Name: Nalmes solo by Jankat Yaman in Mohammad Favorites
Duration: 4 min 30 s
Description: jankat yaman

Adiga music , but with some russian accent , Don`t like the accent , but love the music

Mohammad Favorites

Abiba Qafa

One of Ossetian traditional dancing melody

Ӄоnа (Къона) – Kwyrttatag Xongæ (Куырттатаг Хонгæ)

Kabardinka Musicians Live Performance - 4

Kabardinka Mezdeug (New-2021) - Кабардинка МЭЗДЭГУ (2021)

Khonga

Laguniga Wored- Kayser Xase - Woredagoe - Си Дахэк1ей

Acharpyn - Echoes of Time (Traditional Abkhaz Folk Music)
Musicians Batal Ayudzba: Ayuuma, Akhymaa, Amyrzakan -
Denis Arukhaa: Acharpyn, Achamgur
Otar Khuntsaria: Acharpyn, Bas-Acharpyn, Apkhartsa, Achamgur, Amyrzakan

Abkhazian culture is rich with folk poetry and songs, dance and music. Abkhazian folk songs are a combination of vocal melody and chanting. Ancient pagan songs survive to this day, along with work songs, ritual songs, fairy tales, legends, myths, sagas, sayings and proverbs. 

Traditional Abkhazian musical instruments include strings, woodwinds, and percussion. Among the most popular string instruments is the ap'hyartsa, a two-stringed instrument with a narrow spindle-shaped frame, played with a bow and usually carved from alder wood. The ayumaa is a triangular harp with 14 horsehair strings (ayumaa means "two-handed" because the musician holds it on one knee while playing with both hands). 

The woodwinds include the acharpyn, a flute with three or sometimes six holes made of hogweed (acharpyn in Abkhaz) and adorned with ornamental decoration. Another popular instrument is the abyk, a single-reed horn carved from wingnut wood. The akabak khtsvy, a shepherd's pipe with three openings, is carved from a pumpkin stem.

Percussion includes various types of drums and clappers (also used to scare birds away from corn fields). Akyapkyap clappers consist of a thick handle with attached wooden slats that make a loud crackling noise when rotated, and the very popular adaul drum often serves as the main musical accompaniment, especially for folk dances. 

See more at: http://abkhazworld.com/aw/multimedia/music

Abkhaz Dance Music with Achamgur

“Hepimiz bir şey bekleriz. Mesela ben, hayatım boyunca birşeyler bekleyip durdum, bütün hayatım boyunca sanki tren istasyonunda bekler gibiydim, bütün zaman boyunca sanki yaşadığım hayat gerçek değildi de bir tür bekleyişti.”

Offret / Andrei Tarkovsky


Recorded by Jankat Yaman

Teesina Sa

Nalmes - Islamey (Adige Pshine)

Dexe Jan

www.baragunvladimir.com | Vladimir Khatizovich Baragun(ov) (Бэрэгъун Владимир) (31 December 1939 — 13 October 1997), Kabardian singer, musicologist, People’s Artist of the Kabardino-Balkar ASSR (1981), Honoured Cultural Worker of the Russian Federation (1996), and Laureate of the State Prize of the Kabardino-Balkar Republic. In 1969 he graduated from the Sobinov State Conservatory in Saratov. From 1969 to 1977 he was a soloist for the Kabardino-Balkar Theatre. He sang 19 opera-roles. He recorded hundreds of songs, ballades, romances for radio and television and on disc. He was awarded the ‘Golden Hatchet’ (highest grade) at the International Folklore Festival in Poland. He was one of the authors of the 3-volume ‘National Songs and Instrumental Works of the Circassians’, which has become a classic of Circassian musical folkloristics. Soloist and artistic director between 1977 and 1987 at the Kabardino-Balkar State Philharmonia, he served as its director between 1987 and 1997. He was one of the best singers of the 1970s and 80s in Circassia. Although he recorded many fine and memorable traditional and modern songs, his powerful operatic voice was best suited to ancient anthems.

He documented and recorded a number of Pantheonic chants, including ‘Mezguashhe’ («Мэзгуащэ»; ‘Forest-Lady’). His wide Nart repertoire included an emotive rendering of ‘Nartizch Wered’ («Нартыжь Уэрэд»; ‘Song of the Ancient Narts’), which causes tingling sensations in the back of one’s head, ‘Ashemez yi Pshinalhe’ («Ашэмэз и пшыналъэ»; ‘Ashemez’s Melody’), ‘Badinoque yi Pshinalhe’ («Бэдынокъуэ и пшыналъэ»; ‘Badinoque’s Melody’), ‘Sosrique Maf’e Qeih’ («Сосрыкъуэ МафIэ Къехь»; ‘Sosrique Fetches Fire’), and many others. His heroic/historical repertory included ‘Senjeley yi Wered’ («Сэнджэлей и уэрэд»; ‘The Song of Prince Sanjalay’), in which he evokes the heroism of the mediæval prince-warrior.

Бэрэгъун Владимир (1939-1997) Адыгэ уэрэджыIакIуэ цIэрыIуэхуэм я нэхъыщхьэу еплъытэ хъунущ. Абы и макъ гъуэзэджэ лъэщгуэрэм удихьэхауэ уодаIуэ. Абы игъэзэщIат пасэрей нарт уэрэд зыбжанэ, псалъэм папщIэ «Ашэмэз и пшыналъэ», «Нартыжь Уэрэд», «Бэдынокъуэ и пшыналъэ», «Сосрыкъуэ МафIэ Къехь» жыхуиIэ уэрэдхэр. ЛIыхъужьыгъэ теухуа уэрэд куэд зыгъэзэщIа Бэрэгъуным, псалъэм папщIэ Пщы Сэнджэлей (Жылэгъуэт Идар и къуэ Къанкъылыш и къуэщ) зи гугъу ещI уэрэдым «Сэнджэлей и уэрэд».

Махуэщ|э дыгъэпсым и къафэ | Second Version

Хонга

ЛЪЭЦЭРЫКЪО КЕРИМ-АДЫГЭ МЭКЪАМЭХЭР Albüm

Nalmes solo

Jankat Yaman

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