Strokes on the Domra and their Correlation with the Strokes on Other Instruments
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Abstract
In the article the author demonstrates the correlation of the
strokes in performance on the domra with strokes in performance
on other instruments, in particular, the violin, bayan and piano.
The necessity for this emerged in connection with the widespread
practice of transcriptions for the domra, in which the strokes
require reevaluation in new instrumental conditions. The
topical quality of the question regarding strokes on the domra is
stipulated by the lack of research of it and the lack of a unified
system of indications or a strict conceptual-terminological
apparatus in methodological and musical texts. The author of
the article specifies the definition of the category of the stroke,
which is comprehended as a constituent part of articulation; she
proposes a classification of strokes on the domra fixated on a
special table; she distributes the main and supplementary strokes
in the direction from legatissimo to staccatissimo; she provides
a comprehensible table for finger application on the small threestring
domra, which may enable a more precise sounding of
strokes for the achievement of the desired articulation. The article
makes the attempt at a scholarly approach to the description and
specification of each of the group of strokes played together and
separately. At the same time, the application (with consideration
of sound production on the domra) of M. Imkhanitsky’s positions
on the role in the system of articulations and strokes of the factor
not only of playing together or separately, but also of playing in
an accented or unaccented way.
Keywords: domra, stroke, articulation, plating together –
playing separately, accented playing – unaccented playing
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References
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