The Structure of Kurdistan Daf (V)

1 September 2022 – 2:00 pm Posted in Articles' List, Contemporary Music, General Information, Instrument & Playing

Researcher:
Mohammad Tarighat

Translator:
Fatemeh Alimohammadi

Behrouz Mohammadi, “Daf and its feasts in Ghaderieh’s Tekyeh” mentions that the outer thickness of arch where studs are located, [is] between one to one and a half centimeters (Mohammadi, 2001: 12). The thickness of arch should be gradually reduced from the installation place of rings to skin (Avazeh of Daf) to create a high volume, clear sound from Daf; also, the connection of arch to skin should not be less than one millimeter, because in this case the skin will be torn due to the sharpness of the wood (Mogharab Samadi, 2009: 79-78). The thickness of wood on the skin side is about two to three millimeters (Tohidi, 2002: 79).

The arch is made in “one-layered” or “one-framed” and “two-layered” or “two-framed” according to taste, patience, or skill. The frames of two-framed Dafs are connected with pegs and the total thickness of the frames should not exceed one and a half to two centimeters. The construction of one-framed instruments requires more skill and precision and there is less possibility of deformation in such Dafs; they are lighter than two-framed Dafs, so musicians prefer one-framed Dafs (Nasrollahpour, 2000: 73). The method of connecting two sides of the wood is better to be mitered joint rather than mortise and tenon (Darvishi, 2006: 397).

Although, the manufacturers have provided different sizes for the width of Daf frame and in some cases, Dafs with the title of “women’s Daf ⁷” and “men’s Daf ⁸” have been proposed among instrument sellers, it is better to compare the width of frame with the size of player’s palm, so that the knuckle of the thumb does not bend. Such a width will also prevent the wrist from bending in the beat of the middle⁹ sound.

In the past, Daf players of the monastery used heavy Dafs with a frame six to seven centimeters wide, and to avoid fatigue in long-term performances, they had to use straps around their wrists. They believed that the heavier the Daf is, the easier it would be to perform the techniques. Each Daf weighed about two and a half to three kilograms, which are now known as monastery Dafs. With the passage of time and the creation of new techniques and faster rhythms than before, the weight of the Dafs has been reduced to about 700 to 950 grams to one kilogram, which has also been approved by the musicians of the monastery.

Sara Jabbari – Master of Sports Physiology – believes: “Light weight and excessive weight of Daf will cause no connection with the instrument and takes a lot of energy from the musician. The best weight for Daf is a weight that applies a slight pressure to the forearm muscles. In simple terms, the musician feels the weight of the instrument” (Jabbari, 2022).

Thumb index: The location of the thumb to hold the Daf, which has lost its use due to the narrowing of the frame width. Amir Mogharab Samadi believes that “the size of the thumb index should be commensurate with the height and thickness of the arch, so that the thumb index exactly fills the flesh of thumb” (Mogharab Samadi, 2009: 79). In other words it should be close to the junction of the frame with a small distance, otherwise, after the skin is pulled, the arch will lose its circular shape (Khaktinat, 2004: 62). Deepen about one-third or two-fifths of a span to the left of the frame junction for the thumb (Mohammadi, 2000).

This entry was written by HarmonyTalk
Tagged: .

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.

Latest posts

From Past Days…

A year without Mohsen Ghanebasiri

The year 1396 (21 March 2017-20 March 2018) was the most sorrowful year for HarmonyTalk journal. One month after holding HarmonyTalk’s 13th establishment anniversary in Mohsen Ghanebasiri’s house in Tehran in April 2017, he untimely passed away. Mohsen Ghanebasiri was the prominent HarmonyTalk author.

Polyphony in Iranian Music (II)

With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:

Rouhollah Khaleghi Artistic Center established in Washington DC

Golnoush Khaleghi (1941-2021), a Washington-based Persian musician and the daughter of the contemporary Persian (Iranian) composer and theoretician Rouhollah Khaleghi (1906-1965) founded a musical center called RKAC to keep the name and the work of her father alive.

The Mystery of Messiah

Antonio Stradivari (1644 – 18 December 1737) was an Italian luthier and is considered the most significant and greatest artisan in this field.

Principles of Violin Playing (I)

The present series of training articles, “Principles of Violin Playing”, seek to help students, to appropriately understand this field, by gradually introducing, categorizing, and teaching the myriad relevant points. One of the principles of playing violin, which must be always kept in mind, is that the selection of the most natural position for the body parts while playing is the best and most appropriate solution. As a matter of fact, any unnatural body part position which requires lots of energy or unusual stretching to maintain, is wrong.

Parviz Meshkatian’s Heart Beat for People (II)

As such, the young Meshkatian reached the position of a great maestro in the Iranian music. Up until 1997, Meshkatian remained prolific and composed many pieces which were characterized by progressiveness while drawing on the music of the past Iranian musicians. In some of Meshkatian’s works, one can trace the influence of maestros such as Faramarz Payvar; however, this influence is so balanced that one can neither say that Meshkatian is a progressive and deconstructionist composer nor does he use cliché forms in his compositions.

Leading the Charge in Censorship

Davoud Pirnia, writer and musicologist was the founder of “Golha” (Flowers of Persian Song and Music) programs on Tehran Radio (1956-1966). He received his early education from his father, Hassan Pirnia (Moshir al-Douleh), and several tutors of the time (Taraghi, interview, July 1989) and continued his studies at Saint Louis School in Tehran and then in Switzerland and graduated in law. While studying law, Pirnia got acquainted with European classical music. Upon returning to Iran, he was employed by the Ministry of Justice and founded the Lawyers’ Guild. Then he was transferred to the Ministry of Finance and established the Department of Statistics in this ministry. Later, he became the head of the state inspection office at the Prime Ministry; he was, then, promoted to the position of the Deputy Prime Minister (Navab Safa, interview, August 1999)

About Davoud Pirnia, the founder of “Golha” radio program

Hossein Dehlavi: the Composer

With Dehlavi it is not all about fame but recognition. Hossein Dehlavi is not a popular musician (like pop singers) whom everybody might know when he is walking on streets of Tehran; however, he is recognized by both amateur and distinguished musicians of the country.

Principles of Violin Playing (IX)

4.3.1. To practice playing of doubles of notes involving two different fingers, each note is played at separate bows with slow tempo, each note is played perfectly regarding its bass and tenor sounds and then the considered double is played at another bow while considering the resulted sound of the double.