Tar (string instrument)

from Wikipedia, the free encyclopedia
Iranian tar
Morteza Neydāvud
The tar player Dariush Tala'i

The tar (more rarely also masculine, Persian تار, DMG tār , "string", "thread", "rope", "sinew") is a plucked long-necked lute in Iran and Afghanistan and in a different version than tār-e qafqāzi (" Caucasian tar") in Azerbaijan . There is an etymological relationship to setar and sitar (“three strings”), dotar (“two strings”) and possibly also to the guitar via Greek kithara .

history

In the Persian-speaking area, the tar has been found since the 19th century, where it emerged from the rabāb (related to the rubab, which is still played in Afghanistan today ) at the earliest in the mid-18th century . In the classical music of Iran in particular, the tar has become one of the most important musical instruments both as a soloist and in an ensemble since the Qajar dynasty . When performing classical Persian music, the tar , which is distinguished by its peculiar metallic, slightly vibrating sound, is seldom dispensed with.

The tar has an eight-shaped, double-bulged sound box cut from a block of wood. Mulberry wood is typically used for this . Instead of a wooden ceiling, the bridge stands on a covering made of parchment from the skin of the lamb (similar to a banjo or the tonally similar Turkish cümbüş ). A powder ("serish" or "serishom") made from the Iranian sarish root (root of the Persian steppe candle Eremurus persicus) is used to fix it, which can be easily removed by moistening. On a sound with is frets provided fretboard attached. Usually the frets of the Persian tar are made from intestines .

With the Persian tar up to 2½ octaves can be played. As with most other Persian instruments, in addition to the whole and semitones, the tar also has other intermediate tones that are based on the Persian dastgah system , which consists of five main tonalities . Accordingly, the tar (like the setar) has more frets (usually 18) per octave than a guitar (usually 12). The three choirs (double strings) are usually tuned cc'-gg-c'c ', cc'-ff-c'c' or dd'-gg-c'c '(in practice often a second to a third lower ), wherein between the two melody strings choruses ( sim-e sefid and sim-e Zard ) a fourth distance (rare fifth apart ) consists.

The mood (or Scordatur; Persian كوک kuk ) but primarily from the tonality system used or from the Dastgah . So the strings can also da-gg-c'c ', ca-gg-c'c', d-ekoron-fg-c'c ', dkoron-dkoron'-ff-c'c', f-akoron- gg-c'c ', dkoron-ekoron-ff-c'c', d-ekoron-fis-g-c'c ', ea-gg-c'c' and fc'-gg-c'c ' his ("koron": roughly a quarter tone, more precisely 2/3 of a semitone, lowered tone).

The six, originally five (without doubling the bass string - Persian sim-e bam - by Gholam Hossein Darwisch and Faradsch Rezāyev,) generally struck with a conical brass plectrum fixed in beeswax (earlier also made of ebony and now also made of plastic) consist of steel or copper wire.

Azerbaijani tar

to form

  • Persian tar
  • Caucasian or Azerbaijani Tar

Well-known tar players

literature

  • Jean During, Zia Mirabdolbaghi, Dariush Safvat: The Art of Persian Music . Mage Publishers, Washington DC 1991, ISBN 0-934211-22-1 , pp. 124-133.
  • Jean During (Ed.): The Radif of Mirzâ Abdollâh. A Canonic Repertoire of Persian Music. Notation and Presentation. Mahoor Institute of Culture and Art, Tehran 2006, ISBN 964-8772-09-6 .
  • Assadollah Hedschazi: Amuzesch-e Tar. ('Tar lessons'), Tehran 1982
  • 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, esp. P. 24 f.
  • same: traditional Persian art music: history, musical instruments, structure, execution, characteristics. 2nd revised and expanded edition, Gardoon Verlag, Berlin 2012, pp. 161–164.
  • Lloyd Clifton Miller: Persian Music. A Study of Form and Content of Persian Āvāz, Dastgāh & Radif. Eastern Arts, Salt Lake City UT 1995, (University of Utah, Dissertation, December 5, 1991), p. 29.
  • Konrad Ragossnig : Manual of the guitar and lute. Schott, Mainz a. a. 1978, ISBN 3-7957-2329-9 , ( Edition Schott 6732), pp. 55 and 171.
  • Ella Zonis: Classical Persian Music. An Introduction. Harvard University Press, Cambridge MA 1973, ISBN 0-674-13435-4 .

Web links

Commons : Tar  - collection of images, videos and audio files

Remarks

  1. For Central Asia the names pandschtār (5-string) and sheschtār (6-string) are also mentioned. See Jean During, Zia Mirabdolbagh (1991), p. 120.
  2. Keivan Saket : The Tar and Setar. First book. Soroush Press, Tehran 1999, ISBN 964-435-266-1 , p. 9; and [...] Second book. Chang Publication, ISBN 964-6341-62-4 , p. 15.
  3. Hormoz Farhat: The dastgāh Concept in Persian Music. Cambridge 1990.
  4. Houshang Zarif, MR Gorginzadeh, Ala Ijadi: Farhang Sharif, 15 Selected pieces for Tar and Setar. Sorood Publications, Iran 2001, ISBN 964-5842-57-3 .
  5. Sahba Motallebi: Niayesh. Ketab Corp., Los Angeles 2005, ISBN 1-59584-061-3 .
  6. Sahba Motallebi: Tolou. Ketab Corp., Los Angeles 2005, ISBN 1-59584-062-1 , p. 5.
  7. Anoosh Jahanshahi: Jan-e Maryam. (For Tar & Setar). ISBN 964-6965-31-8 , p. 31.
  8. This string, which is often used as a drone, is therefore also known as sim-e Darwisch (German: "Darwisch-Saite"); see. 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. 25.
  9. The radif of Mirza Faraj Rezâiev. In: The Radif of Mirzâ Abdollâh. A Canonic Repertoire of Persian Music. Edited by Jean During, Mahoor Institute of Culture and Art, Teheran 2006, pp. 326–328.
  10. Jean During, Zia Mirabdolbaghi (1991), p 160 and 213th
  11. Khatschi Khatschi: The Dastgâh. Studies on New Persian Music. (= Cologne contributions to music research, 19), Regensburg 1962, pp. 1–5.
  12. Tar and Setar Teaching Method. An intermediate course. (دستور تار و سه تار), Mahoor Institute of Culture and Art, 2nd edition. Tehran 2003, ISBN 964-6409-70-9 .
  13. Keivan Saket: The Tar and Setar. First book. Soroush Press, Tehran 1998, ISBN 964-435-266-1 .; Reprint: Chang Publication, ISBN 964-6341-61-6 ; the same: The Tār and Setār. Second book. Chang Publications, ISBN 964-6341-60-8 .
  14. Jalil Shahnaz: 15 Pieces for Tar and Setar. Edited by Houshang Zarif, H. Zarif and MR Gorginzadeh, Sorood Publications, 2000, ISBN 964-5842-46-8 .
  15. Sahba Motallebi: Niayesh. Ketab Corp., Los Angeles 2005, ISBN 1-59584-061-3 .
  16. Sahba Motallebi: Tolou. Ketab Corp., Los Angeles 2005, ISBN 1-59584-062-1 .