Ghichak
Ghichak , ghaichak or ghaychak , Persian قيچک ghitschak , DMG qīčak, qaičak , also Persian غيژک ghischak , DMG ġīžak, ġaižak , is a name for regionally different Indo-Iranian string instruments that have between two and ten strings and are found in Afghanistan , the neighboring countries of Central Asia , such as Uzbekistan and Tajikistan , and in the south-eastern Iranian region of Balochistan . The name is made up of the word qīč or qaič or ġīž or ġaiž and the suffix ak , which isused as a diminutivein Persian (Dari).
Distinction
Under ghaychak a coating will vary by region loud understood with a simple body, such as the northern Afghanistan sting vielles which are provided with a metal box as a resonance body. These are two-stringed fiddles that are used by Tajiks in the northern Afghan mountains, with a focus on the Badakhshan province, and in the Tajik music of Berg-Badachshan . These include strokes of the Rabāb type with a body made of wood such as the Persian kamantsche , which is called gheichak in Herat in Afghanistan . Three and four-string ghichak with a circular body are played by Tajiks in the cities and in Uzbekistan . This type of spiked needle with a round sound box is represented in Persian miniatures . The Sarinda type differs from this, named after the sarinda that is widespread between Iran and northern India . The sarinda corresponds to the ghichak shown above and has a double resonance body. This type of instrument includes the Afghan plucked instrument rubāb and the Kazakh kobys .
Ghichak in Northern Afghanistan
The main place of manufacture for ghichak , which consists of a wooden stick with a metal canister as a resonator, is Chulm (formerly Tashqurghan) in the province of Balkh . The instrument consists of a 70 cm long to 75, brightly painted rod made of mulberry wood , at its upper end two laterally-turned ornaments and opposing wooden pins as vortex are attached. There are green, yellow, black and red stripe patterns. At the bottom of the stick, a section is tapered a little and left unpainted. The metal canister is now drilled through on the broad side and pushed onto the rod as far as it will go. A long nail is driven into a prepared hole at the lower end of the rod, around which a metal wire is wound, both ends of which are led up to the vertebrae. On the tin can now only a wooden bridge has to be clamped under the strings. The length of the rod is standardized, the size of the resonance body ranges from small round cans to rectangular oil canisters. The bow ( kaman, Persian کمان, derived with the diminutive form cha: the Fidel kamancha ) is usually made by the player himself: horse hair is attached to the ends of a wooden stick by wrapping it with fabric tape. The bow is drawn by pulling the finger during the game.
The northeasternmost province of Badakhshan is the center of the tin canister ghichak, from where the instrument began to spread in the north in the 1930s. The Pashtun musician Baba Naim from this province developed a new model for himself with a wooden body that is covered with fur and has a solid bridge. In addition, eight sympathetic strings run to pegs attached to the side of the neck on his instrument . Baba Naim performed in Kabul in the 1970s .
Style of play
In Afghan music in the north of the country, ghichak or kamantsche are played cross- legged on the floor, with the instrument held vertically and the stinger placed on one foot. When sitting on a chair when playing, it is placed on one thigh. Most of the time both strings are bowed at the same time, by turning the instrument in the longitudinal axis one string can be preferred. Due to the large distance between the strings and the neck, the fingers of the left hand can practically only be used in the first position, which limits the range to less than an octave. The two strings are tuned quart apart.
The traditional music of the tea houses ( samovad in the north, otherwise Chaikhana ) in Afghan Turkestan and parts of Badachschan and Tajikistan, which was performed on the weekly market days, consisted of the five main instruments dambura (two-stringed plucked lute), ghichak, zerbaghali (single-headed hand drum , mostly made of clay), a pair of hand cymbals (Persian: zang, Hindi : tal , Uzbek : tüsak ) and a chain of bells on the right hand of the Dambura player ( zang-i kaftar ).
Ghaychak from Sarinda type without sting be set up while sitting cross-legged on the left thigh. Sarangi , dilruba and esraj could be string instruments further developed in northern India from the Sarinda type of ghichak .
See also
Discography
- Ochilbek Matchonov: Music from Central Asia. Uzbekistan on the Silk Road. ARC Music 2005
- Mehri Maftun: Music from Afghan Badakhshan. Az sharâre chasm-e tu sokhtam. I am burning from the sparks of your eyes. Field recordings by Jan van Belle 2003. Ethnic Series. PAN Records 2005 (PAN 2105)
literature
- Nasser Kanani: Traditional Persian art music: history, musical instruments, structure, execution, characteristics. 2nd revised and expanded edition, Gardoon Verlag, Berlin 2012, pp. 169–171 ("Gheytschak")
- Hiromi Lorraine Sakata: Afghan Musical Instruments: Ghichak and Saroz. Afghanistan Journal Graz, 6 (3) 1979, pp. 84-86.
Web links
- Mark Slobin: Ghichak. Music in the Afghan North 1967-72. Photos of Baba Naim and his special Ghichak production, around 1971
- John Baily : Afghan music before the war. mikalina.com
Individual evidence
- ↑ Ghichak. University of Washington (illustration)
- ^ Mark Slobin: Music in the Culture of Northern Afghanistan. University of Arizona Press, Tucson 1976, pp. 243-248
- ^ John Baily : Music of Afghanistan: Professional Musicians in the City of Herat. Cambridge University Press, Cambridge 1988, p. 14
- ↑ Baba Naim: Titles 3 and 5 Felak . Ghichak and singing. Recordings by Mark Slobin 1968 on the double CD Afghanistan Untouched. Traditional Crossroads (CD 4319), 2003
- ^ Mark Slobin: Music in the Culture of Northern Afghanistan. University of Arizona Press, Tucson 1976, pp. 64-66