Russian guitar

The Russian guitar is a seven-string acoustic guitar that arrived in Russia toward the end of the 18th century and the beginning of the 19th century, most probably as an evolution of the cittern, kobza, and torban. It is known in Russian as the semistrunnaya gitara ("семиструнная гитара"), or affectionately as the semistrunka ("семиструнка"), which translates to "seven-string". These guitars are typically tuned to an Open G chord as follows: DGBDGBD.

A version with two necks was also popular; these guitars usually had 11 or 12 strings -- one neck with seven fretted strings, and another with four or five unfretted strings. There are also some rare specimens that were built with an oval body.

Its invention is attributed to Andrei Sychra, who also wrote a method for the guitar, as well as over one thousand compositions, seventy-five of which were republished in the 1840s by Stellovsky, then again in the 1880s by Gutheil. Some of these were published again in the Soviet Union in 1926.

This type of guitar has been called a 'Russian guitar,' as it has been primarily played in Russia, and later in the Soviet Union.

The Russian version of the seven-string guitar has been used by professionals because of its great flexibility, but has also been popular with amateurs for accompaniment (especially Russian bards) due to the relative simplicity of some basic chords and the ease of playing alternating bass lines.

The Russian guitar is traditionally played without a pick, using fingers for either strumming or picking.

Composers

* Andrei Sychra
* Ignaz von Held
* Vassily Sarenko
* Vladimir Vysotsky
* Vladimir Vavilov
* Matvei Pavlov-Azancheyev

Popularity

For many years, the seven string Russian guitar was far more popular than the regular six-string Spanish guitar; the latter was a rarity in Russia before the revolution of 1917. The Russian guitar gained significant popularity in the latter half of the 19th century with the increasing popularity of guitar oriented "city romance" songs.

During the early Soviet eras of Lenin and Stalin, all guitar music fell in disfavor of the Soviet government, which branded the instrument (together with the violin) as "bourgeois," favoring mass orchestration instead. However, the old Russian school of classical guitar continued to exist, continuing the seven string tradition.

The six string first came to serious prominence in the Russian classical guitar world when Andrés Segovia toured Soviet Russia in 1926. Possibly looking for something new and exciting to give life to their repressed craft, many Russian classical guitarists began making a switch to the six string and the EADGBE tuning. Classical guitarist Piotr Agafoshin made the switch, and wrote a Russian book on six string technique that remains a standard to this day.

The Russian guitar remained the standard for popular musicians until the 1960s, when a strong interest in underground music such as jazz and Western rock groups such as the Beatles and Elvis Presley developed.

However, the parallel emergence of Russian bard music, which relied heavily on popular Russian guitar technique used in "urban romances," kept the seven-string guitar relevant. Actor Vladimir Vysotsky, arguably Russia's most prominent bard, retained his monogamous relationship with the seven string up to his death in 1980. Pioneering bard Bulat Okudjava switched to the six string in the early 90's, but continued tuning it in open G (skipping the middle D).

Thanks to the "bard boom" and cheap factory production, a Russian guitar could be bought new for as little as 12 rubles in the 1970s. Soviet factories continued to manufacture the seven string exclusively for quite a long time before making a gradual switchover to accommodate the demand for six string guitars in the mid to late 1970s. Prior to that, western pop and rock oriented guitarists had a tradition of modifying cheap factory made Soviet seven string guitars to six strings (or sometimes to bass guitars) and retuning them to the EADGBE tuning.

Conversely, Russian emigre guitarists living in western countries, where only six string guitars were available, have been known to modify six string (and sometimes twelve string) acoustic guitars to seven string instruments, in order to better play their favorite Russian songs.

Recently, the repertoire for the Russian guitar has been the subject of a new scholarly examination and has seen increased performance due to the work of Dr. Oleg Timofeyev, who has unearthed and recorded works by the composer Matvei Pavlov-Azancheev (1888−1963).

Russian tuning

A Russian seven string is tuned differently from the Spanish guitar. It is tuned in thirds instead of fourths, resulting in a G major chord as follows: D', G', B, D, g, b, d'. This tuning is thought to have been derived from that of the torban, a Ukrainian variety of theorbo, as one of its tunings was also based on major triads. The A major chord can be played most easily as a barré on the second fret, the B major as a barré on the fourth, C major on the fifth, D major on the seventh, and so on (although other, more involved major shapes are employed as well for a variation in voicing).

Although the Russian guitar has seven strings versus six, a fair amount of open G chord shapes use six or five strings which requires the player to mute or not play certain strings (see chords below).

Perhaps the most audible difference between the Spanish and Russian tunings is in the ability to play chords with a tighter, more piano-like voicing on the latter. For example, an E minor chord on a Spanish guitar (as 022000) is usually played in the order, from low to high, of "E (root), B (fifth), E (root), G (flat third), B (fifth)" and again "E (root)". On a Russian guitar it is possible to play the E minor (2002002) as "E (root), G (flat third), B (fifth), E (root), G (flat third), B (fifth)," and "E (root)" - or to play it with the same voicing as the six string E minor (using 99X9989).

This tighter voicing is particularly audible with seventh chords, including the root-less seventh chord (seventh chords without a root note, often used as a diminished chord).

It is fairly common for Russian guitar players (particularly those accompanying themselves singing, such as bards) to bring the tuning up or down several steps as desired, either to accommodate the voice or for varying string tension. Vladimir Vysotsky often tuned down a whole step, sometimes even a step and a half to an open E. Also, variations in the open G tuning were fairly common, i.e. Bulat Okudzhava would use the tuning of D'-G'-C-D-g-b-d' to play songs written in C, while bard Sergey Nikitin tuned his guitar to a minor open G: D'-G'-C-D-g-b flat-d'

There are more than 1000 different chords for standard Russian 7-string open G D-G-B-D-G-B-D (low to high) and plenty of different schools for left hand (vibrato) and right hand (fingerstyle playing) and enormous classical music musical transposition archives and music composed for Russian 7-string guitar for 200 years in Russia nowadays.

7-string guitar appeared during the second half of XVIII century.

First school for 7-string guitar ever was published in St.-Petersburg, Russia in the year 1798, December, 15th. (15.12.1798) This school belongs to Ignatz Geld (1766, Chezh Republic - 1816, Russia). It seems impossible to find some paperback schools for 7-string guitar, published before the year 1798.

Spanish 6-string guitar have minor key E tuning on open strings, while Russian 7-string have G-major key tuning for open strings. After all, D-G-B-D-G-B-D tuning for Russian 7-string was invented specially for arpeggios, since it have adopted for 7-string guitar harp tuning from the very beginning. In Spanish 6-string guitar only 4 open strings can create chord, while in Russian 7-string guitar all 7 open strings create a chord. Standard Russian tuning was invented by Sikhra to adopr harp tuning for guitar and since that date Russian 7-string guitar sounds like harp.

As it was said above standard Russian seven-string major key tuning since 1798 is D-G-B-D-G-B-D (low to high) Also named Open G tuning in Europe or USA.

"big guitar" G-C-E-G-C-E-G

1/3rd guitar F-A#-D-F-A#-D-F

Three more alternative tuning for Russian 7 string guitar - (strings from 1st to 5th is the same, than in standard Russian tuning) - from 7th to the 1st

E-A-B-D-G-B-D

E-G-B-D-G-B-D

C-G-B-D-G-B-D

The only one unique Russian seven string minor key tuning D-G-C-D-G-A#-D

ix string adaptations

A common practice for six string guitar players of Russian romances and bard music is to retune their guitars using variations of the seven string tuning, such as: G'-B-D-g-b-d' (no bass string, also known as "Dobro open G"), D'-B-D-g-b-d' (no low G), D'-G'-D-g-b-d' (no low B, the standard six string 'open G tuning' used by bard Alexander Rozenbaum), D'-G'-B-g-b-d' (no middle D, used by Bulat Okudzhava in his latter years when he adopted a six string), and so on.

ee also

*Seven-string guitar
*Eight-string guitar
*ten-string guitar
*Harp guitar

External links

* [http://www.russianguitar.net/gulag.html Matvei Pavlov-Azancheev]
* [http://www.russianguitar.net Oleg Timofeyev]
* [http://www.stseraphimschurch.org/we-magazine/statyi2005/guitarrussianstyle.html An article on playing guitar Russian style]
* [http://www.junkguitars.com/stories/vintage_guitars_rus.html An article about Russian guitars]