SAEDNEWS: Musical instrument making is one of the traditional arts of Iranians, encompassing a variety of crafts such as the construction of the setar, the tombak, the ney, and more. Join us as we explore this fascinating art form.
One of the most neglected Iranian arts, which has rarely been expressed, is the art of instrument making. This field alone encompasses a wide range of sub-disciplines, each characterized by its own intricacy and refinement. Among these are the making of the tar, setar, oud, santur, kamancheh, ney, tombak, and more. For many years, this art has survived and even flourished quietly, thanks to passionate artisans who endured hardships and societal opposition. Historical records on the making of various instruments are limited, mostly available from the Qajar era. It is generally inferred that, with high probability, most musicians made their own instruments. References to Ashiqs and Bakshis, who were also instrument makers, support this observation.
In Iranian instrument making, the use of local materials, along with attention to spiritual, emotional, and psychological needs, plays a central role. Cultural rituals and the meticulous, analytical Iranian aesthetic contribute significantly to the creation of a musical work. The sound of an instrument embodies the delicate sensibilities and artistic legacy of our ancestors across centuries. The craftsmanship of this art is a unique blend of functionality and aesthetics. Materials such as the twisted horns of regional rams, lambskins from various regions, walnuts from towering mountains and forests, mulberries from desert areas, seashells from northern and southern coasts, and camel leg bones from arid lands are transformed into harmonious instruments that narrate our acoustic history.
Instrument making is, in itself, a culmination of related arts, including woodworking, goldsmithing, marquetry, and musical performance, placing it among the most functional and prestigious of the arts. The melodies emerging from an artist’s fingers owe their existence entirely to the painstaking efforts of the instrument maker. The sculptor of love carves beauty into our souls with each creation.
Daf
The daf is one of the most famous percussion instruments in Iranian music. It consists of a wooden ring over which a thin membrane is stretched, played by striking with the fingers. The Iranian daf is similar to a tambourine but slightly larger and produces a deeper sound. Highly popular, it is especially favored among Iranian women. The daf is made from a wooden frame 5–7 cm wide and 25–40 cm in diameter. Around its inner circumference, about 40 metal rings are evenly placed, producing a bell-like resonance that harmonizes with the main sound of the instrument.
Tar and Setar
Historically, the setar had three strings (tar) and now has four, with the third and fourth strings placed close together and played simultaneously, often referred to as the “bass” strings. Over time, scholars and musicians such as Abu Nasr Farabi, Avicenna, Safi al-Din Urmavi, and later Abu al-Hasan Khan Saba recognized the need for an additional string. Modern setars therefore have four strings (historically the fourth, but known as the third). The third string, called the “Mushtaq string,” is traditionally attributed to the dervish Mushtaq Alishah, as introduced by Abu al-Hasan Saba. Some mystics also refer to it as the “Otar.”
Dotar and Turkmen Kamancheh
The Turkmen dotar comes in three types: small (for children and educational use), medium (mostly for solo performance), and large (used by bakshis for louder sound). Historically, Turkmen dotars were smaller, likely due to restrictions and the need to conceal the instrument and reduce sound.
The Turkmen kamancheh differs from the traditional Iranian kamancheh: it has three strings, is smaller, and thicker.
Tombak
Traditionally, tombaks were made from wood, clay, or sometimes metal. Modern tombaks may also use plywood or plastic, though wood remains preferred. The finest wood is aged walnut, with sap removed, called “shadow-cured” by artisans. A tombak consists of a large drumhead (dome) covered with skin, a body, a neck (nafīr), and a small base (caliber). Some tombaks are decorated with inlay (khatamkari) or grooves to help produce desired sounds.
Santur
The santur is an isosceles trapezoid, played with mallets. Its sound is produced by striking strings with wooden hammers. It is made of wood and metal, usually walnut or plane wood. The player sits opposite the longer side and plays with two mallets. Standard santurs, called “9-Kharak Sol tuning,” have 72 strings: 36 yellow strings on nine bridges to the right and 36 white strings in groups of four on nine bridges to the left.
Harp (Chang)
The harp is a stringed instrument played with fingers. While global technique is typically eight-fingered, ancient Iranian documents suggest a ten-finger technique. Harps are categorized into four types: orchestral, traditional, decorative, and ancient, with 17 visual forms, including angled, curved, van, and lyre-shaped harps.
Ostad Farajollah: Tar, Setar, Kamancheh
Zador Armanian: Setar, Santur
Haj Mohammad Karimkhan: Tar, Setar, Santur, Kamancheh
Yahya I (Ancient): Tar, Setar
Late Mohammad Mehdi Kamalian: Setar
Late Mahmoud Hashemi (Hakim Hashemi): Setar
Ebrahim Ghanbari Mehr: All instruments
Biyaz Amir Ataei: All instruments
Fereydoun Salehi: Violin
An instrument is a highly valuable handmade product that should be sold in proper packaging. Ideally, it should be housed in a shockproof, moisture-resistant box. Historically, instruments were often stored in covers that did not protect from moisture, risking damage. Using naphthalene can help protect against humidity.
