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: .

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

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)

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.

Latest posts

From Past Days…

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).

The Structure of Kurdistan Daf (VI)

Researcher: Mohammad Tarighat Translator: Fatemeh Alimohammadi Hooks and attached rings: The junction of the ring to the arch is about 3 centimeters from the skin. The ring with its side rings should be as far as the diameter of a ring (about one and a half to one and eight centimeters) to make a proper…
Read More »

A Look at Ali Tajvidi’s Manifold Musical Activities (II)

Tajvidi thought of studying harmony and orchestration with Houshang Ostvar (who was eight years younger than him) at a time when he had gained a reputation among musicians. His humbleness, making him willing to kneel before the scholars at any age and position, became the key to his scientific success. After this period, Tajvidi made some of his works polyphonic, the most prominent of which is “Burn” set to a poem by Abdullah Ulfat. However, his ability to make his works polyphonic was not so great to make him self-sufficient; so he depended on musicians such as Farhad Fakhreddini, Fereydoun Naseri, Kambiz Roshanravan, Fereydoun Shahbazian and Morteza Hananeh for the arrangement of his compositions.

Iranian Fallacies – Composition and Arrangement

In the tradition of classical music, it is generally tried to use the same technical terms related to music in all countries. Even in the cultures in which native terms exist to refer to musical terms, usually the better known universal terms are employed.

Harmony in the Iranian Music (I)

Translated by Mahboube Khalvati The article you are about to read was written by Rouhollah Khaleqi (1906-1965), composer, and conductor of Golha Orchestra (established in 1956). Khaleqi was one of the most prominent promoters of polyphony for the Iranian music and is one of the best representatives of the school of Ali Naghi Vaziri. In…
Read More »

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

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.

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.

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.

Is the Iranian National Anthem a Copy? (I)

The alleged similarity between the Iranian and South Korean National Anthems has been a matter of discussion among musicians in Iran for several years. Earlier in 2021, the issue was taken to the media again with not only claims that the anthem is very similar to another song but also the suggestion that its musical content should draw more on the Iranian national music. Some even went to the extent to suggest replacing it with the song “O, Iran” composed by the late Rouhollah Khaleghi. Before delving more into the main issue, it would not go amiss to consider some technical characteristics of the song “O, Iran” composed in 1944.