On Georgian Folk Music The unique and vibrant folk music of Georgia has a storied past of its own. As early as 714 BC an Assyrian ruler described how the workers of a Georgian tribe (then known as Mana) accompanied their harvest tasks with 'cheerful songs'. The Greek historian Xenophon reported (in 401 BC) that the Mosinik (another ancient Georgian tribe) used to sing before going into battle: "The warriors stood in rows like a choir ... then one of them began and all the others joined in." To this day many songs, including most of those on this CD, start out with a solo opening call, an invitation -- possibly a command -- to sing. As highlighted in the country's celebrated history, Georgian songs are intricately linked with social activity. They guide and celebrate the many rituals of work and play. There are work songs (milking, spinning, hauling logs, ploughing, harvesting), travelling songs performed on horseback, lullabies, wedding songs, dance songs, and table songs. Many of the songs have lost their original function but have regained purpose and practice at the Georgian supra, a traditional Georgian feast. With the help of abundant food, excellent wine and a series of elaborate and meaningful toasts, one reaches a level of intoxication that cannot possibly come from wine alone. In this elevated state, when a song is sung, a mystical experience occurs. The sound of the voices and their harmonies resonate through the body in a new way, as if somehow, through Georgian folk songs, a connection is being made to a very ancient yet common past. This is a quintessential aspect of Georgian folk music. As the Georgian valleys differ from the snow-capped mountains, or the arid eastern plains from the subtropical zones of the west, so do the styles of Georgian folk songs vary by their geography. The eastern province of Kakheti offers rich ornaments rolling over a beautiful stately drone. Samegrelo is most known for its lyrical and melancholy love songs. The independent three-part counterpoint from the hills and valleys of Guria or the archaic and robust harmonies from the mountains of Svaneti present fiercely treasured divergent styles. Polyphony Polyphony is the common thread that runs through the regional differences in Georgian folk song. It is traditional for Georgian songs to be sung in three-part harmony (though some regions of the west may include a fourth part). Unison singing of a single melody is virtually non-existent. Indeed, the function of melody is difficult to define in Georgian folk music. The spirit of the song resonates from the harmony of three parts. Georgian folk music, although old, boasts bold, sharp, dissonant and sophisticated harmonies that are often described as avant-garde. Such harmonies are perceived differently according to their context--eastern Georgia's use of a bass drone softens the sound whereas western Georgia's dynamic counterpoint sends it exploding. To a Western ear these harmonies, achieved by only three voices, are often very stirring. The polyphonic tradition governs all of Georgia, yet the countries that share borders with her historically, politically, culturally and geographically have a monophonic (without harmony) tradition. Georgian church music, influenced by the Byzantine church since the fourth century AD, should have remained without harmony but is reported to have been sung in three parts ever since the seventh century, 300 years before it happened in Europe. It seems impossible that the harmonies in the Gurian hymn, Kebadi, came from any Western influence. The only way to understand the presence of such harmonies in a church song is to credit their existence to an already developed and popular pre-Christian polyphonic singing tradition. Isn't it exciting to think that we are hearing the same polyphony as Xenophon heard 24 centuries ago: the Georgian folk singing tradition stands out in the world as complex, unique, very profound and very ancient. Author: Andrea Kuzmich
Guria- Three independent melodies sung simultaneously. Kakheti- two upperparts sing complexly ornamented melodies in harmony over bass drones. Svaneti- features a style where all voices sing the same text in the same rhythm producing complex and unusual harmonies. Abkhazia
Georgian Instruments Georgia also has its own indigenous instruments that provide accompaniment to singing as well as having its own instrumental repertoire.
Panduri	salamuri	chewneri played by master Islam Pilpani
chonguri
Salamuri- recorder instrument type. Sometimes two are played in harmony by one in each hand by one player. Panduri- three stringed fretted lute type used primarily as accompaniment for singing and salamuri although some solo repertoire does exist. Chonguri- Four stringed unfretted lute type. Used almost exclusively for the accompaniment of singing. Chewneri- Three strings bowed instrument. All three strings are played simultaneously. The construction of the body is similar to that of a frame drum. Diduki- Double reed often played in ensemble with several diduki playing a drone together.
salamuri with panduri sample mp3