Interview with the Makers of the New Qeychak (III)

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.

Post a Comment

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

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)

From Past Days…

A note on “Illusion or Ingenuity” article

The author of the “Illusion or Ingenuity” article, who is apprehensive of the future of the Music in Iran, enumerates some symptoms of the music weakening in the country for example decreasing in the quality of the music as well as lack of the innovation in creating them, a gradual decline in the music public taste and the drop in the application of layered sound and polyphony in music. He explains that one reason for this gradual weakening might be our unawareness of the fact that we are not so intelligent nation. He believes that we, Iranians, have a comprehensive “Illusion of the high national intelligence “that make us ignorant of the unfavorable realities of our music and consequently no searching for the remedy is taking place. His point of view brings to the mind a patient who thinks he is healthy, therefore delays the treatment and finally is killed by the disease. The author also refers to the national difficulties which gradually will lower the national intelligence score such as the increased rate of the immigration and brain drain, low quality of the nutrition, incompetence of the education system and etc and predicts that the condition of the music of Iran might deteriorate in the future because of the mentioned illusion of its great status.

Payam Taghadossi: Talented Iranian-Austrian Cellist

Payam Taghadossi (born in 1989) started his musical education at the age of 4 years with Monika Scherbaum in Bregenz (Austria). At the Conservatory Feldkirch he joined the class of Imke Frank and Martin Merker. Later he studied in Zurich (Switzerland) with Thomas Grossenbacher and Christian Proske, where he 2011 graduated as a Bachelor of Arts in Music Performance. Two years later as the student of Rafael Rosenfeld he received his Master of Arts in Music Performance diploma and later graduated as a Master of Arts in spezialized Music Performance in 2016 from the Hochschule für Musik Basel FHNW.

Tehran Flute Choir Established

Tehran Flute Choir was established in 1394 (late 2015) by Firouzeh Navai. Tehran Flute Choir, Iran’s first largest flute choir, recruited its members mostly from young talented flutists of Iranian Flute Association. Featuring piccolo, flute, alto flute and bass flute, Tehran Flute Choir, directed by Firouzeh Navai, premiered under the batons of Saeed Taghadosi on January 7-8, 2016 at Roudaki Hall in Tehran.

Rare documents of Tehran Opera Company published in Europe

The year 2020 marks the 10th anniversary of Evlin Baghcheban’s death. She played a crucial role to promote opera and choral music in Persia (Iran). Born to an Assyrian-French family in Turkey, she studied singing and piano at the Ankara State Conservatory. In 1950 Evlin married the Persian composer and fellow student Samin Baghcheban and moved to Tehran.

The Structure of Kurdistan Daf (I)

Today, percussion instruments have such a high place in music that are an essential element of orchestras. This has attracted many people to this type of instrument with roots as old as the first humans. A historical study of music, shows that humans used the sound of these instruments to defend themselves against wild animals and, over time, for alerting each other, signaling their readiness and encouraging people for war, ritual ceremonies, dances, etc. in a manner that is still clearly visible in music and some ritual ceremonies.

“Pledge of Love”

The “Pledge of Love” is the first album in a series composed based on the tasnifs by the renowned Iranian tasnif-maker Mohammad Ali Amir Jahed and recorded by Sahba Kohan Ensemble with Ramin Bahiraie as signer.

Whose dream?! Whose reality?!

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

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

Ali Tajvidi (1920 – 2004), one of the most prominent Iranian musicians, passed away sixteen years ago. He was one of the most distinguished Iranian artists. To specify one of the fields in which he was unique, one can refer to Tasnif composition. A brief review of his manifold musical activities is presented below.

Harmony in the Iranian Music (II)

One of his works was the translation of Harmony, which was carried out with the help of Mozayyan al-Dowleh, and included a pamphlet based on which he used to teach the subject to the students of the school of music; the pamphlet was never published. It was, in fact, a kind of simple harmony for the piano with no quadriads, it rather featured the engagement of both the right hand and the left hand which was being taught at the music school for the first time. Salar-Mo’azez also composed military marches and hymns for schools, which he harmonized to be performed and piano. Likewise, he used to compose for military orchestras.

A brief examination of Ardavan Kamkar’s Santour playing style

I still think of those fish in a crystal bowl for the Haft sin table and those disappointed old men who went out to sell blackfish.