The Structure of Kurdistan Daf (V)

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).

Post a Comment

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

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

Bahma Rajabi Passed Away!

Bahman Rajabi, the renowned tonbak (Persian goblet drum) player and educator, passed away at his home at the age of 86 due to a heart condition. He was the founder of a distinctive school of tonbak playing, and his teaching methods have been widely used by instructors of the instrument for decades..

From Past Days…

Fereydoun Shahbazian, An Iranian Musical Icon Passed Away

Fereydoun Shahbazian, the renowned Iranian composer, passed away at the age of 82 due to respiratory illness in Tehran. His last significant activity was leading the National Orchestra before the appointment of Homayoun Rahimian.

Music education in third-world countries

Music education in third-world countries is facing many problems that limit access to it and it’s full of challenges. These rising and falling obstacles are made of the socioeconomic, cultural educational systems, etc.

Persian Music: “Mahour the Great” in Austria

In 1990  an Austria-based Persian musician Khosro Soltani, in cooperation with Hossein Alizadeh, put out an album entitled, Ancient Call A New (Nobang-e Kohan). After many years, a few ancient Persian instruments such as Sorna, Karna, Naghareh,etc. have been used, instruments which have been left out of the circle of Persian classical musical instruments for centuries.

“The Art of Silence” Project Will be Released

Shaahin Mohajeri, the award-winning Iranian microtonal compose, has contributed to The Art of Silence is an international project which features unpublished pieces by microtonal composers from Iran, Japan, the United States, and other countries.

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.

Developments in Iranian Music Since Qajar Era (II)

Santour:
Nine-bridge and twelve-bridge Sanours were both used until the early Pahlavi dynasty. However, as Faramarz Payvar devised new methods for playing the nine-bridge Sanour, this variety of the instrument which was hammered by felted sticks became popular.

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.

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:

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)

Maestro Hassan Nahid’s Role in Promoting the Ney

Maestro Hassan Nahid is one of the most prominent and distinctive artists who values high morals, discipline and hard work. His music activities include playing the Ney as both soloist and an accompaniment in the most important Iranian music orchestras and ensembles during the last fifty years, including the Orchestra of Iranian Instruments (Nusratullah Golpayegani), the Orchestra of National Instrumentalists of the Ministry of Culture and Arts (Payvar Orchestra), the Orchestra of Iranian Instruments (Morteza Hananeh) , Darvish Orchestra, Samaie Orchestra, Roudaki Orchestra, Maestros’ Ensemble, Aref Ensemble, as well as performances in various radio programs, many concerts in different countries, as well as a long teaching experience in the National Conservatory of Music, music universities and other music institutions to name but a few.