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.

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.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

From Past Days…

Ruggero Chiesa’s Legacy

Written by Peyman Shirali Translated by Mahta Mottaghi Since many years ago, I had the intention of writing an article on the Italian maestro Ruggero Chiesa and his musical life; but his ingenuity and the immense legacy, which is impressive for not only me, but also almost everyone who knows him properly, made it hard for me…
Read More »

Polyphony in Iranian Music (VI)

Torqeh or jal is the same bird (Bimaculated lark) and is the name of a muqam which is well-known in Torbate Jam and those areas. Jal muqam is called Torqeh in Esfarayen and Bojnourd. This muqam which was used to be played by Bakhshis/Bagşies (dutar-players) in the past is seldom performed today.

Leading the Charge in Censorship

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)

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.

Negation of Changes in Iranian Music: Embracing Tradition

The perspective that denies any alteration or innovation beneath the realm of Iranian music, and more broadly, the performance and even the structure of Iranian music instruments, stems from the discourse of “tradition-oriented”* and the “return to self” movement in Iranian music. Given that some educators still adhere to this discourse and emphasize the necessity of preserving tradition, a perception is formed among art students that Iranian music, including Radif, lacks dynamism and is confined within a rigid framework.

Polyphony in Iranian Music (V)

In addition to the above-mentioned, polyphony can be also formed when a melody is performed by several singers in different ambiances or different sound registers according to their physiologic abilities. An example of this has been performed in rituals of Khanqah of Ghaderi darawish of Mahabad[i].

Hassan Kassai, Ney Virtuoso

The name of Maestro Hassan Kassai is so vehemently intertwined with Ney (Persian reed flute) that one cannot imagine one without the other immediately coming into mind. Ney is one of the instruments which went through a lot of ups and downs in the history of the Iranian music since the time of Sassanid kings to the time when shepherds found playing it consoling when they took their cattle for grazing. However, Nay could never demonstrate its main capacities to gain a stable position among the musicians and the people like other instruments including Oud, Tar, Santour, all sorts of bowed string instruments and plucked string instruments.

Principles of Playing Violin (VI)

B. applying force: the force needed for putting finger on finger board is applied through finger tips and using the rest of hand set especially wrist is not allowed. To practice this, it is possible to hold violin without the bow and throw the fingers on the finger board from 1-2cm distance; apply force only through finger tips.

Five Major Myths About Mozart’s Life

Wolfgang Amadeus Mozart, the renowned Austrian composer, is undoubtedly one of the greatest geniuses in the history of classical music. However, his life is surrounded by numerous myths and legends, some of which are not based on facts. This article explores five of the most common misconceptions about Mozart’s life.

Loss of Development in Iranian Music

The mention by music instructors, academicians, students, and music enthusiasts about the lack of development in Iranian music is a topic that has been repeatedly heard, resulting in a superficial understanding and misinterpretation of Iranian music, which has been conveyed to students of the arts. This short essay aims to critique and examine this claim.