The Structure of Kurdistan Daf (IV)

Researcher:
Mohammad Tarighat

Translator:
Fatemeh Alimohammadi

Daf Structure

The Structure of Daf in different cities of Iran has a great variety in terms of dimensions, components and even appearance; some of which are as follows:

– Square Daf, on which the skin was stretched either on one or both sides, with strings installed inside it and hazelnut-shaped bells were placed inside or outside the frame.

– Two-sided circular and two-sided square Daf on which the skin was stretched on both sides and the rings were installed inside or outside the frame.

– Octagonal Daf or “Dast koub” that had skin on one side and a number of bells inside the frame.

– Dodecagonal Daf on which the skin was stretched on one side and there were a few Malileh inside the frame and used a string to hold Daf while playing.

– Arabaneh, the use of this circular Daf is common in Yazd. Inside of this Daf, hazelnut-shaped bells were used instead of Malileh.

The structure and components of Dafs with natural skin in the Kurdistan region are:

1. Arch, frame, “Gharbali”;
2. Avazeh of Daf;
3. Thumb index;
4. Stud or tack;
5. Ring, chain, ” Malileh”,”Jalajal *”, “Khash khasheh or Rakht;
6. Hook;
7. Skin or leaf;
8. Leather or tarpaulin straps.

Dafs are evaluated for wood and skin (proper tanning, age-old, one-handed thickness, no white spots and color uniformity), distance of ring from skin, distance of ring from next ring, end cut of arch and connection to the skin, circular shape of the arch, Avazeh of Daf, the width of the arch, the correct cut of thumb index, the appropriate weight, and etc. Which ultimately leads to well-built and pleasant sound production.
Arch: In Kurdish, the arch of Daf is called “Chameh”, “Kama”, “Kamar” and “Kavaneh”. Behzad Naqib Sardasht wrote in his book named “Kurdish Music Organology “: Daf arch is made of walnut, plane tree, quince, and willow wood. The thickness of arch is about one to two centimeters, its width varies from five to ten centimeters and the diameter of Daf varies from 48 to 70 centimeters” (Naqib Sardasht, 2007: 295).

Arch is a wooden ring, made of grape wood and a Salicaceae such as: poplar, red willow, and etc. Diameter of arch can be between 50 and 60, its height is between five and six and a half, and a part that studs are on it should be between one and a half to two and two tenths of a centimeter (Mogharab Samadi, 2009: 77-78). In addition to the mentioned woods, Ali Asghar Nasrollahpour also mentions walnut, orange, and fig wood for the material of arch and he points out Daf circle diameter between 41 and 54 (Nasrollahpour, 2000: 73). Khaktinat also mentions wood of walnut trees, grape, ash** (Van, Benav, Benavch), quince, orange, and red willow (Khaktinat, 2005: 58).

Heidar Mohammadi – Daf maker – says: “The wooden body of the frame is made of wood of trees, such as: willow, in form of one layer; plane, grape, orange, and walnut in two layers and ash, maple, and berry in three layers; with a width between five to five and seven and in some cases up to seven centimeters and a length of two meters when it is circular, its diameter is about 53 to 57, which is common up to 60 cm; of course, usually for children and adolescents are made with smaller dimensions and less than 50 cm in diameter. The thickness of single-layer arch and bilayer varies between one and eight to two centimeters. The Avazeh of Daf also starts from the middle of the frame and gradually decreases to a thickness of two and a half to three millimeters” (Mohammadi, 1399).

 

______

* chime

** Fraxinus excelsior

Post a Comment

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

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.

From Past Days…

Farhad Poupel’s piece, Road to Bach, performed at Suntory Hall

On June 19, 2021 , young Iranian composer and pianist, Farhad Poupel’s piece, Road to Bach, was performed at the prestigious Suntory Hall by the great Japanese pianist, Kotaro Fukuma. The piece was commissioned by Kotaro Fukuma to have its world premiere in Suntory Hall during a concert by the same name.

From the Last Instrumentalist to the First Composer (I)

Music as an art has its own special history; emergence of a singer, of an instrumentalist and then the emergence of the strong character of a composer covers three significant phases of the art of music. With the emergence of composer which was simultaneous with the emergence of the language of music, this art managed to offer a domain for criticism for its composer; a procedure which led to a magnificent variety and evolution in musical production. Even though the conflicts between singers and instrumentalists have not met their end in the Iranian society and while singers can achieve high, instrumentalists have yet to play behind curtains . In a special era, with the efforts of musicians such as Ali Naghi Vaziri (1887-1979) and Rouhollah Khaleghi (1906-1965), glimmers of a composing era started to glow bearing fruit in Khaleghi’s achievement as Iran’s first professional composer. Khaleghi made his reputation as a composer while Vaziri deserved to pioneer this path. By then Vaziri was well-known as a Tar player.

The Role of Arts in Development of Societies

Mr. Mohsen Ghanebasiri, author and critic in the field of economy, culture and arts, as the next speaker, highlighted the role of arts, specially the music, in development of societies: “As far as the individual upbringing is concerned, a newborn baby is absolutely dependent. The relation between the baby and the parents is based on orders. There is lots of relativity in these orders; therefore, they are political orders. In the economy, however, the relations are mutual and based on common logic; hence, the formation of the concepts of democracy and individuality.

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.

Lilly Afshar, Iranian Guitar Legend, passed away

The text you are reading is about Hamed Fathi, a guitarist and one of Lilly Afshar’s students, which was previously published on the Persian website HarmonyTalk.com:

Polyphony in Iranian Music (II)

With regard to each polyphonic form, only one specific and distinguished example is analyzed. These polyphonic forms are as follows:

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.

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.

“Guitar Memories” Released

The album “Guitar Memories” consists of the performance of baroque to recent era masterpieces, by Mehrdad Mahdavi, and is published by Tanin-e Honar Publication.

In this album there are pieces composed and arranged by artists such as: Sylvius Leopold Weiss, Johann Anton Logy, Fernando Sor, Yuquijiro Yocoh, Leo Brouwer.

A combination of technique and musicality in the fingers of a pianist

In the world of classical music, the position of soloist has always been exceptional. Apart from the technical ability that many orchestral musicians also have, the soloist must also have a special power to be able to present a different and unique perspective of a piece. The soloist must maintain its special power of expression not only in solo roles but also when interacting with the orchestra.