Persian Traditional Music - Major Instruments

Major Instruments

Instruments used in Persian classical music include the bowed spike-fiddle kamancheh, the goblet drum tombak, the end-blown flute ney, the frame drum daf, the long-necked lutes tar, setar, tanbur, dotar, and the dulcimer santur. The European violin is also used, with an alternative tuning preferred by Persian musicians. Harps, "chang," were a very important part of music up until the middle of the Safavid Empire. They were probably replaced because of tuning problems or replaced by the qanun (zither) and later the piano which was introduced by the West during the Safavid Dynasty of Iran. Many, if not most, of these instruments originated in Iran. Perhaps the most loved string instrument is the tar. Tar players are regularly chosen to function as the primary string instrument in a performance. The setar is also loved for its delicacy and is the favorite among Mystic musicians. Some instruments like the sorna, neyanban, dohol, naghareh, and others, are not used in the classical repertoire but are used in Iranian Folk music. The ghazhak (ghaychak), a type of fiddle, is being re-introduced to the Classical field after many years of exclusion. The instruments used in the Classical field are also used in Iranian Folk Music.

The reference is Ghonyat-al-Monyah an aged old manuscript translated and published by the Late Prof. Shahab Sarmadi of AMU Aligarh India. This book describes in detail the history of Persian musical instruments.

Here is an example of where the links are: Prof. Shahâb Sarmadî of Aligarh Muslim University, due to his specific expertise in Persian and Indian Classical Music, translated a section called “Roots and Branches of Music,” which is a part of Volume II. When he was in Chicago for the 1987 conference he graciously agreed to stay over for a month and translated this chapter on music. This translation exposes AmÊr Khusrau’s expertise in music although he seems to attempt to avoid any credit to himself. The special feature of this translation is Amîr Khusrau’s description of a Pardah System, without mentioning the invention of sitar as an instrument. In the sitar design there are 12-13 mizrÉb, a typical form of plectrum made of steel wire played with a zamzama held in one hand that strikes against mizrâb in a pattern creating a system of music. This system of music makes unlimited Pardah System by placing the 12-13 plectrums in various positions, thus exposing numerous potentialities. Amîr Khusrau’s ingenious definition of the Pardah System described in this section of Volume II, and equally ingenious effort by Prof. Shahâb Sarmadî in catching these in his translation enumerates value of this work. This Pardah System of music may have been easily transformed into the design of mizrâb and zamzama in sitar, when played together creating a Pardah System of music, thus providing a proof of Amîr Khusrau’s invention of sitar. It is reasonable to imagine that, because of his Turkish/Lachin (in the following introduction to I’jâz-i-Khusravî he calls himself Khusrau-Lachin) heritage, Amîr Khusrau may have been exposed to the Maqam System of Muslim Music, merging with the Sanstân System or Thât System of Music in north India and the Mela-Karta System in south India, provided a new scope of invention for Amîr Khusrau. The section on music in Vol. II is highly technical, which necessitated writing detailed footnotes by Prof. Shahâb Sarmadî resulting from our discussions. Translators