Interview with the Makers of the New Qeychak (III)

1 February 2021 – 7:51 pm Posted in Articles' List, Contemporary Music, Development, General Information, Instrument & Playing, Interviews, Iranian Classical Music, Musical Physics and Engineering, News

Translated by Mahboube Khalvati

Soudeh Mofidi (An RZW member since 2012)

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.

Farzad Shalpoush (An RZW member since 2015)

My contribution to this project includes designing some visual elements, for example, sound holes and designs of decorative elements based on the Iranian aesthetics, doing the stages for making and assembling necks, preparing and varnishing, assisting in reaching the desired thickness for plates and assisting in technical designing and making pieces such as tail pieces. Due to the difficulties and subtleties of neck structures, decorative elements and sound holes, the project faced considerable technical complications; however, we tried to do it with an optimal quality.

Neda Asadinejad (An RZW member since 2014)

My responsibilities in this project included assisting with designing sound holes, designing and preparing early samples of the neck structure according to the Iranian aesthetics, making parts such as saddle and nuts and participating in research phases.

Considering that in redesigning the parts of a structure such as an instrument both aesthetic elements and mechanical, acoustic and physical principles should be taken into account, finding an optimal balance point for redesigning visual elements of the instrument was as one of the challenges of the project.

Farshad Shalpoush (An RZW member since 2016)

Assisting with carving and preparing patterns, determining the thickness of the bowl, making fingerboards and making neck heel button consisted the majority of my responsibilities in this project. I also collaborated in the early stages of preparing executive patterns, preparing colors and color coating and some other executive activities. Compared to the previous samples, the thickness of the bowls in the new samples has been considered with special sensitivity to stabilize the acoustic properties, to the extent that the variation of the thickness in different areas has been achieved through a new perspective. This important point carries a set of subtleties and difficulties for implementation.

Amir Khamseh (An RZW member since 2012)

My job description in this project encompassed participation in designing some instrument components including early samples of sound holes and neck structure based on the Iranian aesthetics, preparing early samples of plates, contribution to designing and making an exclusive bridge for the new instrument based on acoustic demands, preparation of three-dimensional models of the instrument using engineering software, historical research and research related to the Iranian aesthetics and physics of the instrument, i.e., calculations of the volume of the resonating air and the area of sound holes. When it comes to a project of this magnitude, it is necessary to be ready at any moment for a change or for taking a measure for improving the instrument, especially considering the complexity of the activity as a whole and various opinions. Such challenges can only be overcome through empathy.

Final Words

It should be noted that in addition to the main and permanent members of the current RZW team who have been permanently involved in the new project, other individuals, including Mr. Khoshbakhti, one of the old workshop members, have participated in the process of making the improved pattern. We would like to use this opportunity and appreciate him. Also, we would like to express our thanks to other friends who have cooperated with us at some stages of this project for a limited period of time: Mr. Saeed Jalali, for making the initial version of the molds of bowls of ribs; Ms. Sara Issazadeh and Ms. Nadia Shalpoush, for doing some phases of gouging bowls, plates and sound holes for early versions of the instrument.

This entry was written by Sadjad Pourghanad
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…

History’s Impact on Evaluating a Work of Art

With this description, we have automatically included a criterion called “History”, Until we know the time of the creation of a work of art, we cannot judge whether it has been easy to create or not. Suppose that, in a historical study, we find a musical work that is similar in compositional techniques (including form, melody, context, and orchestration) to a minor work of the nineteenth century; however, our research proves that, this work dates back to 200 years prior to that date. Can we still consider this work insignificant? Definitely not! So this is where the first use of history-based judgment comes into play.

The Structure of Kurdistan Daf (V)

ehrouz 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).

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.

“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.

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).

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:

Ashoura Opera

Ashura Opera was composed by Behzad Abdi, the Iranian composer, in 2008 based on librettos compiled by Behrouz Gharib. The main source for the libretto is poems by Mohtasham Kashani, a sixteenth century Iranian poet.

Principles of Playing Violin (V)

3/1/2/5: When the first finger lands next to the nut, continuation of first phalange of this finger, on back of the hand, should be in line with continuation of the back of the wrist and the left hand; moreover, it should not pass them and bend at knuckles. Otherwise, an uncommon stretch is created in first finger’s knuckle also reducing the freedom of other fingers (especially the fourth finger) in finger placement.

New Technique for Playing Classical Guitar (I)

Joint application of the two techniques of “Lip” and “Nose” could be effectively applied for hearing and playing far-away intervals, by the Classical Guitar. Before this, a Classical Guitar player had to waive playing intervals not possible with the left hand, and had to replace or eliminate some notes, making it possible to play such intervals; specifically the capability of the left hand of the musician, was also a factor in such a selection. These methods are hereby illustrated by photographs and a video-file, in order to provide optimum comprehension of applying these methods, invented by the author; specifically the “Lip” technique, which is considered to be a more significant technique, emphasized by the author.

Musical Sense or Technique?

One of the most popular terms used by Iranian instrumentalists is the existence or a lack of musical “sense”. Both musicians and fans of music consider having “sense” while playing music as an important principle to the extent that they use it vis-a-vis having technique.