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…

Principles of Violin Playing (VIII)

1.5.1.3.sometimes, a player, due to different reasons, may decisively want to play continuously two notes with a half-step by means of the same finger, in such a case, it’s necessary to open the interior curve of the finger like a spring. Naturally coming back, the curve of finger should be closed and the finger should become curved shape again (see paragraph 3.1.2.1).

Polyphony in Iranian Music (IV)

Two choirs alternatively perform Veŝ Tavaré Na avaz (Transcription 5). The second group starts the avaz before the first group finishes it; consequently, two different voices coincide (Transcription 5, staves 2 and 5).

Gholam Reza Khan Minbashian: a pioneer in Iranian music (II)

Gholamreza Khan Minbashian taught courses such as organology, orchestration of military music and harmony based on the books which were translated from French into Persian with the help of Aliakbar Mozayyan-o-Dolleh (1846-1932).

Mohammad Esmaili passes away

Master Mohammad Ismaili, a prominent musician and renowned tombak player, passed away on August 13, 2023, after battling an illness in the ICU of Rasoul Akram Hospital. His funeral will take place on Thursday, August 17, at 10 am in front of Vahdat Hall, and he will be laid to rest in the Artists’ Section of Behesht Zahra Cemetery.

From the Last Instrumentalist to the First Composer (II)

Rouhollah Khaleghi was the master of composing beautiful melodies. He was the premier of the course of history which was first established by Ali Naghi Vaziri and which improved the Iranian music from simply a gathering music to the classical music of the country. First efforts to compose independent and instrumental music can be also traced in Khaleghi’s works.

Principles of Violin Playing (III)

Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

The Structure of Kurdistan Daf (II)

With its simple physical structure and captivating sound, the Daf never belonged to a particular culture or location, and every nation had different usages for this instrument considering their dominant customs and traditions.

Henry Cowell: “Persian Set”

Persian Set: Four Movements for chamber orchestra: Moderato; Allegretto; Lento; Rondo

Henry Cowell, one of the most innovative American composers of the 20th century, was born in 1897. Cowell and his wife visited Iran in 1956 and stayed there the whole winter, upon the invitation by the Iranian Royal Family, when he composed his album “Persian Set” in four movements for chamber orchestra. His composition is expressive of the characteristic quality of the Persian or the Iranian music.

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.

 Ahmad Pejman Passed Away!

Composer and music teacher Ahmad Pejman (1935–2025) passed away on August 29 in Los Angeles, USA, after several weeks of illness. His most recent symphonic work performed in Iran was Land of the Brave (“Sarzameen-e Delavaran”), which was staged in 2017 with the Tehran Symphony Orchestra. According to the family’s decision, his body will be laid to rest in the United States.