Product Description
- Dombratuner 1 1 – Kazakh Dombra Tune Music
- Dombratuner 1 1 – Kazakh Dombra Tuner
- Dombratuner 1 1 – Kazakh Dombra Tune Online
Dombra tuner has over 11 pitches, from which you can choose. Choose the ones that you like. The buttons below to play the sound of each string of a perfectly tuned Dombra in the app window. You can use these buttons individually or in retry mode, repeating the sound of the selected string. You can make the bulk of tuning, without having to take your hands off your Dombra!
The chromatic tuner is used in the middle of the app window to precision tune of individual strings. Play a string and if you is perfectly in tune, the tuner will flash green. The tuner will flash red, the string must be raised further. The Chromatic Tuner indicates whether the string should be adjusted upwards or downwards. The arrow on the left starts flashing red, your string sounds too low and should be tuned higher. The arrow on the right side flashes red, your string sound is too high and must be tuned lower. Tune the strings until the Chromatic Tuner flashes green. Continue with the next string. Continue until all strings are perfectly in tune and enjoy it to play your Dombra.
Very easy tool to tune the Kazakh Dombra. Just click on the button and tune the dombra with the sound of the tuned string! The app has: - Mode for automatic repeating of the playing sounds, - Original instrument sound. Automatic repeating of the playing sounds - Wikipedia information and buying hints - 10 new pitches modes: - Baroque. Enjoy the videos and music you love, upload original content, and share it all with friends, family, and the world on YouTube.
Have fun with Dombra tuner! Download the app now!
- The dombra is such a deep part of the Kazakh psyche that it’s become one of the key symbols of the country’s nationhood and culture, along with horses, the tent homes known as yurts, the steppe, the blue sky, the eagle and the Golden Warrior Prince.
- DombraTuner v1.1 MacOSX Retail-CORE DombraTuner v1.1 MacOSX Retail 16.7 MB Team CORE 2013/08/18 Very easy tool to tune the Kazakh Dombra. Just click on the button and tune the dombra with the sound of the tuned string!.
Chants Kazakh et Tradition épique deL’Ouest (Various artists) : Ocora C580051 (recorded October 1984 & August 1990)
Mainlydevoted to the fine Kazakh music of Western Mongolia this CD recorded by theFrench Mongol expert Alain Desjacques features only two tracks with Khöömii.Some good translations of the Kazakh songs and also a translation of a sectionof Altai Magtaal are contained in the liner notes.
Dombratuner 1 1 – Kazakh Dombra Tune Music
1Man‑man ker (My Bayhorse withthePeaceful Gait)A love‑song performed by R.Nurdqaan(vocals and dombra) Apiece from the kŭy repertoire inspired, yet again, by a horse's gallop. Acomplex piece where the performer has to maintain a constant bass‑note onthe low Children(these are between ten and fifteen years old) learn to sing the Altay eulogy inboth ayalaq and qaylaq styles, singing simultaneously in chorus, and
A young knight is going to meet his fiancee. Onthe way, he compares the majestic beauty of his horse's pace to the love hefeels for the young girl.
2 Ala‑taw (The VaricolouredMountain) A bucolic song, performed by Aqman (vocals and dombra)
Thename of a mountain in Kazakhistan, to the Northwest of Alma Ata.
Your peak is coveredwith eternal snow
On your flanks,blooming red and green flowers,
You are the flower andsong of life.
At the sight of you,my heart is overjoyed,
My beloved mountain.
Your imposingsilhouette reaching up to the sky,
Makes Youth courageous,
But, no‑one knows your secret.
3. Aq Kŭy (The White Tune) Dombrasolo performed by S. Toqtal.
Awell‑known dance‑tune from the kŭy repertoire. The regulargait and poise of the ambling
horseis recreated through two alternating parts, which constitute the melody.
4Aqbulaq (The White Spring) A song of filial love performed by R. Nurdqaan(vocals and dombra)
In the mountain,there's a spring..
I grew up on its water,
Cradled in my parentslove.
Such a pleasant scene,
the lapping of thewater, such pretty music.
My mother goes thereto fetch water,
my father, bringingthe horses to drink..
5 . Bi‑bi (Dance)Dombra solo performed by Aqman
A piece fromthe kŭy repertoire, dance accompaniment inspired rhythmically by thehorse's gallop.
6 Asilim (My Truth) A plaintive love‑songperformed by Aqman (vocals and dombra)
When in summer themountain decks its green and flowery coat,
When the birds aresinging, deep in the woods,
I think of you, mytruth, who is away.
Flowers wilt andwinter returns,
The mountain dons awhite coat,
I think of You, Mytruth, who are still away. Plexus rowbyte 3 1 5 download free.
The steppe is finallyshrouded in snow,
Know, My truth, thatthere is no secret between lovers.
7Irqŭzian(Irqŭzan's song) Song of celebration, a duo performed of by 0. Sayzada andR. Nureqaan (vocals and dombra)
How wonderful life iswhen our nearest and dearest
Are all joined tocelebrate together.
When the time comes tosuffer,
That will be the timeto remember
These happy days, thebeauty of life
And the closeness ofloved ones.
8. Erkem‑ay (My Little Darling)Song of celebration performed by Aqman (vocals and dombra)
When they ask me tosing
I do it like a birdskimming over the lake.
Wherever I am, it's,without having to look, on the side of Good.
I sing, accompanyingmyself on the dombra.
May today'scelebration be tomorrow's too.
You have to play thedombra like a virtuoso
To call your littledarling to sing.
9Sarbiday (Grain of Wheat) A nostalgic song performed by Aqman (vocals anddombra)
I have settled in thispart of the Bulboskin countryside,
Myriad 4 1 1 – audio batch processor. On this piece of paperI'm writing.
I'm home‑sick.Here they don’t sing with intelligence.
Visualising myrespected elders, grain of wheat, grain of wheat,
I blossom when I amwith my own people.
When, I think of myfamily, I sing, grain of wheat, grain of wheat.
10Balburauyn(Dance in Twirling Movement) Dombra solo performed by S. Toqtal
Apiece from the kŭy repertoire whose rapid rhythm is inspired by turbulentgusts of wind. A brilliant performance calling for a polyphonic playing technique.
11Dedimayaw (My Sweet Protected one)Aplaintive love‑song performed by Aqman (vocals and dombra)
Dombratuner 1 1 – Kazakh Dombra Tuner
As soon as I saw yourshining face, I melted inside,
My sweet darling,priceless as white gold.
An armful of gold keptfor oneself loses its value,
But is sadly missedwhen it is no longer there.
My sweet protectedone, we have no idea how quickly life passes by.
12Balzinker (My Chestnut Bayhorse) Dombra solo performed by S. Toqtal
stringwhile playing the melodic line on the other string.
13Depsaldim ay (This is how I say it) Nostalgic song performed by 0. Sayzada(vocals and dombra)
A caravan comes fromthe mountain
But 1 say that itcarries nothing:
It's the inheritanceof the Moslems, nomads in foreign lands.
This is what I said tomy elderly parents.
I sang them this oldsong, telling it like this.
14Gulderayim (The Flower Season)Nostalgicsong performed by Aqlman(vocals anddombra)
My brother, still aninnocent lad,
I keep watch on youragitated youth.
Might I hear yourvoice in the flower season,
Like the moon at theheight of day.
I have no wings. Whatcan I do without wings?
Summer has come, adelight to all, it’s the flower season,
When I think of you,little brother, I break into this song
When I stop singing, Ihear your high-pitched voice..
15 Zaraii boken (The Wounded Stag) Dombrasolo performed by T. Baydalda
Apiece from the kŭy repertoire, the musical version of a tragic tale offratricide: during a hunt, two brothers separate to increase their chances of catchinggame.
Onehunts and kills a stag and, the weather being bad, covers himself with theanimals' skin to keep the rain off. Shortly after, the other arrives at thespot and,
apparentlyshooting a stag, kills his own brother.
16Ademaw (The Beauty)Love‑song performed by Aqman (vocals and dombra)
When you passdiscreetly by,
Like a furtive flower,
I am like thenightingale
Swirling around theflowers of his native nest
If I don't come topick you, who else will?
I am strong enough tobear your torment, Beauty, my Beauty,
Tell me if the songs Idedicate to you are pleasing to you,
Could it be that youlove me?
You are the haven ofmy secret thoughts,
You, summer of mylife, object of my love,
Wherever you are, myBeauty.
17, Quia ker (My Bayhorse) Dombra duoperformed by 0. Sayzada and R. Nurclqaan
Dance music from the kŭy repertoire performed together by twoinstrumentalists. The horse, again, symbolically reproduced through thegalloping rhythm, gives
energeticimpulse to the melody.
18Laylimsiraq (My Inaccessible Love) Plaintive love‑song performed by R.Nurdqaan (vocals and dombra)
She cannot marry the man of her heart for she has been promised toanother. Her lover sings for her and, bewailing his own fate, declares his lovefor her.
19Pay‑pay(Fie!)Complaint performed byAqman(vocals and dombra)
When you think howfleeting life is,
Every day should be anoccasion for celebration
Bringing together awhole crowd of people, Fie!
It doesn't lastforever like the moon!
I am asked to singwhether I like it or not, Fie!
That's not like therespect the moon gets.
20. Aq Bope (Aq Bope's song) Plaintivelove‑song, a duo performed by 0. Sayzada and R. Nundqaan (vocals anddombra)
Thesong of Aq bope, lamenting her former love. Sun, sky and all living beingspartake in her sorrow. She even beseeches those departed souls who never knew
thebeauty of love to join in her sadness.
21Altaymagtaal (in Praise of Altay) Performed in ayalaq style by T. Enkbalsan(vocals and tobsuur) Xliff editor 2 1 – xcode localization made easy learning.
Among theUryanqai and Zaqchin Mongols, epic song is always preceded by a song of praisededicated to the Master of Altay, a veritable natural reserve for
wild animalsand, therefore, game. The voice's natural timbre gives the singing a melodiousstyle (aya: melody), with rhythmic interest coming from its syllabic
form andinstrumental accompaniment.
22 Altay magtaal (in Praise of Altay)Performed in qaylaq style by T. Enkbalsan (vocals and tobsuur)
Thesinger performs here with a deliberately produced timbre. A real vocaltransformation, qaylaq style (lilt: to melt, pass from a solid state to a liquidone)
appearsas tense, hoarse expression in the back of the throat, not far from thetechnique of diphonic singing that the performer uses at the end. The Altayeulogy,
likeepic song, has a great wealth of poetic imagery
Their silhouettes areveiled in the morning haze,
They ripple at middayin the heat of the air,
From time immemorial,majestic and strong,
They are my twovenerables, Altay and Qangay.
Mountain snow meltsaway, drops of tiny pearls,
The cuckoo, happy,calling out his slender song,
Blue grass, on thebanks of streams, playing in the wind,
Such forceful vigourin Altay and Qangay,my two venerables.
The reddish mountainchain touches the clouds,
A scrambling of hoovesand red ibex leap from one summit to another,
On the high, majestic rocky mountains,
Dapple‑brownibex bounding onto crags,
What richness ofenergy, what astounding beauty they have,
Altay and Oangay, myvenerables, so well endowed.
23 Altay magtaal (in Praise of Altay)Performed by a choir of four children: E. Gombosuren, E. Gombozav, Q. Andiavand D. Batmonk (vocals and tobsuur)
whistlingthrough the teeth in the finale.
24QarKökö1 Baatar (The Hero with the Black‑tressed Hair) Performed by Q.Sesser (vocals and tobsuur)
This Uryanqai tuul’č bard performs, in qaylaq style, the first partof the first chapter of this epic, well‑known to the Mongols of Altay.
In the beginning of the livingworld,
When the great Exterior Oceanwas but a puddle of water
When the sandalwood‑treeof the World was but a bush
When the great MilkyOcean was yeta tiny puddle
When the summits ofthe mountains were but mounds of earth,
He was born into theSunlit World
And through his shadowthe Sunless Continent was born.
Dombratuner 1 1 – Kazakh Dombra Tune Online
At the sole utteranceof his name
All living beings,even far away, bowed down.
His majestic bearingheld all his own kind[in awe.
He has a horse whosebody is long
As an entire day andnight's journeying,
With six silverbridles,
With beautiful, largeears
And beautiful roundeyes.
And he who owns thisprecious chestnut stallion,
Is the hero with theblack‑tressed hair.
25QarKökö1 Baatar (The Hero with the Black‑tressed Hair) Performed by D.Zanzancoy (vocals and morin quur horse‑hair fiddle)
Here, the same part of the epic is performed by a quurč bard famousfor his talent throughout Mongolia. Passages in verse alternate with prose
passages. The instrumental accompaniment seems in perfect symbiosis withthe voice.
![Dombratuner 1 1 – Kazakh Dombra Tune Dombratuner 1 1 – Kazakh Dombra Tune](https://i.ytimg.com/vi/QMP8dw1yHlo/mqdefault.jpg)
Total Time: 63’33’’
Recorded in October 1984 et August 1990 inMongolia
Alain Desjacques (July 1993)
Return toMongolian CD’s main page
Kazakhsongs (Tracks 1 to 20)
The distinctive feature of the music of theKazakhs is its use of a vast range of diatonic scales and a vigorous, variedrhythmic palette partly inspired by the different paces of the horse. Thevoices are strong, very timbred and yet nuanced. Singers accompany themselveson the dombra, a lute with a long, braided neck, belonging to the easterntanbür family. An ancestor of the modern Russian balalaika, it has only twostrings, originally in horsehair but now made out of nylon, which are tunedhere to the fifth and plucked without a plectrum. Singers differentiate withintheir repertoire between the in category of songs with dombra accompaniment andthe küy category which comprises all instrumental pieces, not only thosedestined for dance, but also those inspired by tales or legends. The recordingsselected are representative of the art of these singers, all of whom, as ithappens, are amateurs and from the province of Khovd.
Epic tradition of the West (Tracks 21 to 25)
Custodians of a millenary art passed on forgenerations in the heart of the Mongol steppes, epic singers, or bards, eventhough they have become scarce, are still called upon to accompany hunters orfor important occasions of the Mongol calendar. But nowadays, epics live ononly really in the form of long versified fragments, periodically includingprose passages, whose performance can demand several nights. Mongolsdistinguish between different types of rhapsody, depending on the way the epicgenre is to be recreated. A specialist in 'recitation' of one or moreepics is called tuul'č ('he who knows the epic' [tuul']),whereas someone else, who accompanies himself on the fiddle displaying hismusical talent, will be called quurč ('he who knows how to play thefiddle' [quur]).
In the high Altay mountains, epic songs andsongs of praise are performed by the tuul'č bards, in a tessiturarestricted to a pentatonic scale. Vocal timbre can be natural (ayalaq style) ordeliberately produced (qaylaq style). The rhythm is syllabic and reinforced bythe instrumental accompaniment of a lute (tobšuur) with two nylon strings.
Mongolia Kazakh songs and Epic tradition of theWest
The repeated waves ofconquering Mongols commanded by Genghis Khan, the most famous of their leaders,which broke over Asia, the Middle East and mediaeval Europe were dreaded as aterrible scourge of God. The race was sadly notorious for sowing terror anddisaster in its path. Less well known were their highly refined sense oforganization and their severe discipline, qualities which, nonetheless, failedto prevent the disintegration of the immense empire at the 'Great Khan'sdeath. Collective historical memory of this ephemeral empire seems,justifiably, to remember only its ravaging violence, having forgotten theparadoxical religious tolerance, which reigned, scrupulous and exemplary, atthe imperial court.
The Mongols livenowadays in three large geo‑political zones: in the ex‑Soviet Unionare to be found the Bouriats, the Touvins and the Kalmuks; eastern and southernMongols are centred in the autonomous region of Interior Mongolia in China,where the Autonomous Region of Xin‑jiang is also home to a few groups ofwestern Mongols. And lastly, Mongolia, inhabited mainly by Qalq Mongols. A few othersmall groups of Mongols are scattered over the Asian continent, living vestigesof former conquests, mostly in Afghanistan and Tibet.
The Kazakhs have manydifferent origins. They probably stem from the Persian speaking Sak tribes whomHerodotus called the Scythians of Asia, but since the 13th Centurywhen Central Asia was dominated by the Golden Horde, they have also descendedfrom Turks and Mongols. A Kazakh kingdom was even formed in the 15th Century,marking a decisive epoch in the formation of this people.
Thus, in this CentralAsian zone, scene of so much cultural interaction, Kazakh music has deepaffinities with that of the other Turkish peoples, both instrumentally andstructurally.
The Kazakhs, singularin their language, tradition and customs, belong to the Qiptchaq branch of thegreat Turkish cultural and linguistic group. The Kazakh people is alsogeographically divided: a part lives in China, in Xin‑Jiang, anotherforms the quite recent, independent state of Kazakhistan, while another importantKazakh group inhabits the West of Mongolia, in the Bayan Olghi and Khovdregion, since the second half of the 19th Century. Preserved by the Mongolmilieu, the Kazakhs have been able to keep alive much of their authenticculture: they have their own schools, their own Kazakh local press andpublishing house, a business manufacturing musical instruments, and their ownmosque. Kazakhs have in fact been converted to Islam, while Mongols are of theBuddhist faith.
Traditionally nomadic,Mongols and Kazakhs, breeders of horses, camels, bovines like the yak, sheepand goats, have an almost identical life‑style, tied to the economicactivities of pastoral nomads and moving according to the rhythm of theseasons.
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