Ch’uniri (Chianuri)

The Ch’uniri is a traditional bowed spike fiddle from Georgia, played mostly in mountainous regions like Svaneti, Racha, and Khevsureti. It is considered one of the oldest musical instruments in Georgian culture, notable for its simple yet evocative construction and its deep cultural significance. The Ch’uniri is primarily used to accompany folk songs, dance melodies, and to mark significant cultural events, including ceremonies related to mourning. The instrument has three strings, and it is characterized by its cylindrical resonator made of bent plywood and its unique playing style, which involves holding the instrument vertically.

History of the Ch’uniri

The Ch’uniri is believed to have originated in the mountainous regions of Georgia, specifically Svaneti, and spread to other regions such as Racha, Guria, Khevsureti, and Tusheti. The instrument is considered the national instrument of Svaneti, where it has been preserved in its traditional form. It is known by different names in various regions of Georgia: for instance, in Racha and Guria, it is called Chianuri.

The Ch’uniri holds an important place in Georgian culture, particularly for its use during ceremonial occasions and social gatherings. It was often played during evenings before funerals, where it was used to sing about the life of the deceased and remember the ancestors. Due to this tradition, there is a saying in Svaneti that “Ch’uniri is for sorrow,” highlighting its association with mournful and reflective occasions.

Anatomy of the Ch’uniri

The Ch’uniri features a unique design that is both functional and aesthetically evocative of Georgian cultural heritage:

• Body: The body of the Ch’uniri is a cylindrical resonator made from bent plywood, 26 cm in diameter and 12 cm deep. The construction resembles a sieve, with the back of the body left open, and the resonator covered with animal hide, which acts as the sound table. This membrane is stretched tightly and glued to the edges of the body, providing a distinctive percussive and resonant quality to the instrument’s sound.
• Neck and Spike: The neck of the Ch’uniri pierces through the body and forms the tailpiece as well, giving the instrument its spike fiddle structure. The neck is also fitted with three tuning pegs—two on the right side and one on the left—to which the strings are attached.
• Strings: There are three strings made of fine nylon monofilament, a modern replacement for traditional horsehair strings. The strings pass over a flat wooden bridge positioned on the hide sound table. The flat design of the bridge means that all three strings can be played simultaneously, creating a drone-like accompaniment.
• Bow: The bow is crafted from a thin twig, typically from willow or birch, and strung with the same fine nylon used for the playing strings. The bow is highly curved and lacks a frog or tip, making it symmetrical, and is held by gripping either end.

Playing Technique

The Ch’uniri is played while seated, with the pegblock resting against the left side of the player’s chest and the resonator held between the knees. The soundboard faces outward, and the bow is used to draw across all three strings. The player uses their left hand to stop the strings in the air, without pressing them down fully to a fingerboard. This technique, combined with the flat bridge, results in a distinctive, almost polyphonic sound where all three strings can resonate together, producing a rich and complex texture.

The tuning of the Ch’uniri is typically G3 – A3 – C4, with the intervals between the strings being a combination of major second and minor third. This tuning arrangement allows the instrument to create haunting and evocative harmonies, particularly effective for accompanying the deeply emotional polyphonic singing that is characteristic of Georgian folk music.

Cultural Significance

The Ch’uniri plays a significant role in Georgian musical culture, particularly in the regions of Svaneti and Racha. It is often played in ensembles alongside other traditional instruments such as the changi (a type of harp) and the salamuri (a flute). In these ensemble settings, the Ch’uniri provides a drone or rhythmic foundation for polyphonic singing. It is also traditionally associated with the accompaniment of heroic poems, dance melodies, and lamentations.

One notable use of the Ch’uniri was during pre-funeral gatherings, where a family member would play the instrument by a bonfire, singing about the life of the deceased. This association with mourning gave rise to the expression “Ch’uniri is for sorrow.” However, the Ch’uniri is also used during celebratory gatherings, where its music forms an integral part of the social fabric of Georgian village life.

Construction and Materials

The Ch’uniri is made using materials that are readily available in the mountainous regions of Georgia:

• Wood: The resonator is constructed from thin laminated plywood, while the neck and pegblock are made from solid wood, usually sourced from local trees like sycamore or birch.
• Animal Hide: The soundboard is made from clarified animal hide, which is stretched tightly over the resonator. The use of animal hide provides a percussive quality to the sound and helps produce a strong resonance.
• Nylon Strings: Traditionally, the strings and bow were made of horsehair, but modern Ch’uniris often use fine monofilament nylon, which is more durable and easier to source.

How to Play the Ch’uniri

To play the Ch’uniri, the player sits down with the instrument held vertically. The lower part of the resonator rests between the knees, while the pegblock leans against the chest. The bow is held in the right hand and used to bow across all three strings simultaneously. The left hand stops the strings without pressing them to a fingerboard, allowing for an airy and resonant tone. Because of the flat bridge, the player often sounds all three strings at once, which gives the Ch’uniri its distinctive droning quality.

Maintenance of the Ch’uniri

The Ch’uniri, like other traditional instruments, requires careful maintenance to ensure its longevity and tonal quality:

• Storage: The instrument should be stored in a warm, dry environment to prevent damage to the wooden body and the hide soundboard. Excess moisture can cause the hide to lose tension and affect the sound quality.
• Pre-Playing Preparation: Before playing, particularly in cold or humid conditions, the Ch’uniri may need to be warmed near a fireplace or in the sun to improve the tension of the hide and enhance its sound quality.
• String Care: The nylon strings should be inspected regularly for signs of wear and replaced as necessary. Traditional horsehair strings may need more frequent replacement due to their susceptibility to fraying.