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

To increase the dominance of left hand fingers at playing doubles, it is suggested to keep the first finger on the string while playing the second note.

4.1.4. To play a double involving a finger(Quint), player should follow the method mentioned in the paragraph 3.1.3.3 without allowing finger to turn right or left on the fingerboard.

Notification 19: the study of playing continuous doubles which require position changing is according to the general rules of left hand position changing that will be discussed later in this article.

Notification 20: to play doubles, it is necessary to correctly adjust the latitudinal distance of the strings on the nut and the bridge.

Patterns 1/5

Left hand positions

In the different positions of left hand, finger placing should be according to the following essential rules:

5.1.1. at the beginning of doing the practices of positions, in order to acquire a better understanding of the process of finger placing at different positions and to play the notes perfectly, it would be more beneficial to practice Bar by bar the notes playable at the first position, at this position and then practice them at their corresponding position (notes out of the domain of the first position can be also played at bass octaves)

5.1.2. at positions first to forth, as it was mentioned about the point where thumb is placed at first position in the paragraph 1.2.2, thumb is placed at the side of neck, just opposite of the touch point of the first finger on the fingerboard, and it’s better to be in line with it and not before or after it.

5.1.3. At positions fifth and sixth due to the special shape of violin neck, first finger is not in line with thumb and it gradually shifts under the neck.

5.1.4. At position seventh, left thumb is completely under violin neck and after this position elbow moves gradually from its original place under fingerboard toward right. As hand moves to higher positions, elbow moves out more and more and thumb gradually moves out of the underneath of the neck.

5.1.5. The point referred at paragraph 3.2.1.3 about finger placing from left half at first position is true about other positions too. That is, if we assume a line in direction of the finger length, that divides the length into two right and left haves, it’s necessary for the player to touch the fingerboard with the left half of her fingertip.

Pattern 1.6

Changing left hand positions

Changing left hand position on a string due to longitudinal shift of a finger on the fingerboard which results in change throughout the vibrating string and produce different sounds is according to the following rules:

6.1.1. During changing position, from position first to forth, set of thumb and left hand should move harmoniously and simultaneously from elbow; avoid any unharmonious movement of thumb in relation to fingers and hand.

Notification 21.quick increasing glissando of left hand occurring at a short moment and by momentarily passing of hand over several positions, does not follow this rule and thumb always shifts with lower speed and longitudinal movement comparing to hand and other fingers.

In this type of glissando, if the source note is in the first position, from position first to forth thumb shifts thoroughly to underneath of the neck.

In momentary glissando, a part of the distance between two notes in source and destination positions, is passed by opening the interior curve of the finger.

6.1.2. The time spent for usual changing of position over fingerboard is dependent on the optimal tempo in the destination position. The spent time for shifting should not affect the tempo at the destination position, regardless the direction of hand movement; upward or downward.

angoshtgozari-az-nimeie-chap-dar-posesione-8

Finger placing from left half at seventh position

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Thorough twisting of thumb to underneath of the neck at seventh position

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Momentary glissando and opening of the third finger’s interior curve

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Thumb and first finger being in the same direction at the fourth position from another view

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Gradual movement of thumb under the neck

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Moving the first finger out of the line of thumb at fifth position

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Tafazzoli: Monolingualism drives music into obscurity (1)

Between the year 1403 (2024–25) and today, the name of Mohammadreza Tafazzoli—composer and faculty member of the Faculty of Music at the University of Art, Iran—has appeared several times as a composer with various orchestras. In 1403, part of his suite *Dena* was performed by the National Orchestra; in 1404, the same work was performed in full by the Mitra Orchestra, and in the same year, his symphony *Vaghouyeha* (*Murmurings*) was staged with the Tehran Symphony Orchestra. Recently, in Mordad of the current year, we witnessed the performance of *Elegy* for string orchestra by the Vivo Orchestra, composed by him. Tafazzoli has tested diverse languages in his works—from the neotonal and at times atonal language of the twentieth century to a fully tonal language. But in most of his works, the combination of Iranian melodies with the neotonal language of the first half of the twentieth century is most visible. Below, on the occasion of the staging of *Elegy* by the Vivo Orchestra, we spoke with him about his activities and the atmosphere of his works. What follows is the text of that conversation.

Parva, Iranian Singer, Passes Away!

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From Past Days…

Simorgh Criticised

Simorgh (Simorq) Orchestra was founded by the renowned Iranian composer, Hamid Motebassem, in 2011. Simorgh Orchestra is the largest orchestra featuring Iranian national instruments. Although the orchestra established by Master Hossein Dehlavi, the great Iranian composer, in 1993 was larger than Simorgh Orchestra, it only featured the Iranian plucked string instruments unlike the latter one. The first album which was recorded by the Orchestra, conducted under Motebassem’s baton, was his Simorq based on Zal story from Shahnameh by Ferdowsi, the great Iranian poet.

Interview with the Makers of the New Qeychak (II)

Regarding the classification of a new instrument in an instrument family, one can point to a number of fundamental issues, one of the most obvious of which is the instrument’s visual features. If we look at how the new instrument has changed compared to its historical versions, the set of visual elements that link the instrument to the Qeychak family becomes apparent. But other characteristics such as the geometric dimensions of the instrument, characteristics of the instrument’s various parts and how they relate to each other, its systematic performance, its sound range (compared to modern versions), the material and color of the sound, the way it is played and the like, can be considered in order to classify the instrument in the Qeychak family.

Reza Vohdani; Unveiling unpublished works, preservation of Iranian classical music

Reza Vohdani is a renowned name among tar (traditional Iranian instrument) players, especially within the Iranian music community that values the meticulous practice and teaching of traditional music. While Vohdani honed his skills in music theory and tar playing under the guidance of masters like Ali-Naghi Vaziri, Ali-Akbar Shahnazi, Hossein Dehlavi, and Ahmad Forutan-Rad, it is his unwavering dedication to studying, documenting, and teaching the Iranian classical music repertoire that has solidified his prominence in the field. Recently, Vohdani’s family decided to make his preserved works accessible to the wider art and music community. In this regard, The Persian-language newspaper ‘Iran’ spoke with Sadjad Pourghanad, a musician, university instructor, and music researcher, who shared his opinion into the project, as detailed in the interview below.

A Note on the Occasion of Houshang Zarif’s Demise

No introduction is needed when talking about the position of the late Houshang Zarif (1938-2020) in the Iranian music. His character and personality are so well-known among musicians that his name per se is a symbol and role model for the Iranian youth. “Becoming Houshang Zarif” is the dream of many young people who enter the world of music in Iran and many of whom retire regretting the realisation of this dream.

Interview with Farhad Poupel (II)

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The Structure of Kurdistan Daf (III)

“Our ancestors believe powerful blows upon the Daf scatters evil spirits of disease and distress to create a clean and holy space filled with health and prosperity. Adding tools to Daf increases this instrument’s purification, spreading, and summoning powers of evil forces and goddesses. Daf was mostly depicted by red, color of blood, in ancient times or sometimes it was depicted with green, the color of plants and nature. There were probably some mysterious designs painted upon the wooden body and frames of these instruments just like today” (Pahlavan, 2013: 44).

Sohrab Pournazeri Becomes a Member of the GRAMMY Academy

Sohrab Pournazeri, Iranian composer and instrumentalist, has joined the most prestigious music academy in the world. The GRAMMY Academy (Recording Academy) is responsible for awarding the most esteemed global prize in the field of music, annually recognizing the best in various categories across the international music scene.

Motherland Orchestra Broke the Spell of the Covid-19 Restrictions

The Motherland Orchestra staged the first concert since the outbreak of the pandemic under the baton of Nezhat Amiri. The orchestra went on stage on December 23-24, 2021 in memory of Rouhollah Khaleghi and Golnoush Khaleghi at Vahdat Hall, Tehran, Iran. Since the pandemic outbreak, concerts were held online and restrictions were imposed on in-person concerts.

A Promising Concert by National Instruments Orchestra

The National Instruments Orchestra of Iran performed its first concert amid much hope and anxiety on July 18, 2015. The Orchestra is founded by Roudaki Cultural and Arts Foundation which is a semi-private foundation in Iran. The Arts Director for the National Instruments Orchestra of Iran is cand the Orchestra Executive Director is Sadjad Pourghand.

Ali Rahbari & Recording Iranian Symphonic Compositions

In the few days prior to the New Iranian year (March 2015), the news of the revival of Tehran Symphony Orchestra under Ali (Alexander) Rahbari’s conductorship was announced. Ali Rahbari, who served as assistant to Herbert von Karajan in Berlin Philharmonic Orchestra at a very young age, was also invited to conduct Tehran Symphony Orchestra in 2005; however, the election of Mahmoud Ahmadinejad’s government put an end to his collaboration with this Orchestra. Recently, it was announced that Rahbari is invited to conduct an orchestra in the U.S.