Setar (string instrument)

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Setar

The Setar ( Persian سه تار, DMG seh-tār , tooستار, DMG setār ) is a long-necked lute that is mainly played in Persian and Tajik music . The name means "three strings" and is derived from the traditional Persian name طنبور سه تاره, DMG ṭanbūr -e seh-tāre ("three-string long-necked lute"). However, the modern version of the instrument received a fourth string during the 19th century.

Design and style of play

The arched, pear-shaped body is approx. 20 cm long and 15 cm wide and relatively small compared to other lutes. The total length is 87 cm, the scale length 68 cm. The body is carved from a piece of wood (mostly from the mulberry tree) or composed of several shavings like a lute, the neck is attached.

The setar is built quite lightly, with many instruments weighing only 350–400 grams. Instead of a sound hole , the Setar only has a few small holes in the ceiling . The sound is quiet compared to other sounds. The frets , about 25, are made of gut and tied around the neck. In addition to all semitones, there are also some (not all) “quarter tones” .

Of the four strings, the fourth (lowest) and second are made of brass, the other two are made of steel. The third string ( Persian واخوان, DMG wā-ḫ w ān , "sound / song that comes back") as a mostly octave addition to the lowest string was only introduced in the 19th century by Darwisch Khan (1872-1922) and / or Moschtāq ʿAlī Shāh († 1792) as " vakhan “string ( Persian واخوان) added. The basic string tuning is c-c'-gc '(in practice also one to three semitones lower), but it can vary depending on the mode to be played (for example d-d'-g-c', e-d '-gc' and c-c'-fc 'or also f-c'-g-c', dagc 'and f-akoron-g-c').

The instrument is traditionally played with the fingertip or with the long nail (alternatively with a fingerpick ) of the right index finger. This way of playing distinguishes the instrument from similar long-necked lutes like the - harder sounding - tar . The style is characterized by a tremolo for longer note values ​​and numerous ornaments.

The setār is played like the tār in classical music of Persia. Because of its light construction and delicate sound, it is primarily an instrument for chamber music. It is used for singing accompaniment and in small ensembles. It used to be associated with the music of scholars and Sufis ( Islamic mystics ). The music played mostly comes from the Radif's repertoire .

Similar long-necked lutes, such as the dotar and dombra , are also used in other Central Asian countries . The Indian sitar differs significantly from the setār in terms of its design and playing style .

Well-known setar players

literature

  • Nelly Caron, Dariouche Safvate: Iran - Les traditions musicales. Berlin / Paris 1966.
  • Jean During, Zia Mirabdolbaghi, Dariush Safvat: The Art of Persian Music . Washington DC 1991, ISBN 0-934211-22-1 , pp. 118-122.
  • Nasser Kanani: Traditional Persian art music: history, musical instruments, structure, execution, characteristics. 2nd, revised and expanded edition. Gardoon Verlag, Berlin 2012, ISBN 978-3-86433-029-2 , pp. 159-161.
  • Keivan Saket: The Tar and Setar. 2nd Edition. Volume 1, Soroush Press, Tehran 1998, ISBN 964-435-266-1 ; Further edition (volumes 1–2): Chang Publications 2005, ISBN 964-6341-61-6 (with replacement of the popular piece Morqe sahar by the hymn Ey Īrān ) and 964-6341-62-4.
  • Ella Zonis: Classical Persian Music - An Introduction. Cambridge MA 1973, ISBN 0-674-13435-4 .

Web links

Remarks

  1. ↑ See Heinrich Junker , Bozorg Alavi : Persian-German Dictionary. Leipzig 1970, p. 404, and F. Steingass: Persian-English Dictionary. London 1977, p. 654.
  2. ↑ z. E.g .: C Cis D-coron D Dis E-coron EF F-sori Fis G-coron G Gis A-coron AB H-coron HC
  3. ↑ This term is made up of wā = "again, back" and ḫ w ān = "to sing (to sound)" and refers to the string added in the 19th century that reproduces the main note c 'a second time.
  4. ↑ Hossein Alizadeh: Setaar Teaching Methodology: An Elementary Course. 5th edition. Mahoor Institute of Culture and Art, Teheran 2003, ISBN 964-6409-33-4 , p. 9.
  5. ↑ Mehrdad Naraghi .
  6. ↑ Basic textbook for Tār and Seh-tār for the first year at the National Music Academy. Tehran 1352/1974 (pers.).
  7. ↑ Kiya Tabassian: The Setar atlasensemble.nl, p. 1.
  8. ↑ MR Gorginzadeh, Ala Ijadi (Ed.): Ali Tajvidi, Ten Songs for Tar & Setar. Sorood, Tehran 2001 or 2002, ISBN 964-5842-51-4 , p. 4.
  9. ↑ Anoosh Jahanshahi: Jan-e Maryam. (For Tar & Setar). ISBN 964-6965-31-8 , p. 31.
  10. ↑ Hossein Alizadeh: Setar Teaching Methodology. An elementary course. (دستور سه تار), Mahoor Institute of Culture and Art, (1998) 8th edition. Tehran 2007, ISBN 964-6409-33-4 , p. 20 (for akoron see Dastgah ).
  11. ↑ Plectrum for the Setar
  12. ↑ Nasser Kanani: The Persian Art Music. History, instruments, structure, execution, characteristics (Mussighi'e assil'e irani). Friends of Iranian Art and Traditional Music, Berlin 1978, p. 23 f.
  13. ↑ Hossein Alizadeh: Setar Teaching Methodology. An elementary course. (دستور سه تار), 8th edition. Mahoor Institute of Culture and Art, Tehran 2007, ISBN 978-964-6409-33-0 .
  14. ↑ Tar and Setar Teaching Method. An intermediate course. (دستور تار و سه تار). 2nd Edition. Mahoor Institute of Culture and Art, Tehran 2003, ISBN 964-6409-70-9 .
  15. ↑ Ahmad Ebadi: 10 Pieces of Chaharmezrab. Edited by Mohammad Rezā Gorginzadeh and Ala Iljadi, ISBN 964-5842-50-6 .
  16. ↑ Jean During (1991), p. 261 f.
  17. ↑ Keivan Saket: The Tar and Setar. First book. Soroush Press, Tehran 1998, ISBN 964-435-266-1 ; and [...] Second book. Chang Publication, ISBN 964-6341-62-4 .