This is a simplification, however, and for the following discussion two additional considerations are necessary. Second, although the players themselves distinguish between the three sets, only the first two seem to be crucially important for the performance. Performers themselves rarely require particular exactness in execution of the gukal'nye part and this set is often given to the least experienced players. One may guess that having this part in the ensemble helps to give new players access to the panpipe performance tradition. Thus we can conclude that functionally there are only two different parts in the panpipe ensemble.
Several facts confirm the appropriateness of such a classification.
In spite of these modifications of the priduval'nye set, the rhythmic and harmonic relationship of the accompanying part with that of a lead player stays constant, and is subject to rules which we will discuss in the following sections. In making panpipes, the players use body measurements. First they measure the size of the first pipe of the para set by the distance between their stretched thumb and the middle finger. Then they make the following pipes progressively shorter by the width of the performer's finger phalanxes, of the thumb, index, middle and little fingers in turn. After the entire set is made, the players check its tuning by ear, and make slight adjustments by putting seeds or grains into the pipes, if necessary.