Type: Open Ended Flute > Aerophones.
Hornbostel Sachs No#: 421.111.12
Country: Republic Of Bashkortostan.
Region: Ural Mountains, Russian Federation.
Description: The quray [in Bashkir ҡурай, Tatar quray, “quˈrɑɪ”] is a long open end-blown flute with two to seven finger-holes, it is a national instrument among the Bashkirs and Tatars. The instrument is similar to the Mongolian chuur. On March 1, 2018 Kurai was registered as a territorial brand of Bashkortostan, a patent was received from the Federal Service for Intellectual Property of the Russian Federation
The most widespread kind of quray is a quray made from the stem of the umbelliferous plant, called urals edgepistil or Kamchatka pleurospermum (Pleurospermum uralense). The stem of a quray is 2–3 metres (6 feet 7 inches–9 feet 10 inches) long. It flowers in July, then dries out in August–September. It is cut in September and kept it in a dry and dark place.
Types: 1) sor-quray – a sort of quray made by the Bashkirs who lived in the steppe where the natural quray does not grow. It is made of steppe grass and its length is not more than one meter, but it is wider in its diameter. The specialists say it was used for calling signals. 2) copper quray – a quray made from copper.
Construction: The length of a quray is about 510–810 mm [20–32 inches]. The length is found by measuring 8-10 times the width of a palm encompassing the stem of a plant. The first hole must be done at four fingers distance from the top of the plant, the next three holes at two fingers distance from each other, the fifth at the back at three fingers distance from the fourth hole. The diapason of a quray consists of three octaves. The quray is used as a solo as well as an ensemble instrument. Now, a quray can be made from veneer. It is more stable and its sound is similar to the natural quray’s sound.
Citations: Seryogina, Olesya October 24, 2007. Musician’s Seven Kurais. Culture. BASHvest. Archived from the original on July 22, 2011. Retrieved December 26, 2007. Victor Belaiev . “The Formation of Folk Modal Systems”. Journal of the International Folk Music Council. 15: 4–9. doi:10.2307/836227. JSTOR 836227