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Parham Nassehpoor, Persian Tar and Kamanche Player |
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When we are talking about the instrument Tar, it is really important that we use the adjectives Persian or Caucasian before the name Tar, because there are two kinds of this instrument: Persian Tar and Caucasian Tar. The word Tar means string in persian language. Persian Tar and Caucasian Tar are very like eachother, but they have also obvious differences. You can use the words Tar, Tar player (or Tarist), Tar maker, Tar tunings, if it is clear which one you mean. Persian Tar is named sometimes Shiraz Tar (Shiraz is the capital city of Fars province.) and Caucasian Tar, Ghafghaz Tar (Azeri version of Caucasia). Persian Tar is the Tar that is mainly played in Iran for Persian Classical Music. Persian Tar belongs to the Cordophones category of instruments, and in more details to Plucked-Stringed Instruments or it can be said Persian Tar is a Persian Long Necked Lute and also a fretted instrument. PERSIAN TAR STRINGS Persian Tar has three pairs of strings, that each pair is tuned unison. The two first strings (White strings or Do strings) are made of Steel, the two second strings (Yellow strings or Sol strings) of Copper or Bronze, the fifth string (Vakhan or Moshtagh) is made of Steel and sixth string or Bass String (Bam) is made of Copper or Bronze. Persian Tar used to have five strings. It is said that Darvish Khan, Persian Tar virtuoso of Ghajar era, added the sixth string. This String is the fifth string of Persian Tar. It is named Moshtagh as well, because it is also said that this string was added by Moshtagh Ali Shah, a Dervish from Kerman, a central city of Iran.
PERSIAN TAR FRETS Frets of Persian Tar are mostly made of gut embedded around the neck and located at the points that are determined according to the ears of the musicians. The frets are moveable, because we need sometimes to move the frets to get a new arrange of frets. There are no exact 1/4 or half tone in Persian Classical Music. Pressing a string against a fret determines the strings' vibrating length and therefore its resultant pitch. The pitch of each consecutive fret is defined at a half-step interval on the chromatic scale. Frets worn down from heavy use can be replaced. Frets are sometimes made of Nylon or metal. The frets of Persian Tar are between 22 and 30.
PERSIAN TAR TUNINGS If we put Diese next to a note, the note will become half note higher, Bemol, half tone lower, Sori, 1/4 tone higher and Koron 1/4 tone lower. The signs and definitions that we use here, are only to find the exact fretts or to show the exact notes that we play in the mentioned musical culture. For example when we use Mi Diese, we do not mean the note, that is half tone higher than Mi, but we mean the note or frett between Re and Mi Koron. It means the usage and function of the signs are not exactly like the definitions of the signs. We count the strings from down to up. The most traditional tunings come always first. We assume that the strings No. 1 & 2 have always the Do tuning. DASTGAH MAHUR
DASTGAH RAST PANJGAH
DASTGAH HOMAYUN
DASTGAH NAVA
DASTGAH SHUR
AVAZ BAYAT KORD
AVAZ DASHTI
AVAZ BAYAT TORK
AVAZ ABU’ATA
AVAZ AFSHARI
DASTAH SEGAH
AVAZ BAYAT ESFAHAN
DASTGAH CHAHARGAH
Mirza Hossein Gholi (circa 1851-1915) was a Persian Tar player and teacher. He was the youngest son of Agha Ali Akbar Farahani, the Persian Tar player. He created his own version of Radif for Persian Tar, which shows his fine musical thought.
Darvish Khan (Gholam Hossein Darvish, 1872-1926) was a Persian Tar player. His teachers were his father and Mirza Hossein Gholi. He went to London and Tibilisi for recording some works of Persian Classical Music. He has also some great compositions.
ALI AKBAR SHAHNAZI Ali Akbar Shahnazi was a Persian Tar player and teacher for nearly 60 years. He was the only person, who taught the Radif repretoire of his father, Mirza Hossein Gholi, during his life. He also created his own Radif for Persian Tar. He has performed as solist and accompanied Vocal masters like Nakissa and Eghbal Azar.
Yahya (Harun) Zarpanje, Jewish Persian Tar player, was born in Tehran, Iran, about 1897. His father, Rabi’ was a singer and dayere (Persian frame drum) player. His brother, Musa, was also a Persian Tar player. Yahya started playing Persian Tar during his childhood with his brother, Musa, and then he became the student of the very famous Persian Tar and Setar player, Darvish Khan and Agha Hossein Gholi, the greatest Persian Tar player and master of Radif repertoire. He was called Yahya Kolang (Kolang literally means pick!) by Darvish Khan because his plucking were very strong and powerful. Yahya Zarpanje was very serious practicing Persian Tar and everyday he used to play for many hours. He made some trips to Esfahaan, Rasht and Shiraaz (some important cities of Iran) and performed some concerts there, and people loved his music. Fortunately, he recorded some of his Persian Tar pieces on gramophone disks. He passed away at the age of 35. Thanks to Pooyan Nassehpoor for preparing the recording and Peyman Nasehpour for translating the biography.
Morteza Neydavood (1900-1990), Jewish Persian Tar player, learned from the two great Persian Tar masters Agha Hossein Gholi and Darvish Khan. He taught the great female singer Ghamarolmoluk Vaziri. He recorded a Radif repretoire for Persian Tar and played many Trios with his brother, Moosa Khan on Violin and Ghamarolmoluk Vaziri as a singer.
Gholam Hossein Bikchekhani (1918-1987) was born in Tabriz. He was mainly Persian Tar player, but he played Azeri melodies as well. He played with many musicians specially with Abol Hassan Eghbal Azar (Singer) and Mahmood Farnam (Ghaval or Dayere player).
Hovanes Abkarian (1876-1932) or famous as Yahya Khan is an Armenian, Persian Tar maker from Iran, who can be named as the father of making the modern Persian Tar. He has reformed the shape of sound box, that has resulted the more beautiful form of sound box and the more pleasant sound.
Ramiz Guliyev (1947- ) is an Azeri Tar player who is famous as a performer of non Azerbaijani Classical Music melodies, but he is also a skilfull performer of Azerbaijani Classical Music.
BAHRAM MANSUROV Bahram Mansurov (1911-1985) was an Azeri Tar player (Tarist) and expert of the repretoire of Azerbaijani Classical Music (Mugham). He performed with different musical groups and accompanied famous singers like Jabbar Garyagdi, Seyyed Shushinski.
ALI SALIMI Ali Salimi was an Azeri Tar player and great composer. He was born in Baku. He immigrated to Iran as he was young. He was active as Azeri Tar teacher, Azeri music orchestra conductor, composer and Azeri Tar solist. Specially his song "Seperation" (Azeri: Ayrilig) became international famous. The Poet of this song is Rajab Ebrahimi (Farhad).
HAIG OHANIAN
Parham Nassehpoor, Persian Tar and Kamanche Player, Halle/Saale, Germany
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