The Structure of Kurdistan Daf (IV)

Researcher:
Mohammad Tarighat

Translator:
Fatemeh Alimohammadi

Daf Structure

The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows:

– Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it and hazelnut-shaped bells were placed inside or outside the frame.

– Two-sided circular and two-sided square Daf on which the skin was stretched on both sides and the rings were installed inside or outside the frame.

– Octagonal Daf or “Dast koub” that had skin on one side and a number of bells inside the frame.

– Dodecagonal Daf on which the skin was stretched on one side and there were a few Malileh inside the frame and used a string to hold Daf while playing.

– Arabaneh, the use of this circular Daf is common in Yazd. Inside of this Daf, hazelnut-shaped bells were used instead of Malileh.

The structure and components of Dafs with natural skin in the Kurdistan region are:

1. Arch, frame, “Gharbali”;
2. Avazeh of Daf;
3. Thumb index;
4. Stud or tack;
5. Ring, chain, ” Malileh”,”Jalajal *”, “Khash khasheh or Rakht;
6. Hook;
7. Skin or leaf;
8. Leather or tarpaulin straps.

Dafs are evaluated for wood and skin (proper tanning, age-old, one-handed thickness, no white spots and color uniformity), distance of ring from skin, distance of ring from next ring, end cut of arch and connection to the skin, circular shape of the arch, Avazeh of Daf, the width of the arch, the correct cut of thumb index, the appropriate weight, and etc. Which ultimately leads to well-built and pleasant sound production.
Arch: In Kurdish, the arch of Daf is called “Chameh”, “Kama”, “Kamar” and “Kavaneh”. Behzad Naqib Sardasht wrote in his book named “Kurdish Music Organology “: Daf arch is made of walnut, plane tree, quince, and willow wood. The thickness of arch is about one to two centimeters, its width varies from five to ten centimeters and the diameter of Daf varies from 48 to 70 centimeters” (Naqib Sardasht, 2007: 295).

Arch is a wooden ring, made of grape wood and a Salicaceae such as: poplar, red willow, and etc. Diameter of arch can be between 50 and 60, its height is between five and six and a half, and a part that studs are on it should be between one and a half to two and two tenths of a centimeter (Mogharab Samadi, 2009: 77-78). In addition to the mentioned woods, Ali Asghar Nasrollahpour also mentions walnut, orange, and fig wood for the material of arch and he points out Daf circle diameter between 41 and 54 (Nasrollahpour, 2000: 73). Khaktinat also mentions wood of walnut trees, grape, ash** (Van, Benav, Benavch), quince, orange, and red willow (Khaktinat, 2005: 58).

Heidar Mohammadi – Daf maker – says: “The wooden body of the frame is made of wood of trees, such as: willow, in form of one layer; plane, grape, orange, and walnut in two layers and ash, maple, and berry in three layers; with a width between five to five and seven and in some cases up to seven centimeters and a length of two meters when it is circular, its diameter is about 53 to 57, which is common up to 60 cm; of course, usually for children and adolescents are made with smaller dimensions and less than 50 cm in diameter. The thickness of single-layer arch and bilayer varies between one and eight to two centimeters. The Avazeh of Daf also starts from the middle of the frame and gradually decreases to a thickness of two and a half to three millimeters” (Mohammadi, 1399).

 

______

* chime

** Fraxinus excelsior

Post a Comment

Required fields are marked *
*
*
Your email is never shared.

Nasser Masoudi: The Voice of Gilan and a Legacy of Iranian Music

In Iranian music, certain singers have become emblematic of their homelands through their distinctive voices. Historical figures such as Eghbal Sultan, who epitomized the grandeur of Azerbaijani music, and Taj Isfahani, who conveyed the authentic essence of Isfahan, serve as notable examples from the Qajar era. Nasser Masoudi occupies a similar position; his voice emerged as a symbol of Gilan while also achieving national acclaim. Before him, Master Ahmad Ashurpur represented Gilan’s musical landscape, but his extended residence outside Iran limited his continuous engagement in the music scene. In contrast, Masoudi’s consistent presence allowed him to introduce the voice of Gilan to audiences across Iran.

Farhad Poupel: The Voice of the Shahnameh in the Orchestras Around the World

In an era when almost no trace of contemporary Iranian music can be heard in international concert halls, except (so-called!) avant-garde works that owe their existence solely to the fashionable slogans of the “pseudo-intellectual” crowd who have seized the already meager resources for performing classical music from the true artists of the field, the numerous performances of Farhad Poupel’s works shine as a ray of hope for lovers of sincere musical art. Without resorting to trendy slogans, he has kept the flame of Iranian classical music alive purely through the power of his artistry.

From Past Days…

The response of the fired musicians to the interview of the managing director of Rudaki Foundation

Following an interview by Mehdi Salem, the director of the Rudaki Foundation, with the “Our Music” website, a response from the dismissed musicians was published in response to this conversation, which you read:

Iranian Fallacies – School of Vaziri

Iranian Fallacies – School of Vaziri

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.

Ennio Morricone’s music for Quentin Tarantino’s The Hateful Eight

After watching Quentin Tarantino’s latest movie, The Hateful Eight, everyone was excited by its novel music besides the beautiful scenes of blood and guts.
The Hateful Eight is the first collaboration between the world-famous film music composer, Ennio Morricone, and Quentin Tarantino as a famous director.

From the Last Instrumentalist to the First Composer (I)

Music as an art has its own special history; emergence of a singer, of an instrumentalist and then the emergence of the strong character of a composer covers three significant phases of the art of music. With the emergence of composer which was simultaneous with the emergence of the language of music, this art managed to offer a domain for criticism for its composer; a procedure which led to a magnificent variety and evolution in musical production. Even though the conflicts between singers and instrumentalists have not met their end in the Iranian society and while singers can achieve high, instrumentalists have yet to play behind curtains . In a special era, with the efforts of musicians such as Ali Naghi Vaziri (1887-1979) and Rouhollah Khaleghi (1906-1965), glimmers of a composing era started to glow bearing fruit in Khaleghi’s achievement as Iran’s first professional composer. Khaleghi made his reputation as a composer while Vaziri deserved to pioneer this path. By then Vaziri was well-known as a Tar player.

Jamshid Andalibi passed away!

Jamshid Andalibi, one of the most famous ney players in Iran, passed away on the fifteenth of Esfand, 1402, at the age of 66 due to a heart attack at his private residence. Andalibi was a member of a family that had a significant presence in the field of Iranian music in the sixties and…
Read More »

“Guitar Memories” Released

The album “Guitar Memories” consists of the performance of baroque to recent era masterpieces, by Mehrdad Mahdavi, and is published by Tanin-e Honar Publication.

In this album there are pieces composed and arranged by artists such as: Sylvius Leopold Weiss, Johann Anton Logy, Fernando Sor, Yuquijiro Yocoh, Leo Brouwer.

Avaye Naerika Percussion Orchestra

Avaye Naerika Percussion Orchestra is an Iranian percussion orchestra featuring 40 lady percussionists. The Orchestra was established as Iran’s largest all-female percussion orchestra in 2008 by Ms. Minoo Rezaei under the title Naerika Percussion Orchestra and changed its name to Avaye Naerika in 2017.

Interview with the Makers of the New Qeychak (III)

In this project, my specialized responsibility  was the basic drawings of the desired instrument with the help of engineering and mechanical software.  I have also the carried out phases related to engineering designs, related variables, and volume and weight calculations under Mr. Ziaei’s direct supervision from the very beginning. Regarding the challenges of this work, suffice it to say that the set of designs for the instrument lasted more than 9 months in the final stage of the project only.

Illusion or Ingenuity?

Mohsen Renani in the preface of his book entitled “The Political Economy of nuclear conflict; an introduction to traversing the civilizations” writes:

Developments in Iranian Music Since Qajar Era (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.