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: .

The Legacy of Khosrow Jafarzadeh

This year marks the fifth anniversary of the passing of Khosrow Jafarzadeh (Khosrow Djafar-Zadeh), a distinguished architect and pioneering researcher of Iranian music, whose contributions to the magazine “Harmony Talk” have left an indelible mark on the field. The absence of this remarkable individual has significantly impacted the expansion and advancement of his theories, which are heralded as some of the most progressive in the history of Iranian music

Whose dream?! Whose reality?!

(A review of the “So Faraway” album; Tar and Tonbak duet; Siavash Imani, Pedram Khavarzmini)

Latest posts

From Past Days…

A Miracle in the Iranian Music: About Tehran Flute Choir’s Eight-year Tenacity

Tehran Flute Choir is a 40-member orchestra of Iran’s best flutists; Iran’s best flutists? Yes! If you write down the names of the greatest Iranian flute players who participate at concerts and contribute to academic centers in Iran, you will see that most of them are among the choir’s members.

Shaahin Mohajeri Wins UnTwelve Composition Competition

UnTwelve Non-profit Organization announced the results of its 2014/2015 composition competition on January 28, 2015. Shaahin Mohajeri, an Iranian Tonbak player, microtonalist, acoustician and composer, was awarded the second prize for his piece “Castle of Babak.”

Is the Iranian National Anthem a Copy? (II)

In response, it should be said that it is better for the national anthem of a country to use the musical material exclusive to that country; however, some problems might come up in doing so the most important of which include: lack of familiarity of other countries’ music performer with the concerned country’s specific music intervals and special musical technique; and secondly, the strangeness of that music to the foreign listener.

Principles of Violin Playing (VII)

4.3.1.3 Regarding the great linear distance and the unusual distance between the first and forth fingers, the first finger while playing the doubles of ninth and tenth interval, can be twisted in the knuckle area and the point mentioned in 3.1.2.5 paragraph in relation to the way first finger is placed indicating that the first joint of this finger in back of hand must be in line with the direction of forearm and left hand is not true here.

Iranian Fallacies: Iranian Chords

Finding a way to harmonize the Iranian music has been the subject of controversy among Iranian musicians for a long time. Some believe in the creation of harmonies for Iranian music based on a method which is similar to the tierce harmony; while others have either selected or invented some other methods. There are also some musicians who do not basically agree with the harmonization of the Iranian music.

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.

New Technique for Playing Classical Guitar (II)

When the author was working on the piece “Playing Love” by Ennio Morricone (from the legend of 1900), he realized a failure of the Lip Technique. Needing to play a chord in the 14th position of the guitar and in order to complete the harmony, it is necessary to play a harmonic note on the 7th or 5th position; it was not possible to touch the string to play this harmonic note, because the Lip Technique is used for getting the notes and not to touch the string and producing harmonic notes. Naturally, the only possible way to touch the string was to use the nose at the required position and playing the note with the right hand, and this was the best option the author found to how to play such harmonic notes, and where the Nose Technique was generated.

Celebrating 20 Years of Harmony Talk’s Journey: Resilience, Evolution, Honoring the Legacy and Navigating Future Growth

In a momentous celebration of two decades, the “Arasbaran Cultural Center” was the stage for the 20th anniversary of “Harmony Talk”, an online journal that has become a cornerstone in the music community. Sadjad Pourghanad, the editor-in-chief, delivered a speech that resonated with gratitude and vision.

Developments in Iranian Music Since Qajar Era (III)

Developments in Composing

Along with developments in the Iranian instruments, composition of the Iranian pieces developed as well. As a matter of fact, the developments of the two, mutually affected each other. In other words, instrumental developments led to developments in composition and vice versa.

Homayoun Rahimian & Iran’s National Orchestra

The Roudaki Foundation presented the permanent conductor of the National Orchestra (Orchestr Melli), Homayoun Rahimian, in a ceremony, and finally, after four years, the national orchestra found a permanent conductor. Homayoun Rahimian is the fourth permanent conductor of this orchestra after Farhad Fakhreddini, Bardia Kiaras, and Fereidoun Shahbaziyan. He, who has previously had experience of conducting concerts besides being Meister’s concert of this orchestra, performed the concert “Autumns” on the 20th of Tir, performing works by Rouhollah Khaleqi, Javad Ma’roufi, and Hossein Dehlavi.