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:

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.

Violin players should always pay attention to the proper position of the left thumb and other points related to it and to its joining point to the palm.

The term “School of Vaziri” is often used in writings on Iranian music, but the exact meaning of the term is not clear; some of the authors have used the term to only refer to the group of Vaziri’s students, including a large group of his conservatory students and his Tar students such as Abolhassan Saba, Rouhollah Khaleghi, Ahmad Foroutan Rad, Hossein Sanjari, Heshmat Sanjari and others. But can we consider all Vaziri’s students as followers of his school of thought? This is definitely a mistake, because we know that some of Vaziri’s students have chosen a completely different path than that of Vaziri.

“Our ancestors believe powerful blows upon the Daf scatters evil spirits of disease and distress to create a clean and holy space filled with health and prosperity. Adding tools to Daf increases this instrument’s purification, spreading, and summoning powers of evil forces and goddesses. Daf was mostly depicted by red, color of blood, in ancient times or sometimes it was depicted with green, the color of plants and nature. There were probably some mysterious designs painted upon the wooden body and frames of these instruments just like today” (Pahlavan, 2013: 44).

Hossein Aslani, Iranian pianist residing in the US, passed away due to cancer in late January 2020. His last musical activity was an article written for Harmony Talk entitled “Iran amidst musical struggle” in 2016, his memoir entitled “I Play You Again” in the same year and his album “Symbolic Emotion” published by Arganoun Publications in 2014. Here is a brief biography of Hossein Aslani according to his own website:

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.

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.

With its simple physical structure and captivating sound, the Daf never belonged to a particular culture or location, and every nation had different usages for this instrument considering their dominant customs and traditions.

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…
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