Balalayka - is a bright symbol, an integral part of Russian national culture. In the course of its many-centuries history, it went all the way from primitive folk tune to the top of professional academic performance.
Coming to take domra's place, which was forbiden by the church and underwent a mass burning in the year 1648, balalayka quite soon became popular among simple folk and then in more educated circles. But primitivism and shortcomings of the design did not let the instrument go further than folk art for a long time. (The performer of those days could use only 5 frets and 7 notes). In the end of the XIXth century balalayka draw V.V. Andreev's attention, he saw a great potential in it. He improved the instrument, widening its abilities. Now balalaykas as well as violins were made of the best kinds of wood by music craftsmen. Soon various kinds of balalaykas were invented: second, alto, bass, contrabass. Since that moment the history of professional performing on the instrument has started, Balalayka became a part of the professional music education: music school, conservatoire. Numerous contests and festivals identify bright and unique performers. Modern composers start treating balalayka as a serious academic instrument. Nowadays we can talk about different performing schools, and balalayka sounds in orchestras, ensembles, solo, with piano, with symphony orchestra and other instruments.
Balalayka prima - is a string plucked instrument. Its range is from E of the 1st octave to C of the 4th octave. Balalayka prima has three strings E, E, A, the two of which are tuned in a due and serve mostly for harmonious coloring. The main melodic and virtuoso part belongs to the 1st string. This is the quality that singles out the performing technique of balalayka from other string instruments. It is worth mentioning that Paganini himself considered performing on one string the trickiest virtuoso technique. The main methods of playing the balalayka are pizzicato with different fingers, tremolo, and vibrato. In the course of playing these methods can be promptly interchanged according to the musical material. Having a similar to small domra sounding, balalayka obtains a much softer timbre. Thus in the ensemble balalayka and domra exist as if in parallel planes, not shading each other. It happens as a result of sound derivation with a finger. And this live contact without bows or plectrums makes unusual trembling and cordial sound.
