Zhaleyka - a musical instrument - history, photo, video. What wind instruments are included in the folk orchestra Photo at different stages of production

To my article yesterday Magic duduk”came the first comment from Sergey: “Leonid, who told you what it is.More in my opinion looks like space pop.A “Armenian duduk” or as you call it “magic duduk” cannot be compared with a simple Russian “pity”. And no one ever called her divine."Sorry" is just Russian folk instrument».

To call this music pop and compare it to another instrument… Well, sorry…

It seems to me that Sergei simply did not listen to her carefully. Instruments of a completely different sounding timbre and, accordingly, should cause a completely different perception.

I had no plans to write about the pity, but as a response to this comment, I decided to write.

Russian folk musical instrument Zhaleika

IN different sources it is called Russian, Belarusian, Ukrainian and even Lithuanian. It would be more correct to call it a generalizing name - an instrument of the Eastern Slavs.
The word is not found in ancient Russian manuscripts. For the first time A. Tuchkov wrote about it in his notes at the end of the 18th century. Maybe earlier this instrument was called something else, for example, a shepherd's horn. The name is associated with "jelly" or "pity" - funeral rites, including the game on the pity.

Cut out a pity from willow or elderberry. A reed or goose feather tongue is inserted into the upper end, and a birch bark or cow horn bell is inserted into the lower end. 3-7 holes are made on the trunk itself. The range of the sound range depends on the number of holes. The timbre turns out to be piercing and nasal, sad and compassionate.

Now zhaleyka is found only in some ensembles Russian folk instruments.
And in order to finally form your opinion about the pity, listen to its sound. And to make it easier to compare and understand, at the end of the article I have given a few more duduk melodies. Listen and enjoy the playing of completely different sounding instruments.

Magic duduk(continuation)

Zhaleika refers to simple musical instruments. Learning to play the zhaleyka is available to everyone, you just need to make some efforts to master the technique of sound production on the instrument.

Sound production on a zhaleyka requires a stronger air pressure than, for example, on a recorder, where the principle of sound production is completely different. In order to understand the necessary air pressure for the harmonious sound of the zhaleyka, you should play notes on the instrument from the bottom up with the button accordion or piano on the “legato” (connected), then two notes on the “legato”. After you have achieved a clear, harmonious sound, you need to play intervals, starting from the bottom note from a second onwards (example: Do-Re, Do-Mi, Do-Fa, etc.). Then you can combine intervals from top to bottom. Also, start the exercise on "legato", then you can move on to "non-legato" and "staccato" (jerky).

Below is the application. The scheme will help you understand the correct position of the hands and fingers when playing the instrument using the example of the C Major pitty.

Please familiarize yourself with the layout of the notes on the instrument using the example of the zhaleyka in C Major. We draw your attention to the fact that the holes must be closed tightly.

It is advisable not to remove the cap from the zhaleyka unless absolutely necessary, so as not to bend the reed and not to disturb the instrument's order. If it is necessary to adjust the instrument, the upper ring (which is located on the beep of the instrument and holds the reed), depending on whether the blade is high or low, must be moved up (if it is low) or down (if it is high) gently by a fraction of a millimeter.

zhaleika- old Russian folk woodwind musical instrument- a wooden, reed or cattail tube with a bell made of horn or birch bark.

Zhaleika is also known as zhalomeika. Russian national wind instruments are important integral part national musical culture. Scientists attribute the appearance of the first musical instruments to the XIII century BC. Appeared before everyone percussion instruments. Then wind instruments appeared: pipes, whistles, whistles. Horns, zhaleyka, flutes were widely used among buffoons and shepherds.

In the era Kievan Rus they were used in military formations, on solemn occasions at princely courts. Under the rule of Ivan the Terrible and Patriarch Nikon, instruments and performers were persecuted. Russian national musical culture has suffered significant damage. True, the people themselves have always loved their musicians. This love saved both the instruments and the traditions of performing on them from complete oblivion.

At the end of the 19th century, the increased interest of Russian society in its national history and culture contributed to the emergence of the first research work according to the folk instruments of A. Famintsyn, N. Privalov, E. Lineva. In time, this coincided with the activities of V.V. Andreev on the revival and improvement of Russian folk instruments. Along with the work on the reconstruction of balalaikas and domras, Andreev V.V. Attempts were also made to improve wind instruments, such as a keychain, a flute.

At the beginning of the 20th century, a Russian musician-nugget, a Pskov peasant

OU. Smolensky designed zhaleyki different sizes and created a quartet of pityers, who performed for a number of years in St. Petersburg. Then M.E. Pyatnitsky introduced the pity into his choir.

Shepherds - horn players themselves made horns of various sizes, which were played in the so-called "choirs" of horn players. At the beginning of the last century, the "choir" of horn players under the direction of the hereditary shepherd N.V. was widely known. Kondratiev.

Because of the difficulty of mastering playing the horns and because of their diatonic scale, the use of horns in folk instrument orchestras is limited.

Folk wind instruments are distinguished by their design features and the method of sound production. According to the classification, folk wind instruments are divided into reed, flute (whistling) and mouthpiece (embouchure).

Origin, history of pity

The word "poor" does not occur in any ancient Russian monument writing. The first mention of a zhaleyka is in the notes of A. Tuchkov dating back to the end of the 18th century. There is reason to believe that the zhaleyka was present before that in the form of another instrument.

In a number of regions, zhaleyka, like Vladimirsky horn, is called "shepherd's horn". As a result, when a written source speaks of a "shepherd's horn", we cannot know exactly what instrument it is.

The origin of the word "poor" has not been established. Some researchers associate it with "jelly" or "stings" - funeral rite, which includes in some areas the game on the zhaleyka.

The zhaleyka was used as a shepherd's instrument; tunes of various genres were played on it alone, in a duet, or in an ensemble.

The device and types of zhaleyka

There are two varieties of zhaleika - single and double (double-barreled) steam room.

Single zhaleyka It is a small tube of willow or elderberry, 10 to 20 cm long, at the upper end of which is inserted a beeper with a single tongue of reeds or goose feathers, and at the lower end there is a bell made of cow horn or birch bark. The tongue is sometimes incised on the tube itself. There are from 3 to 7 playing holes on the barrel, so you can change the pitch of the sound.

The sound range of zhaleika is diatonic. The range depends on the number of playing holes. The timbre of the pitty is piercing and nasal, sad and compassionate. The range of the instrument is one octave; the scale is diatonic, but sometimes chromatic.

According to the range of regrets there are:

a) piccolo - from the notes of the II octave "salt", "mi", "do";

b) soprano - from the notes of the I octave "la", "salt";

c) alto - from the notes of the I octave "fa", "mi", "re", "do";

d) bass - from the notes of the small octave "la", "sol", "fa", "mi";

e) paired or double soprano - from the note "la" and the note "salt" of the I octave.

Double (double-barrelled) or paired zhaleyka consists of two tubes of equal length with playing holes, folded side by side and inserted into one common socket. The number of playing holes in paired pits is different. As a rule, there are more playing holes on the melodic pipe than on the repeating pipe.

They play on both pipes simultaneously, extracting sound either from both at once, or from each pipe separately in turn. Paired zhaleyki are used for one-voice and two-voice game. Single zhaleyki are distributed mainly in the northern regions of Russia, and paired - in the southern.

Zhaleyka is a reed wind instrument, which for centuries existed mainly in the shepherd's environment and was well distributed in Rus', Belarus, Ukraine and Lithuania. It is a small tube ending in a cow horn bell. The sound of the pity is sharp, nasal.

Zhaleika is the most common musical instrument widely used in folk orchestras. The bagpipe is to blame. Paired zhaleikas are very reminiscent of the sound of bagpipes - the lower voice of the zhaleyka performs the function of a bourdon (it sounds at the same height). The origin of the zhaleyka from the bagpipe confirms its similarity with the design of the melodic pipe of the bagpipe and in terms of the nature of the sound. Among Belarusians, the melodic pipe itself from the bagpipe was called zhaleyka. It consists of a small cylindrical tube (wooden or ebonite), a mouthpiece with a single tongue - a reed or plastic squeaker. The reed tongue is soaked before the game, but the use of the plastic tongue does not require soaking. The trumpet - the resonator of the zhaleyka is made from a cow horn, which is put on the lower end of the tube.

Famous bands and performers on zhaleyka

Orchestra of the Choir named after M. Pyatnitsky soloist V. Voronkov (1950-1960s), Orchestra of soloists "Russian Patterns" soloists M. Vakhutinsky, S. Butushin, S. Mishin, K. Buyanov, I. Buyanova, E. Krasovskaya. Ensembles: "Epic" by S. Moldovanov (1980s), "Skomorokhi" by A. Solovyov (Kemerovo), "Skomorokhi" by V. Akulovich (St. Petersburg), "Zabava" conducted by N. Osipov (Ulan-Ude), the ensemble "Zhaleika" conducted by V. Nazarov, the ensemble of folk instruments "Sadko" artistic director M. gray

Pity Makers:

Astakhov Anatoly (Moscow)

Butushin Sergey Ivanovich (Moscow)

Krasnobaev Vyacheslav (Moscow)

Mishin Sergey (Moscow)

Solovyov Alexander (Kemerovo)

Tkachenko Yuri Mikhailovich (Kemerovo)

Sale of tools: where to buy/order?!

You can order a zhaleika from a craftsman who makes old folk wind instruments or buy it in a network of musical instrument stores, as well as in the Production Plant of Musical Instruments of the P.I. Tchaikovsky, in the Muzprom Concern.

Listen to the sound of pity

We invite you to listen to the sound of pity performed by a professional master. Against the background of pity, Vladimir horns, a flute, a nightingale (water toy) sound.

Pity piccolo MI

Soprano Zhaleika in A by master Sergei Ivanovich Butushin

Steam zhaleyka SALT master Butushin Sergey Ivanovich

Is a pity. It is a wind reed musical instrument, which was very popular among the population of the Slavic peoples. There is an opinion that the progenitor of such a reed wind instrument with a single reed, like a clarinet, was the same pity. However, this is attributed to both the Hungarian tarogato and the medieval chalumeau.

general description

Musical instrument zhaleyka is a tube, the material for which is a reed or reed plant, with a bell at the end, made of upper layers birch bark or animal horn. Sometimes willow or elderberry was used for the main tube.

There are zhaleyki (the description is presented in the article) according to the configuration, they are bifurcated or single-tube. The length of the instrument ranges from 10-20 cm, while the number of holes on the tube for extracting sound can be from three to seven. In some southern territories of Russia, the local population fastened a bell to a forked pity.

The musical instrument zhaleika is quite easy to use. Anyone can handle it, as it does not require trained breathing or any other special musical skills.

This wind instrument can be used in solo program, play melodies in a duet or be part of an ensemble.

Etymology of the instrument

Initially, the tool was positioned as a shepherd's pity, as it was used to attract attention and collect livestock and sheep by the shepherd himself. Zhaleika became widespread in the territorial regions modern Russia, Ukraine, Belarus and Lithuania. To date, it can be seen only at concerts held by folklore folk ensembles.

Russian zhalomeyka is also known as zhalomeyka. The writer and publicist Vladimir Mikhnevich draws the attention of the public to the similarity of the root in the words "sorry" and "sorry". The Novgorod people called the ancient pagan burial mound type a pity. Another meaning of the word is associated with ancient cemetery or graveyard. In this regard, V. Mikhnevich suggested that the instrument was used during rituals that were held in memory of the deceased after burial or at certain times of commemoration.

Historical digression

Wind musical instruments were the most important component of Russian folk music and an integral part of the national culture. The first musical instruments were reliably noticed by scientists as early as the thirteenth century BC. Percussion instruments appeared first, and then wind instruments, various pipes and whistles. IN Ancient Rus' musical instruments were widely used among shepherds and court buffoons: pity, flutes and horns.

Also, these musical devices were used in the military squads of Kievan Rus. At the princely courts, the sound of pity could be heard during various solemn meetings and fun.

Some Russian tsars tried to destroy the culture of these musical instruments, persecuted musicians and imposed bans on the use of music. At that time, the national Russian folk music suffered heavy losses in musical culture. But the nationwide love for musicians and their creations did not allow the beloved traditions and instruments to disappear.

folk instrument

At the end of the nineteenth century, Russian society grew interested in its own history and national culture. This happened thanks to some researchers in the field of various folk instruments. At the same time, the Russian musician, composer and virtuoso balalaika player V. V. Andreev, organizer and leader of the first folk instrument orchestra in the history of Russia, conducted successful work on the revival of Russian instruments and their modernization. Simultaneously with these works, attempts were made to improve the zhaleyka, flute and key chains.

By the way, a keychain is one of the names of a zhaleyka used in the Tver region. There, the instrument was made of willow, or, as they called locals, nonsense. This is where the name of the keychain comes from. Unlike the zhaleyka, which was used by the shepherds, the keychain has a more gentle and delicate melodic movement. This is due to the fact that musical subject made entirely of wood.

In different regions of vast Russia, zhaleyka and its derivatives are known under various titles. So, in the Kursk region it is called a horn, in the Gorky region - ladusha, in Belgorod region - a squeaker, in Penza region - sipovka. Forked pity in Vladimir region called dvuchatki, and in Ryazan - zhalanki, in the Penza region it is called a cane.

Varieties of pity

The musical instrument zhaleyka is subdivided by design into two types:

• Single pity.
• Two-part.

Sound from the pity different type extracted in the same way. It consists in vibrating the tongue of the beeper. The instrument has a seven-sound sound system, there is a reproduction of the notes "re", "sol", "la", less often - "do", "fa", "mi". Sound range similar to high singing voice. To the ear, the sound of the pity seems sad and very pitiful, the melodies come out dreary, but with proper skill they can be quite cheerful.

The zhaleika is widely used in folk orchestras and is a very common musical instrument. The double-barreled zhaleyka is still very similar in sound to the bagpipe. Its lower tones sound at the same height, performing the function of a bourdon. Some minds believe that the pity came from the bagpipe. There is a noticeable similarity between the pipe of the bagpipe and the tube of the miserable one in a constructive way. There is also a sound similarity of the nature of the sound.

Single zhaleyka

This musical object looks like a small tube up to 20 cm long, made of willow, elder or reed cane. On one side of the tube is a squeaker, which has a goose feather (or reed) tongue in its design. At the other, lower end, a bell made of birch bark is attached. Often the material for such an element is the horn of a large animal, such as a cow. It happens that the tongue on the tube itself is cut.

To receive a melody, holes are located on the zhaleyka tube. Their number varies from 3 to 7 pieces. Single zhaleyka range can be soprano, alto or bass.

Two-piece or paired zhaleyka

It is paired tubes of the same size, each with its own playing holes, the number of which can differ dramatically from each other. One tube can be leading, the other - secondary, and the first, respectively, will have more holes. Tubes are inserted into one common socket.

You can extract the melody of their two-part zhaleyka both in turn from each pipe, and simultaneously from two.

Such a musical instrument is intended mainly for two-voice melodic playing.

A cone is fixed in the left chuck of the machine, and a rotating cone is fixed in the right headstock and an already drilled workpiece is between them. On the machine, we process the tube to an ideal state of ø 16 mm, first with a cutter, and then with sandpaper of different diameters. The diameter of the tube depends on the outer diameter of the ring!
We make sharpenings for the inner diameter of the ring and horn; the size should be (1/10-2/10) larger than the main size of the ring and horn (see photo 9). The tube should go into the horn Very tight, then it will enter more freely. For some time, the tube, horn and cap must be stored separately. This is due to the fact that the material dries out, as it were.

Photo 9. Tubes with rings.

The ring is put on and the horn is not completely (tight). At first, you don't need to customize everything exactly.
In the first, the ring and horn will have to be removed during polishing, and in the second, over time, the tube will decrease in diameter in places where it fits the ring and horn.

Mouthpiece (beep)

This detail, which must be given most attention! From how the squeak will sound, so the pity will work.
An ebonite blank L = 60 mm ø = 12-15 mm is taken, inserted into the machine and processed to right size. With a 5 mm drill, we drill a hole in the center not to the end. With a file we make not a large plane 25 mm long and with a slope L ≈ 2.3 away from the horn, but with a file a groove for the tongue. All dimensions in mm (see photos 10, 11, 12, 13, 14, 15, 16).

Cane (tongue)

It is made by me from textolite, although it is possible to find other material. The blanks are cut with scissors and filed to the desired size, given that the reed is thinner at one end and a little thicker at the other, like a clarinet (see photos 17, 18, 19, 20).

cambric

As mentioned above, this is a hollow piece of wire insulation (mostly polyvinyl chloride) used by electricians and fishermen. The length and diameter depends on the specific application. You need two of them, one to fix the reed on the mouthpiece (beep) and the other to adjust the pitch (see photos 21, 22, 23, 24).

Ready squeaker (see photo 23), squeaker with a straw (see photo 24).

Cap

It can be made from various materials. From a garden hose, a sports hoop, simply from a metal tube or wood. I recommend from a sports plastic hoop. Pieces of hoop 50-60 mm long are cut. Slightly straighten them and process in the machine. The most important thing is that the cap fit snugly into the tube of the pit and be cleanly processed (see photos 25, 26, 27, 28).

When making a cap from wood, its diameter should be less than the diameter of the tube. The cap must go into the tube very tight. After a while, warm up on a hot stove (you can use an iron), so as not to spoil and the edges are not burned. After that, the cap enters the tube more freely. If this is not done, then after a while the cap begins to slosh and stagger. It is necessary to fit all caps under the tube without a beep, since with a beep the diameter of the tube slightly expands.
The wooden cap and tube are impregnated with linseed or sunflower oil. Oil is poured into the bath and tubes and caps are placed there for a day, then dried for seven days. The pile is removed with a fine sandpaper and wiped inside with varnish, alcohol polish. Then, after drying, the pile is removed again. You can also wipe it with a cloth soaked in oil. This is done so that the pit is not exposed to moisture (see photo below).

Setting up a stinger

Tuning zhaleyka, like any musical instrument, has a very great importance. It requires a huge experience of the master, knowledge of acoustics, musical ear. A number of locksmith tools are required for adjustment. Files, drills, reamers and of course it is desirable to have a sound frequency generator. I recommend setting up in this order.
. Check the operation of the squeaker without a tube. No matter how hard you blow it should work. The tongue should not quack and stick.
. Together with the pipe, fine-tune the horn (sol or other note). The smaller the horn, the higher the sound.
. Along the tube, we evenly draw a strip with a pencil. Then we mark the points of sound holes (see photo 29). Measurements are taken from the base of the pit without a horn and a beep.

Then drill the measured holes with a thin drill (2 mm). The beeper, after we put it in, should already work on all sound holes.
. Next comes the pre-tuning, starting with the lower sound.
. Smaller finger hole - lower sound. More finger hole - higher sound.
. Fine tuning produced by listening to the beats of the frequency of the sound of a zhaleyka and a generator or other musical instrument. When the beats disappear, the sound is tuned cleanly. If you have lost the moment in which direction the beat frequency between the sound of the pit and the generator decreases (that is, you don’t understand the playing holes to increase or decrease), then we slightly move the cambric, thereby increasing the length of the reed:
1) if the beat frequency increases, then the playing holes for the fingers should be made larger, but first, tune the reed to the main pure tone of the pity;
2) if the beat frequency decreases, then make the playing holes for the fingers smaller (but how to do this?), you can insert plugs into the holes (of course, on glue) and re-drill and adjust. Or, by moving the cane, adjust this hole purely according to the generator. But then the main tone will not build, you can cut a thin ring from the same ebonite to fit the inner diameter, this will lower the main tone (of course, then fine-tune it). But other holes may not be built, so everything needs to be checked and adjusted. To prevent this from happening, you need to set up the instrument slowly and think with your head. If you do it for yourself, you can experiment, but I had many orders for music schools, schools, music academies, and if it happened, then I just threw out the blank.
. After setting up the next sound, be sure to check all the others.
. It is necessary to let the pity lie down after it has been tuned (at least for two, three days or more), this is necessary so that it dries out, while it will slightly change the system.
. Then check the tuning again and tweak some sounds.
. We increase the sound holes with the help of drills, needle files, reamers and at the end with cutters so that they are perfectly clean and even.

I don’t give exact sizes for each pity, they are always slightly different (even for pity of the same tone). Each master must find his own, adhering to those given in the work; this applies to all instrument parameters.
. If the sound holes were obtained much larger. Then I machined round corks from hardwood on the machine, or you can, for example, use ebonite. And I inserted them very tightly on the glue, but not deep, into the same holes. After drying, the blanks were processed with a file and drilled new holes for sound holes.

A few words about chromatic pity

Chromatism is adjusted in 1, 2, 4, 5 holes. In a pit of any tonality, one hole is drilled from the center of the sound holes to the left and right of the dash. Diameter 2 mm. It is also necessary to take into account the direction of these small holes and the direction of the finger grooves (see photo 30).

Photo 30. The horn is on the right side of the pit.

Each small hole is tuned separately in semitones. I also advise you to check each sound hole at intervals of fifths and fourths. For example, in zhaleyka SOL when setting the fundamental tone, check how the interval of fifth (sol - re) and quart (sol - do) sounds.
And even before setting up the tool, you need to make small indentations for the fingers with a semicircular file. This can be seen in photo 30. If done later, it will affect the system of the pitty!

I offer my drawings of the main working regrets

Internal ø 7, external ø 16
Tube L = 150, Pishchik L = 40 mm

Internal ø 8, external ø 16
Tube L = 180 - 190, Pishchik L = 45 mm

Tube L = 190 - 200, Pishchik L = 45 mm

The first hole is made on the side for the right hand of the little finger 35 millimeters from the base of the pit.
The second in the center for the middle finger is 80 mm from the base of the stinger.

Internal ø 8, external ø 16
Tube L = 260, Pishchik L = 50 mm

The first hole is made on the side for the right hand of the little finger 55 mm from the base of the pit
The second in the center for the middle finger is 8 mm from the base of the stinger.

Tube L = 300, Pishchik L = 55 mm

1, 3, 5 holes are on the right side of the pit, and 2, 4, 6 on the left side.

Internal ø 7, external ø 16
Tube L = 11.5, Pishchik L = 40 mm

Polishing

It is carried out, like with other musical instruments, using a certain technology. Much has been written about this in educational literature and there is information on the Internet. A few words on how I do it.
. If the pit is made of mahogany, then it is better to first cover it with sunflower oil and dry it in the bright sun. You need to do this several times.
. Then covered with polish - dried.
. Rubbed with pumice - dried.
. This can be repeated several times.
. Necessarily zhaleyka is wiped from the inside with polish using a long thin stick with a swab.
. A hardwood pit (maple, apple, beech) is polished in this order (very briefly).
. Lacquer NTs - dry (the longer the better).
. Treat with fine sandpaper.
. Polish - dry (do this one, two, three).
. Treat with a pumice stone as fine as dust with a swab slightly moistened with polish - dry.
. With pumice once - twice - to dry.
. Polish on a swab a drop of oil and polish - dry.
. Repeat many times, then wipe with a dry woolen cloth.

Varnish made from medical alcohol and shellac, you can add other resins, but this is up to you. Polishing should be done with swabs, which you need to make yourself from a stretched white rag (make a square) and add woolen threads, also white.
Instead of threads, you can use cotton wool.
Before polishing, the zhaleyka must be carefully sanded!
The polishing process is considered complex and responsible, so I recommend that you first study the relevant educational literature or information on the Internet.

Additional material (20.02.2017)

1) I’ll say it again and I can repeat it many times that for the good work of the zhaleyka, the main point in the manufacture of a musical instrument is the tuning of the squeaker.
First you need to configure it separately from the pity itself.
The sound frequency should correspond approximately to the tonality of the zhaleyka.
The sound should not be booming, noisy, tight (hard to reproduce). No matter how hard you blow, the beeper should sound and work easily. But it must be borne in mind that a pity cannot sound very loud and very quiet. With strong blowing, the reed (tongue) simply sticks, and with weak blowing, it does not oscillate.
The sound of the squeaker should resemble the sound of a whistle made from an acacia pod. We all remember when in childhood we plucked an acacia pod, broke it in half, removed the seeds and made a whistle.
Further, the adjustment of the squeaker and the pity itself is already assembled. On the playing tube, according to the markings for each tone of the pit, we drill holes Ǿ 2 -2.5 mm.
And when we insert the squeaker into the tube from one end, and the horn from the other, it should immediately work through all the sound holes easily and without stuttering. Especially when they are all open. It is necessary to blow with the same force through all the holes, and very often the squeaker of the pity stops working at the top sounds. It seems to shut up (sorry for such terminology) in this case, you need to rub it with a fine sandpaper from the side of the mouthpiece and reed. But then adjust the pity to the main tone.

See photo

After that, we proceed to setting up the pity itself, with what tools I have already written to do this. I just want to add that for tuning you can use a homemade sound generator tuned by temperament.
Or tuner KORG CA40WD (chromatic).

2) I want to offer one method of drilling sound holes, which I use in Lately. I drill them not at a right angle, but I make a slope towards the horn of 110-120 °. What does it give? The air that passes through the squeaker and moves through the tube passes more easily and smoothly into the sound holes of the pit. Well, as if improving the answer of the sound of pity.

See photo

Photo on different stages manufacturing