Belo Platno Music Instruments

A double flute made of a single piece of wood, with six sound holes on one side. It is most frequently made of ash-wood, plum tree, pear tree, cornel or boxwood. The tune is played on the one pipe, which is accompanied by a flat tone on the other pipe. This kind of playing is similar by structure to music played on the kaval. It is also a favorite instrument of shepherds. Line-dances and lively melodies are frequently played on the dvoyanka. It is a known fact that shepherds directed their flocks by their playing, since sheep remember and recognize a melody in time. A shepherd could “teach” his flock to start from the pen towards the pasture at one melody, and to return to the village in the evening at another. The dvoyanka is similar to the dvojnica, an instrument typical for the regions of Central and Western Serbia and Serbian regions across the river Drina, which is made and played somewhat differently.

- The tradition of playing the tambura has lasted for centuries in Serbia. Until the Great Migration of the Serbs at the end of the 17th century the type of tambura most frequently used had a long neck and two or three strings (sometimes doubled). The tambura played by Vlada Simić is his own handiwork, and resulted from the collective experience of playing various string instruments (tambura, saz, sargija, citelia, bouzuki, lute and oud). The movable neck frets are arranged so as to allow the playing of modes according to Pythagoras’ theory of intervals. The body of the instrument is made of gourd, from which gusle, pipes, rattles and household objects can also be made.

(leut, laouto, lavta, lagouto) - Today there is an entire family of instruments that are known as the lute in the Serbian language.They can primarily be classified according to geographical frequency into those instruments that belong to the western European (renaissance and baroque) tradition and those that belong to the tradition of the Balkans, the Mediterranean and the Orient. This text, as well as the music of White Linen, is related to the lute of the tradition of the Balkans and the Mediterranean. The lute can further be classified according to the stings that are used into lutes with metal strings and those with nylon or gut strings. Gut strings are rarely used today. Nylon (or gut) strings can be found on all the instruments of the western European tradition and on the instrument known as the Constantinople lute (Λαουτο Πολιτικη) with the Greek, and the lavta with the Turks. Metal strings are found on the instruments of the tradition of the Balkans (with the Greek and the Slavs). Another classification could be made according to the arrangement of the frets on the neck: into lutes with firmly tempered frets (matching the “piano” equal semi-tones) and lutes whose frets, which there is a significantly greater number of, give tones arranged by Pythagorean theory of intervals. On this latter type of lutes it is possible to play intervals that are in practice called “thirds” and “quarters” of tones. Pythagorean arrangement of tones remains in use to this day on the instruments of the northern Balkans (“shargia”, saz, “chitelia”, “samica”, old tanburas from Vojvodina - northern Serbia, lute), in Greece (the Constantinople lute), in Turkey (saz, lavta, lagouto, tanbour) and further to the east. The proportions of the lute are such that the last fret produces and octave tone with regard to the plain string. On the oud (al’oud), for example, it is the fifth, while on tambours it is usually a tone higher that an octave (octave plus a fourth or fifth, in the interval to two octaves). The body of the lute is made of ribs (slices). The pegs of the lute are wooden or, more recently, tuning mechanisms (like those on the mandolin). Traces of the existence of the lute in these parts have been dated to the Middle Age. Confirmation of this can be found in the writings of historians as well as in Christian church frescoes (in Balkans), where the lute can frequently be seen in scenes depicting the 150th psalm by David, the celebration of our Lord. The tradition of playing and making the lute has mostly been forsaken with the Slavs, as is indeed the case with most types of tambours that used to exist. The lute has been retained only in those regions in cultural contact with Greek (once Byzantine, later Ottoman) lands where the practice of playing the lute has been renewed over and over by exchange of culture. This mainly refers to the FYR of Macedonia, where the lute has been retained in chalgi orchestras. The lute used in the music of White Linen was created in the domestic musical workshop of the Simić family. The construction of the lute is based on the tradition of lute-making with the Greeks and the Turks. Still, in the construction of this lute all available experience of constructors of lutes and other string instruments from throughout the world was used (M.A. Robert Lindberg +2001, the School for the Construction of Greek Traditional String Instruments from Castoria, photographs and drafts of a large number of instruments). By means of the frets arranged by Pythagorean theory of intervals, it is possible to perform both firmly tempered scales and the modes* belonging to the musical tradition of the Balkans, the Mediterranean and the Orient.

The tradition of playing bowed string instruments in our region is very old, almost prehistoric. Even before the origin of the violin there was a whole series of various yet similar bowed instruments in the Balkans, such as the gusle (one-stringed folk fiddle with a soundboard of taut leather and strings made from horse-tail hairs), small lire, cemane, gadulka (all made of wood with metal strings). However, these instruments were played upon the knee. Although seemingly primitive (in comparison to the violin) these traditional bowed instrument in the hands of maestros became the source of virtuoso melodies, as accompaniment to epic songs or as melodious instruments during the dancing of line dances.

The violin is an instrument that fit in wonderfully into the modal manner of playing. This is enabled by the fretless fretboard on which tones of any temperance can be played.

When it appeared in the Balkans, therefore, the violin landed upon ‘fertile ground’ and was soon accepted. Today the violin is an integral part of orchestras that nurture traditional music.

(tupan, tapan, drum): A large, wide ring-like band made of walnut wood and covered with goatskin on one side (a higher tone) and sheepskin, calfskin, or even donkey-skin on the other side (a deeper tone). The thicker skin is hit with a thicker stick (ukanj), and the thinner skin with a thin cornel twig (prka, praka). The Balkan school of tapan playing presumes the playing (not the accompaniment) of a melody, where the twig is used to express all that the player wishes to say, while the stick is only used to accentuate certain moments in the melody. For centuries the tapan was irreplaceable at village festivities (weddings, celebrations of patrons saints of homes and villages), along with zurlas and bagpipes or in larger instrumental ensembles, and frequently as a solo instrument as well.

A thin band made of hard wood, covered with goatskin on one side. It can also have rings or small cymbals along the rim. In these regions, the daff is held with both hands at shoulder height. Tones of various depth and colours are played by hitting different spots on the skin with the fingers. There is also an Oriental technique of leaning the daff against the knees. The daff is a percussion instrument with a soft, deep tone. It is suitable for playing indoors and to accompany singers and players on the tambura, violin, oud, saz and other Oriental instruments.

(darabuka, darbuk) - An instrument made of clay or wood, in recent times of metal as well. It is shaped like a jug or tankard. The upper opening is covered with skin, and with metal tarabukas – with plastic. It is most frequently held under the arm. The rhythm is played on the stretched skin with the fingers of both hands. The tarabuka is usually used along with string instruments and in urban instrumental ensembles, “calgija”.

A horseshoe-shaped metal instrument with narrowed ends. A long spring, slightly bent at the end, is fastened to the inner side, in the middle. It is played by leaning against teeth half-apart. The plucking of the spring, a particular position of the lips, tongue and facial muscles and a particular breathing technique give an entire spectre of colours of a certain tone. The Jew’s harp is known in the Balkans, and can be found in various forms all the way up to India, where it is called the morchang. It is most frequently used as accompanying rhythm and melody.

A large wooden ring with rattles along the rim, with or without taut leather stretched across it. The tambourine was for a long time a ‘female’ instrument, since it is convenient in size for female hands. There are various techniques for playing the tambourine. On the Balkans it is mainly held in one hand and slapped against the palm of the other with constant simultaneous shaking. However, in Asia it is played by tapping the fingers of both hands against the rattles along the rim..

A classical Indian percussion instrument, The tabla is the queen of percussions. It is widespread in the zone of Indian cultural influence. Learning to play the tabla is a lengthy process, and most often begins during early years. It is almost impossible to master playing the tabla without the guidance of an experienced teacher – a master There are several styles of playing the tabla in India, each of which presumes a special playing manner and playing rules. During more recent years a contemporary free style of playing has arisen.