Afaagh

DO-TABLÉ

"Do" in Farsi means "two". This may help to understand that this instrument is made from a large and a small drum set side by side. It is a wartime instrument used by the Kurds, hung from the neck of horses and played to motivate the warriors. Similar to the tâs, the du-tablé consists of metallic bowls covered with skin fastened by belts on the sides by two short leather straps. The larger drum has a more base tone whereas the smaller drum has a sharper tone. Do-tablé is similar to the Indian Tabla, except in that the Tabla has a more diffused sound and is played with the fingers.

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Tanbour

The tanbur is the ancestor to most long-necked, plucked stringed instruments. Its pear shaped belly is normally carved out of one piece of mullberry wood with a long neck and fourteen gut frets. Some modern tanburs are made of bent ribs of mulberry wood. The sound board, 3-4 millimeters thick, is also made of mulberry wood which has numerous small holes for better resonance.

The tanbur has a unique playing technique by which the strings are strummed with the fingers of the right hand to produce a very full and even tremolo called shorr (literally meaning the pouring of water). This technique along with various kinds of plucking, usually with the index and pinky fingers, enables the musicians to produce different effects and various rhythmic accentuations which imitate the natural sounds of their environment such as a running stream, a water fall, a bird chirping or a horses' gallop, all translated into musical rhythms and sounds.

The ancient tanbur used to have two silk or in some instances gut strings tuned in 4th or 5th, similar to the dotar (meaning two stringed), its close relative widely used in Eastern Iran. It has also been regarded as the tanbur of Khorasan in literary texts. Although these two instruments share a similar history and are basically the same, they have developed their own repertoires, playing techniques and functions. According to the master instrument maker Ustad Mehdi Kamalian the name tanbur is taken from the word tandur or tanur, meaning clay oven, as early instrument makers dried tree trunks chosen to carve the belly in tanours for several hours in order to perfect the sound. Gradually the instrument took on the name tanbur.

The present tanbur has three strings and covers the range of one octave and two notes. The lower pair of strings, made of steel, are tuned in unison normally anywhere from a (flat) to b and are fingered together functioning as the melody strings. The top string made of copper or brass, slightly thicker, tuned in lower fourth or fifth, functions as a sympathetic string with occasional fingering by the thumb.

The tanbur has always been considered a sacred instrument associated with the Kurdish Sufi music of Western Iran and it is believed that its repertoire is based on ancient Persian music. Up until the last fifty years this instrument was used only during djamm gatherings (devotional or liturgic ceremonies) of the Ahle-Haqq (the people of truth), followers of a particular Sufi order.

تنبور

در قديم سازى به نام تنبور وجود داشته و انواع مختلفى براى آن ذکر کرده اند. اين ساز داراى کاسه اى گلابى شکل است که رويه چوبى آن چوبى مى باشد. تنبور دسته درازى دارد که بر سر ساز متصل است و بر روى آن ۱۰ تا ۱۵ عدد دستان مى بندند. سيم هاى تنبور چهار عدد است که به فاصله هاى مختلف کوک مى شوند. اين ساز معمولاً بدون مضراب و با انگشت نواخته مى گردد. قدما معتقد هستند که فارابي، تئورى دادن مشهور موسيقى ايران، تنبور بغدادى و تنبور خراسان را دستان بندى نموده بود .
طنبور یا تنبور یکی از سازهای زهی است که در موسیقی محلی برخی از نقاط ایران بکار می*رود. از نظر شکل شبیه و کمی بزرگتر از سه*تار است. این ساز زهی سه تار دارد. شبیه این ساز در ایران باستان و یونان و بسیاری از تمدن های قدیمی وجود داشته است. تنبور در نواحی غربی ایران نیز نواخته می شود. این ساز سازی مقدس برای مردم کرد به خصوص مردمانی با مسلک اهل حق است.

بلندی این ساز در نمونه های مختلف یکسان نیست و بدون در نظر گرفتن نمونه های استثنا 85 تا 90 سانتیمتر می باشد. و تشکیل شده است از :کاسه،دسته،صفحه،سیم گیر،خرک دسته،خرک صفحه، دو یا سه گوشی دو یا سه سیم و 13 یا 14 دستان. کاسه ی این ساز را عموماً از چوب توت میسازند که انتخاب نوع چوب،یعنی اینکه از چه جنس توتی باشد خود دارای نکاتی است. کوک تنبور: امروزه مینای صداهای موسیقی در سازها نت دوی دیاپازن است که سازهای شاخص موسیقی ایرانی نیز از آن تبعیت نموده اند.مثلاً اکثر نوازندگان تار ، دست باز یا مطابق دو سیم ا.ل که سیم های اصلی تارند را برابر با نت یاد شده میگیرند.همین امر باعث شده است که صدای سازهای ایرانی بدلیل مبالغه در زیر شدن از اعتدال خارج گشته و صداها اکثراً یز و خشک و بدون طنین شده و از حالت اصلی خود خارج گشته است.در گذشته مبنای صداهای موسیقی نت لا بوده است چه در موسیقی ایرانی و چه در موسقی جهانی.این امر تا کنون در تنبور مراعات گردیده یعنی دست باز یا مطابق دو سیم اول که سیمهای اصلی تنبور اند ، معمولاً برابر است با نت لا. یعنی یک و نیم پرده بم تر از مبنای امروزی کوک میشوند.

Afaagh

BARBAT

The barbat, the ancestor of the European lute, and also known as the Ud, is a short-neck fretless lute with five double-courses of strings tuned in fourths and traditionally played with an eagle's quill. It may function as a bass instrument.

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DOHOL

The dohol is one of the most broadly used percussion instruments in happy occasions by the Kurds, although it can be seen in other parts of Iran and other countries in the world. The dohol along with the sorna (a wind instrument) is played during group dances. It makes a very loud and sizable sound. It has a cylinder like build made of wood and both sides of the cylinder are skin-covered.The instrument is played by a stick-shaped cane in the right hand and a thin stick in the left. The cane like stick plays the strong beats of the rhythm, whereas the thin stick plays the ornaments and shorter beats.

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Ghaychak

The ghaychak is a bowed fiddle of the Persian folk music played mostly in the south of Iran. There are two large holes on the upper side near the fingerboard and one on the lower tip covered with a skin membrane. There are four main strings and eight to sixteen sympathetic strings which have been eliminated in the context of Traditional Persian Music. The sound box resembles an upside-down anchor which is carved from a tree trunk and is placed vertically on the player's lap. The upper and lower sections are separated by two oval indentations on the right and left side which give the ghaychak a distinct nasal sound.

قيچک در اصل جزء سازهاى محلى ايرانى مى باشد که بيشتر در نواحى شرقى معمول است. چنان که در اين نواحى حتى براى معالجهٔ امراض به کار مى*رود.

اين ساز از کاسه، دسته و سر تشکيل شده است. کاسهٔ ساز به دو بخش مجزاى پائين و بالا تقسيم مى گردد. بخش پائينى کوچک تر و به شکل نيمکره است که بر روى سطح آن پوست کشيده مى شود و روى پوست، خرک قرار مى گيرد. بخش بالايى بزرگ تر است و مانند چترى روى قسمت پائينى قرار دارد. هر دو قمست با ايجاد حفره اى در جلو يا بين آنها به وسيلهٔ منحنى از عقب اتصال دارند. سطح جلويى بالا به صورت دو شکاف پهن باز است. دستهٔ ساز تقريباً در نصف طول خود روى کاسه قرار مى گيرد. قسمت بالاى دسته به جعبه گوشى ها متصل گرديده است. اين جعبه داراى چهارگوش است که هر جفت آن در يک طرف جعبه قرار دارند.

امروزه از اين ساز مدل هاى مختلفى را تهيه و تنظيم نموده اند. از جمله ”قيچک سوپرانو“ قيچک آلتو، ”قيچک باس“. اين سازها داراى چهار سيم هستند. قيچک سوپرانو قابليت تکنوازى و هم نوازى - هر دو - را دارا است. اما دو نوع بعدى بيشترى در هم نوازى به کار مى رود.

آرشهٔ قيچک، در نوع محلى آن، شبيه به آرشهٔ کمانچه است. ولى امروزه در شهر از آرشهٔ ويولون در نواختن آن استفاده مى شود. در پشت اين ساز دو تسمه وجود دارد که يکى روى شانه نوازنده قرار مى گيرد و ديگرى به کمر نوازنده بسته مى شود. تا ساز تقريباً آويزان به نوازنده باشد.

Afaagh

TÂS

The tâs is a percussion instrument of Kurdistan's Dervishes played alongside the daf at the climax of the Samâ. The tâs is made of a metal bowl and covered with skin, stretched tight by belts on the sides of the bowl. The tâs is placed on the ground and played by two wide leather straps.The daf is a type of frame drum that is illustrated in many Persian miniatures. It appears at first glance to be a relatively simple instrument. However, the daf can be played in such away to produce intricate rhythmic patterns and sounds. The daf is equipped with metal rings on the inside which add a jingle effect to the sound. The frame is covered with goat-skin.

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Sornay, Surna, Zurna, Zurla

It is commonly played almost across the country in accompaniment to kettledrum and timbale in special traditional occasions. For instance, in Kurdestan, western Iran, the demise of people is announced by playing sorna along with kettledrum. Once the public is gathered around the grave of the deceased person, some verses pointing to the unstable material life are sung in accompaniment to the exciting tunes played by sorna and tambourine. Then to rise the spirit of the participants and to divert their attention from the sad event the musicians switch to fast tempos. In northern Iran the instrument is played in accompaniment to some special sports events including tightrope walking. Also a special tune is commonly played by sorna during a wrestling game.

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Balaban (Narmeh-ney)

Also called Duduk by the Armenians. It is one of the tongues wind instruments marked by its high potential of producing exciting melodies. Today, it is commonly played by the Kurds in western Iran and the Turks in northwestern Iran, which is usually accompanied by tambourine. The instrument is made either from wood or bone and its body is covered by a total of seven holes.

Afaagh

قانون

felfeloo

man be in rai giri eteraz daram. avval inke chera dar gozine ha tar ke saze melli hast dide nemishe dovvom inke chera setar, tanboor va kamanche ba ham dar 1 gozine oomade chon navazandegi in 3 kamelan ba ham motafavete va akhar inke age in rai giri baraye saz haye irani hast chera violin, piano va guitar dar gozineh ha hast?
mamnoon