Thesis Artem Zenev PDF
Thesis Artem Zenev PDF
Thesis Artem Zenev PDF
Specialisation: Musician
2012
Artem Zenev
Artem Zenev
Artem Zenev
1 INTRODUCTION 3
2 THE INSTRUMENT 6
3 WHO CREATED THE RUSSIAN SEVEN-STRING GUITAR? 10
ERROR! BOOKMARK NOT DEFINED. TRADITIONS
11
4.1. Andrey Osipovich Sikhra
2 THE INSTRUMENT
The Russian seven-string guitar is not just a guitar with one extra string like we
can find in any music shop all around the World. The meaning is that not all
seven-string guitars are the seven-string guitar. The Russian seven-string guitar
is an independent musical instrument with its own traditions, techniques, and its
special sound.
As it is clear form the name of the instrument, the seven-string guitar has seven
strings. The standard seven-string guitar tuning is 1-d, 2-h, 3-g, 4-d, 5-H, 6-G,
7-D. This tuning helps to play long arpeggios.
The strings are located closer to each other than on the classical guitar.
The sounding board is usually more hard than it is on the classical guitar. And it
makes a sustain longer. Because of a long sustain it is easier to use vibrato. At
the same time portamento sounds deep and tight. Usually the sounding board
is made from spruce.
The fretboard.
Width of the fretboard near the nut could be from 43 to 54 mm. The distance
between strings on the saddle could variate from 7,80 mm to 12 mm between
two nearby strings. Thickness of fretboard is usually the same as on the
classical guitar. The length from the saddle till nut varies from 610 to 650 mm.
The body.
Usually the body of the seven-string guitar is made from maple. Shape of body
can be different:
One of the main differences between the seven-string guitar and the classical
guitar is the connection of the fretboard and the body. Traditionally the
fretboard is connected to the body by the screw. It gives a possibility to regulate
a distance between strings and the fretboard with the special key.
Strings.
http://www.slavyanskaya-kultura.ru/news/culture/semistrunaja-gitara-v-rosi.html
(visited 05.11.2012)
http://vk.com/friends?act=invite&group_id=22539107#/photo-
1057878_126379581
(visited 05.11.2012)
GUITAR?
It is impossible to find the only one right answer to this question. Different
sources give us different information, sometimes quite the opposite.
In the second half of the 18th century in Russia there were many types of guitar.
There were the six-string guitar, the five-string guitar, the four-string guitar, the
guitar with double strings, the guitar with two necks and many other
modifications. Also there were some related instruments such as the lute, the
mandolin, the bandura which were imported by the people from other countries.
People experimented with the shape of instruments, with the amount of strings,
necks, and of course they experimented a lot with different kinds of tunings. It
was possible because in Russia there wasn’t any guitar school like in Europe
and most of guitarists were self-made men.
Many sources tell us that Andrey Osipovich Sikhra (1771-1850) was the creator
of the Russian seven-string guitar. For example M.A.Stahovich (1819-1858)
wrote that A.O.Sikhra made the seven-string guitar from the six-string guitar
because he wanted to add one deeper bass string. In M.A.Stahovich’s opinion
A.O.Sikhra wanted to improve the six-string guitar and that’s why he added the
seventh string and changed the tuning. Almost the same thing about A.O.Sikhra
wrote A.S.Famincin. He wrote: «Sikhra changed the tuning by adding the
seventh string, and the instrument became closer to the harp, which was
Sikhra’s specialisation». It is impossible to confirm by the documents, that
A.O.Sikhra was the creator of the Russian seven-string guitar, but many
guitarists in the 19th century share this opinion.
4 TRADITIONS
The seven-string guitar had two schools or two traditions. The Moscow School
and the St. Petersburg school. The founder of the St. Petersburg school was
Andrey Osipovich Sikhra and the founder of the Moscow School was Mikhail
Timofeevich Vysotsky.
The Moscow school was more national. The music of M.T.Vysotsky (don’t mix
up with the famous Russian bard Vladimir Vysotsky) was full of national
melodies, national character, and the style of composition was closer to national
school of composition. The Moscow tradition of the seven-string guitar also was
very important for the development of the seven-string guitar.
magazine called «Journal pour la Guittare a sept cordes par A. Sychra» that
contained a lot of arrangements of Russian folk-songs and transcriptions. The
magazine had a success and was issued two times. After this good
experience he published his other magazines for the seven-string guitar until
1838. In 1850 he published his major pedagogical works ”The theory and
practice of the seven-string guitar” and «The Practical Rules in 4 exercises».
A.O.Sikhra was the first who made the seven-string guitar the academic solo
instrument. He made a lot for the seven-string guitar both as a performer and a
teacher. Thanks to his great activity and great results many musicians in the
19th century called him “the creator of the Russian seven-string guitar”. He died
in 1850 in St. Petersburg. (Sergey Rudnev ”The Russian Style of the classical
guitar-playing” pages 201, 202) (http://www.narodny.info/history/738-gitara.html
visited 07.11.2012) (http://www.abc-guitars.com/pages/sichra.htm visited
07.11.2012)
A.O. Sikhra.
A.O. Sikhra’s major pedagogical work ”The theory and practice of the seven-
string guitar”
He was born in 1791 to the family of a serf in the place called Ochakovo.
Vysotsky began to study the guitar himself. In 1807 he got the letter of
enfranchisement and in 1813 he moved to Moscow. It was time of the great
victory after the war with Napoleon Bonaparte. In the atmosphere of
enthusiasm and rising interest to the national culture Vysotsky became very
famous quite soon. Among his fans were very famous and respected people
such as great pianists Aleksander Dubuc and John Field and the great Russian
classical poet M.Y.Lermontov. When Ferdinando Sor visited Moscow he was
invited to one music event because the Russian audience was very curious
about his guitar playing. Vysotsky was invited too. When F.Sor finished his
concert the audience asked Vysotsky to show his skills. Vysotsky took the guitar
and started to improvise. F.Sor was very impressed and after that Vysotsky and
Sor became good friends.
Thanks to Vysotsky the seven-string guitar become very famous among people.
(http://ru.wikipedia.org/wiki/%C2%FB%F1%EE%F2%F1%EA%E8%E9%2C_%
CC%E8%F5%E0%E8%EB_%D2%E8%EC%EE%F4%E5%E5%E2%E8%F7
visited 08.11.2012 and 09.11.2012)
In my opinion both schools are very important for the development of the
Russian seven-string guitar.
The St. Petersburg school enriches it by European academic rules and because
of that makes it closer to the classical guitar world.
But the Moskow school gives to the instrument ethnic flavour and that makes it
interesting and original.
In the twentieth century interest for the seven-string guitar fell down. It
happened because of great popularity of the classical guitar all around the
World. Many of Russian guitarists left the seven-string guitar and turned to the
classical guitar. The other reason was money. It was very difficult to live as a
guitar-player. There was a very small amount of places in the USSR where
guitar-players could work as teachers especially in the first half of the
twentieth century. It was time when in the whole country sounded music of
Sergey Prokofiev and Dmitry Shostakovich. It was time of big orchestras and
choirs. It was the golden age of the violin and the piano but not of the guitar.
The seven-string guitar become a marginal instrument. But the tradition of the
seven-string guitar playing hasn’t gone. Some of the guitar-players were
carrying the tradition of the Russian guitar.
Biography.
Sergey Orekhov was born on the 23rd of October in 1935 in Moscow. On his
16th birthday his uncle presented him a guitar. He started to learn to play the
guitar by himself. Later Vladimir Mitrofanovich Kuznecov (1887-1953) became
his private teacher.
When he was in the army he fell ill with polyarthritis. But he had so much
passion for the seven-string guitar that it didn’t ruin his music carier. His
technique was still perfect even with polyarthritis.
In 1962 he entered the Moscow Musical College named after Gnesiny. But
because of the fact that he was already a concert guitar-player he didn’t have
time to study. And he had to stop his studying.
His wife Nadezhda Tishininova was also a very famous romance-singer. Sergey
Orekhov and his wife worked together as a guitar-player and a singer for more
than twenty years. They had a lot of concerts all around the USSR.
In 1986 the Soviet Record Company Melodia published his only official album
“The seven-string guitar”.
(Sergey Rudnev ”The Russian Style of the classical guitar-playing” page 201)
(http://ru.wikipedia.org/wiki/%CE%F0%E5%F5%EE%E2,_%D1%E5%F0%E3%
E5%E9_%C4%EC%E8%F2%F0%E8%E5%E2%E8%F7 visited 10.11.2012)
(http://oreshinguitars.com/gitarnye-stati/nadya-tishininova-rasskazyvaet-o-
svoem-muzhe-sergee-orexove/ visited 10.11.2012)
Sergey Orekhov
http://www.israbox.com/1146408413-sergei-orekhov-seven-stringed-guitar-
1986.html (visited 10.11.2012)
http://www.youtube.com/watch?v=UeW3p8jwTLI
MODERN WORLD
In my opinion the history of culture is not only the process of changing in the
world. It is also the process of saving knowlege and experience of the previous
generations. Culture is the way of passing the information from one generation
to another. National culture is the key for self-identification. And self-
identification is very important for us if we don’t want to turn into the grey mass
in our multicultural World. In every culture we can find the elements which
make one culture diffirent from another. And it enriches our World. If we want to
keep this variety of cultures we must know our traditions. We must remember
those who were before us.
We are living in the epoch of globalization. Some people say that globalization
is bad, the other say that it’s good. I don’t know who of them is right. But I know
one thing, that globalization is a real fact. We can’t turn the time back. Our world
would never be the same as it had been before the process of globalization
started.
One of the most important tasks of the humanity is to save allhuman values,
which help us to stay as human beings, and these values took their beginning
in traditional cultures, which can disappear in the reality of the modern world.
But to destroy national cultures is the same as to destroy humanity itself.
For everyone who is interested in Russian repertoire for the classical guitar I
would recommend the book of Sergey Rudnev ”The Russian Style of the
classical guitar-playing” (In Russian: Сергей Руднев «Русский стиль игры на
классической гитаре»). In this book you can find a lot of the seven-string guitar
transcriptions for the classical guitar.
APPENDIX
In my opinion as it’s impossible to imagine history of rock guitar without Jimi
Hendrix, Jimmy Page, and Ritchie Blackmore and history of the classical guitar
without Andres Segovia and Julian Bream it’s impossible to research history of
Russian seven-string guitar without knowledge about the great players of this
guitar school. The history of every guitar school is inseparable from history of
great composers and great players.
As it is said above the seven-string guitar had two traditions, two general lines.
The Moscow seven-string guitar tradition and the St. Petersburg seven-string
guitar tradition.
Here are the names of the greatest representatives of the both traditions:
One of the most famous and mysterious figures of seven-string guitar world.
Brilliant performer. Was nicknamed as “Paganini of the guitar”.
Publisher of the first «Russian Pocket Songbook for the Seven-String Guitar».
Author of «The Short Essay of the Russian Guitar», “The Short Biography of M.
T. Visotsky”, “About the Guitar Tuning”.
Moscow tradition.
The publisher of the first “School for the seven-string guitar”. The school has
been lost.
SOURCE MATERIAL
Printed sources:
Сергей Руднев «Русский стиль игры на классической гитаре» (Sergey Rudnev ”The Russian
Style of the classical guitar-playing”)
М.Стахович «Очерк истории семиструнной гитары». Журнал «Якорь» 1858. (M. Stakhovich
“The History of the Seven-String Guitar.”)
Internet sources:
http://www.oldguitars.ru/article_2.html
http://www.lute.ru/russianguitar/volmanbook/part1.htm
http://guitarmag.net/rudneview/#axzz2ArmkNAc5
http://guitarists.ru/index.php?option=com_content&task=view&id=170
http://www.narodny.info/history/738-gitara.html
http://sergey-orekhov2.narod.ru/
http://albomguitar.narod.ru/Sergey_Orehov.htm
http://ru.wikipedia.org
http://sergei-orekhov.blogspot.fi/2009/12/blog-post.html