better than
that used by the Kyiv bandurists however it does not make the instrument
chromatic. On such a bandura all chromatic runs playable on a Kyiv
bandura are capable of being played on this instrument, however many of
the devices used on a diatonic bandura are not possible on this
instrument


The right hand must play very high and this tires the hand considerably.
Playing lower on the string is not possible because despite the fact
that the string is on a higher plain, but the crossing of the chromatic
string begins to interfere much earlier, and despite the fact that the
lowered string may be out of reach the perception is that one with
strike it and this creates some instability in playing.


Consequently this method should be thought of as being unsuccessful.


The simplest method of obtaining a chromatic note - is to place a fret
on the instrument in such a way that when the string is pressed down the
tuning of the string being played is raised by a semitone and the
chromatic note is obtained.


Illustration 6


In this manner any bandura can be made into a chromatic instrument if
one refers to accidental notes and the simplicity of this method is one
of its selling points.


The fact that this method is very practical is demonstrated by its use
by the members of the Orchestra of Ukrainian Folk Instruments at the
Metalists club in Kharkiv under the direction of Leonid Haydamaka.


The problems with this method of pressing down the strings of the
bandura lie in:
a) the strings are metallic
b) The strings are very short
c) the tension on the strings is quite high.


In order to make this method easier to use I attempted to place the
frets for say the note D# not on the string D but on C. With a longer
distance between the nut and the fret it is easier to press the string
down. Unfortunately the difficulty of performing music became such that
this method of chromaticisation was not practical.


The next step was the introduction of the moveable fret. It lies under
the string, and when required is lifted by the fingers and shortens the
string by a semitone. By making switching off the mechanism the string
becomes longer and flattened notes are possible.


Initially this was a breakthrough when compared to the stable fret. The
string no longer needs to be pressed down by the fingers, and it is done
mechanically. Apart from this, if a rib is placed on this fret it can
be used as a standard fret pressing down the string for accidentals.


Illustration


Unfortunately the problems created by such a method of
chromaticisation are greater then the problems they solve.. Firstly this
is not a method for chromaticisation but more a method of rapidly
retuning the instrument from one key to another. Instead of turning the
tuning peg - all that is required is the raising of the fret. However,
during performance this is very difficult to do., consequently the use
of modulation during performance is once again compromised. Once the
mechanism is engaged accidentals on that string are no longer possible.
You have to play that particular sting in its tuning till the end of the
said piece.


The worst aspect of this mechanism is the inaccuracy of the mechanism
itself. It is true that in order to make it more accurate one only needs
to place it more accurately, but this is only easy to do in words and on
paper. The mechanism often is not fully engaged or over-engaged by a
fraction of a millimeter and this can be heard. Octaves tuned accurately
when the mechanism is disengaged , once the mechanism is raised suddenly
become dissonant. because one is slightly higher and the other slightly
lower and to have them adjusted together is virtually impossible. When
there are a number of instruments, just tuning the open strings to be in
tune is difficult. to this the fact that on each of the instruments the
mechanisms may be adjusted differently and you can imagine the cacophony
this produces and the fact that you once again have to reach for the
tuning key.


Nether-the-less this attempt was also very serious and quite useful.
This is the method currently used by the members of the Poltava
Bandurist Capella.

[Bandura]

The next step could be the movable bridge, however I have not had the
time to check it out. The problem is that the precious methods have lied
on the soundboard and also get in the way of playing. They tend to
deaden the sound of the soundboard, and although you do not touch the
fret with the end of the finger, they seem to almost touch it. This
perception also gets in the way of playing. The moving bridge is a piece
of metal with the following form. The metal section is placed into the
cover of the side. The rounded section is placed in the end. It serves
as a fret. It is fixed into the side of the instrument with a screw.
If you do want this sharp to be left on permanently (as in the previous
method -- the fret on an axis) you move the whole apparatus one point
further. The hole B can be found above A and once again it is fixed in
place by a screw and a hook, and the part that holds down the string
stays in place.


Illustration: (not found) but this mechanism is used on Kabachokуs last
instrument now in the Bandura collection at the Lavra Museum


The bandura does not have two strings that are of the same length, and
you will need as many of these stainless steel mechanisms as there are
strings on the bandura. In order to avoid this, it is worth making the
side nut in such a manner, that the higher the register, the thicker it
is. Then the tail will be placed closer and closer to the nut on the
higher (shorter) strings. This will once again produce a semitone,
cutting the string in the proportionally correct place.


This method is good because there is nothing on the soundboard which to
get in the way of the fingers. It unites within it the positive aspects
of the set fret and the axis fret, however it does include some of their
faults.


The next step -- is the pressing down on a metal piece with the aid of
a button. I press down not the string but the button (like that on an
accordion). The button works with the aid of a lever, so that pressing
down is easier, and this gives a powerful effect -- press down of the
string strongly. This button or mechanism can work in the direction of
the of the string. (I have made up 14 different variants.) The cutting
point can be above the strings near the pegs so that fingers 2,3,4,5 can
press down on it or underneath the side of the instrument where it is
pressed by the thumb. Pressing down the button with the thumb I do not
lose the ability to play with the rest of the fingers of the left hand.


If I require the sharp to stay in position etc., I twist the button
and it jumps into a peculiar place and stays there. Such instruments are
being made currently. (There will be a couple of different variants.)


All these methods allow us to obtain chromatic notes on a particular
string. The rest continue to not be affected. They are not raised or
lowered. This means that playing octave runs with chromatics are not
possible in fast tempi.


Pedals like that of the harp are not possible on the bandura mainly
because of the shape of the instrument. All that is left is to make a
moving or rotating bridge. Such a bridge allows us to change key rapidly
by raising particular notes. Such a rotating mechanism allows us to
raise all the required notes in each octave.


The second method is similar. Instead of a moving bridge it is a
rotating bridge. By rotating the handle at the side of the instrument
all the Cуs are retuned to B. (Such instruments are also being
manufacture right now.) One bridge can give a variety of tonalities
without the reliance of the tuning key.


This is the way in which the problems of chromaticism are being
addressed. This is the current state of affairs. If more people begin to
work in this area maybe more constructive inventions can be discovered.

[Bandura]

THE CHARACTERISTICS OF THE INSTRUMENT

On the bandura there is a difference in the quality of the sound
produced not only in the strength with which you strike the string, but
also numerous other factors. Let us try investigate some of them.


1. The finger with which to strike the string is important
because
every finger has a different form, different strength and the angle at
which it strikes the string is also different


2. The angle in which the finger strikes the string. If you use
the
soft tip it will produce one sort of sound. At a slightly different
angle the string begins to be struck by the tip and the nail. At a
different angle the nail plays without the tip and all of these methods
of striking the string produce a different timbre.


3. The side with which the nail strikes the string, because we
can
strike the string in the normal direction as in other plucked
instruments or in the direction of the nail.


4. The amount the joints of the finger are bent. They can be
kept
rounded or straight and this influences the character of the sound
produced.


5. If you support the finger with one of its neighbors, say for
example
the 1st and 2nd fingers, then the sound produced is quite original.


6. The character with which you pluck the string. You can touch
the
string, or you can hit it, and you can drag it over it at right angles
or at some other angle.


7. The character in which you strike the stings. You can throw
the hand
or you can gently touch the string with the finger and immediately
remove it. The hand can be held over the string for a period of time
that can be shorter or longer and we will obtain a sort of dampening
effect. The character will change according to the speed at which the
hand is placed back on the string.


8. The hand that strikes the string, because the same fingers of
the
left and right hands give different types of sounds.


9. The position in which the left hand is held, whether it is in
the
position (3) or thrown over the side in position (╦). In these positions
you also have the use of the Nail position (H).


10. The place along the string where the finger strikes it --
when you
pluck the string in the Centre -- this gives the richest sound. When you
move it closer to the nut, or to the bridge the character of the sound
changes. This is not all, just what is easily perceptible. Because of
such differences, the same 3 note chord can be stuck in unlimited
variations of sound timbre. When I say рunlimited," this is not just a
phrase in the wind. Letуs take a three note chord of C-E-G and
investigate how it can be played. We get some astronomical numbers. I am
not stating that all of them should be used in practice because practice
only takes a minuscule amount of what is possible, but it is noteworthy.


The usual fingers with which one plucks out such a chord are
1-2-3. But
you could also use other combinations (1-2-4, 1-2-5, 1-3-4, 1-3-5,
1-4-5, 2-3-5, 2-4-5, 3-4-5.). This gives us 10 combinations. In each of
these combinations, if one string was to be plucked in the direction of
the nail, this will give us 3 different variations a total of 30 methods
of playing the chord.


The same happens when 2 fingers play in the direction of the
nail. This
will produce 3 addition variations -- together another 30 combinations,
and another 10 if all three strings are plucked in the direction of the
nail. This applies to the right hand.
For the left hand in the normal (#) position and 4 combinations
in the
overthrow position ╦ give us 14 combinations. When we pluck one string
in the direction of the nail that gives us 14 x3 = 42 combinations; when
2 are plucked in the direction of the nail another 14x3=42 combinations
and when all three are plucked in the direction of the nail -- another
14.


Now let us combine 2 strings played with the left hand in 3
position
and the third with the right hand. We get 4 combinations in 3╦, a 5 in
╦. This gives us 18 combinations when we use fingers 1-2, and also with
the right hand --10 combinations: altogether 180 variations. (This is
when the left hand plays the upper not G.) But we can play the middle
string in 180 combinations. Altogether we have 940 combinations. This is
when both fingers in the right hand are in (3) But you can play one in
position (H) -- this gives us 540 combinations, with the second in (H)
just as many. This is when


This is with two fingers of the right hand, then you can reverse
it and
have 2 fingers played by the left hand. Such combinations in (3) would
give us 6 and in ╦ 10, altogether 16 combinations. 16 combinations when
one finger is in (H), and a second in (H) and both in (H) altogether 64
combinations with 2 fingers of the left hand. Each of these combinations
can be together with any of the five fingers of the right hand in (3)
position and (H). This gives us 640 combinations.

Just as many combinations are done when instead of G we play E
and
once again as many when the string C is played.


Apart from this the right hand can play near the bridge or the
nut, and
this will produce a timbre spoken about previoucly. We can also change
the hands. What was played with the left hand can be applied to the
right.......
This is what happens when we investigate the combination of a
three
note chord.


Example 8.


When we speak of a four note chord then the number of timbres
produced
grow even larger. We are not just talking about the fingers which we
play the strings. On the piano we can play C-G with the right hand and E
with the left, or visa versa but this will not produce any sort of
difference in the tone produced, because by the time the change in
fingering goes through a system of levers, wood and felt, etc. The
difference for the ear is absolutely non-existent which ever finger you
used to play the note. For the bandura all this has importance because
as has been mentioned previously, each finger attacks the strings
slightly different, and have a different form and strength.


One can play a simple scale using an unlimited number of
methods and
each of them will produce a sound that will be somewhat different. I
have not touched on such things as playing the string legato or staccato
which is possible on many other instruments, but on the bandura each of
the fingers plays the string slightly differently


When we compare a scale with a combination of fingers paired in
2 we
can easily hear that a scale played with the 1-2 fingers sounds totally
different to a scale played with 2-3 or with alternating left and right
hands, or 4-5 or 5 right and 5 left. In a word, no two of these
combinations sound like any other and the number of such combinations
(keeping in mind that using (3) we have 14 combinations, and in (H)
another 14 combinations giving us together 28 combinations in total.
The number of combinations in total are 378. This is the number of
combinations if for example I play with the 2-3 fingers, but when I
reverse the order and play 3-2 we have just as many combinations. The
number of combinations grows considerably especially when we take a
scale in thirds for example.


Example 9.


You can easily play this simply with the right hand with the 2-3
combination. Show this passage to a Kyiv style player and that is jut
what he will do. He may possibly play using the combination 1-2, but he
will never use the 4-5 combination.

[Marianna]

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