Persian Archives

The Persian Tar

in CWM News, World Music Instruments/by Farhad Bahrami

The word tar, in Persian, means “string.” This word can be found in the names of many of the instruments that musicologists class as chordophones, including setar (“3 strings”), dotar (“2 strings”), ektara (“1 string”), and of course, guitar.

Mohammad Resa Lofti plays the Persian tar

The stringed tar of Iran and Azerbaijan—not to be confused with the North African drum of the same name—is a plucked instrument with 3 double courses of strings, giving a hint to its origin, the 3-string setar mentioned above. While the setar traveled to North India eight centuries ago, eventually developing into the sitar, the tar was adapted from the setar in Iran only three centuries ago. The North Indian sitar and the Iranian tar are both larger and louder than the setar.

The body of the tar has a double bowl carved from a block of mulberry wood, with a thin skin membrane attached as the soundboard. When it is played with the traditional brass plectrum called mezrab, it produces a full, round, yet clearly articulated tone. It can be played as a solo instrument, in an ensemble, or to accompany a singer. As in many music cultures, the instrument’s sound and articulation mimic the vocal singing style, so the tar is played to sound like Persian singing, which employs a distinctive technique of melodic and rhythmic embellishment known as tahrir.

Ramiz Guliyev plays the Azeri tar

In an ensemble, the tar is often played along with the kamancheh, a bowed fiddle that also features a skin soundboard, and the tombak, a goblet-shaped drum. The frets of the tar are made of gut tied on the neck so as to be movable. This allows players to make small adjustments that might be necessary to play in different maqams, or scales.

The Iranian tar thus continues to be fretted like a setar and tuned according to the traditional system of the greater Middle East. During the Soviet rule of Azerbaijan in the 20th century, on the other hand, Azeri music and the Azeri tar adopted the Western equal temperament (piano-like) tuning system.

Video Links for Further Exploration

An audio recording of the great Azeri tar maestro known simply as Ramiz.

Here’s a short performance by the contemporary Azeri soloist Ms. Humay Qadimova.

Listen to two “old school” masters of the Iranian tar and dayereh, Bigchekhani and Farnam.

From the same period, an improvisation on Persian tar (Jalil Shahnaz) and voice (Ghavami).

Finally, an old standard by young masters on tar (Ghamsari) and voice (Seifizadeh).

Kourosh Taghavi: Excellence in Persian Classical Music

in CWM News, World Music in the Schools/by Editor

Kourosh Taghavi is a master of the Iranian setar, a prolific composer, and a teacher of Persian classical music. Based in San Diego since 1984, he has studied under the tutelage of world-renowned virtuosi Mohammad Reza Lotfi and Hossein Alizadeh. These studies have been the source of his unique approach to the art of Iranian music. Taghavi’s passionate and melodic approach to music is the foundation of his many collaborations and recordings with numerous artists, performing both traditional and modern forms of Iranian music. His collaborative projects with master musicians and international and local cultural organizations help fulfill his lifelong commitment to raising awareness of the importance of music in people’s lives.

Kourosh teaches setar and voice throughout California, as well as lecturing, composing original music for plays and pieces based on contemporary Iranian poetry, holding music workshops, and recording. These and numerous other endeavors are expressions of his passionate quest to promote Persian classical music.

Kourosh is a founding member of Namaad Ensemble, with which he has toured throughout the US, Europe, and Asia. His collaborations with renowned master artists such as Hossein Omoumi, poets Robert Bly and Coleman Barks, and prestigious cultural organizations such as the Konya Mystic Music Festival (Turkey), the Los Angeles County Museum of Art, the San Diego Museum of Art, and the Carlsbad and Del Mar Music festivals are a few highlights of his efforts to introduce Persian classical music and poetry to a broad audience.

As a San Diego State University faculty member, Kourosh taught a course in Persian classical music and oversaw a related thesis.

Kourosh Taghavi teaches the Persian setar. UT hoto by Don Boomer

His ongoing collaboration with the Center for World Music as a teaching artist in residence brings Persian music to schools across San Diego through weekly classes and occasional performances. Kourosh’s curricula provide children with high-quality instruction in Persian classical music and singing. Through age-appropriate lessons, Mr. Taghavi introduces the world of music and rhythm through hands-on music-making in a fun, harmonious environment where children thrive musically and socially.

A parent of two children, Kourosh recognizes the significance of music in early childhood education. Fatherhood inspired Kourosh to explore and compose music for the youngest of audiences, as captured in the album Epiphany by the Namaad Ensemble.

For Further Reading and Viewing

The San Diego Participant Observer spotlights Persian Classical Musician, Kourosh Taghavi

The San Diego Union-Tribune reports on how Kouresh helps Poway Students Encounter a World of Music

Our friends at the Persian Cultural Center of San Diego have published a nice article about Kouresh’s work as CWM teaching artist at King-Chavez Academies in San Diego.

Kourosh’s lecture and performance at the 2012 Baraka Retreat in Santa Barbara.

Poway Students Encounter a World of Music

in CWM News, World Music in the Schools/by Lance Nelson

The San Diego Union Tribune, October 21, 2017

Persian master musician and CWM teaching artist Kourosh Taghavi is teaching at Highland Ranch Elementary School in Poway this fall. The class is part of the Center for World Music’s World Music in the Schools program, which has been reaching students in San Diego since 1999.

UT reporter Deborah Sullivan Brennan visited Highland Ranch and attended a third-grade class conducted by Kourosh. She was impressed with what she saw and heard:

This semester, students will learn classical Persian music, Brazilian Capoeira and Eastern and Western folk dances. In the Spring, they’ll study Zulu percussion, Zimbabwean songs, and Brazilian Samba. It’s a good mix for a campus where the students hail from all corners of the globe.

Kouroush Taghavi teaches a song while playing the Persian setar. UT Photo by Don Boomer.

Reflecting on the diversity of languages and cultures represented at Highland Ranch, Mr. Taghavi said:

Music makes you a kinder person. I hope they become more gentle people, more understanding, and with open eyes, ready to experience the world that is before them. I think they will become more content when they know about each other.

The students seem to agree!

Read the full story at SanDiegoUnionTribune.com. A great tribute to having world music in our schools!

The Setar: Supreme in Persian Classical Music

in World Music Instruments/by Kourosh Taghavi

This article is one in a series of reports on the fascinating variety of musical instruments that audience members and students encounter through Center for World Music programs.

MORE INSTRUMENTS

The setar is a Persian (Iranian) stringed instrument with a small, pear-shaped soundbox and four metal strings. Its name means “three strings.” A fourth drone string was added about 150 years ago by the mystic Moshtagh Ali Shah. The drone string is referred to as the “Sim Moshtagh” (Moshtagh string) by many prominent tar and setar players. This modification gave the delicate instrument a “bigger” sound and more complex tuning possibilities. The resonating box of the setar is attached to a long neck that has twenty-five gut frets. The soundbox is made from mulberry wood, while the neck comes from the walnut tree. The instrument has a melodic range of just over twenty scale degrees. Although it is traditionally played with the right index finger’s nail, in the past three decades, two distinguished master performers, Mohammad-Reza Lotfi and Hossein Alizadeh, have introduced new techniques to give setar playing a whole new life.

Mohammad-Reza Lotfi playing the setar.

Today the setar is generally considered the supreme instrument for performing Persian classical music. Due to new playing techniques, its evolution, and new approaches to melodies within Persian classical music boundaries, the setar has opened the door to contemporary compositions.

It is hard to believe the setar was nearly forgotten during the nineteenth and early twentieth centuries due to the tar‘s increased popularity. The tar a similar but larger instrument with a fuller sound. The tar is a double-chambered string instrument with three sets of double strings with the same fretting on its neck as the smaller, more delicate setar.

Hossein Alizadeh playing the tar.

In 1984, a pivotal recording of a setar solo performed by the master Mohammad-Reza Lotfi brought the smaller instrument to the attention of a whole new generation of Persian classical music enthusiasts. Indeed, Lotfi’s historic album, in memory of the great musician Darvish Khan, enticed many young instrument makers and musicians to fall in love with the sound of the setar. Thus a new generation of setar makers and players has recently emerged.

Updated and expanded: March 9, 2021

This project is made possible with support from the California Humanities, a non-profit partner of the National Endowment for the Humanities. Visit www.calhum.org.

San Diego Students Learn About Persian Music and Culture

in CWM News, World Music in the Schools/by Lance Nelson

Peyk: The Persian Cultural Center’s Bilingual Magazine, September 1, 2010

Our friends at the Persian Cultural Center of San Diego have published a nice article about our World Music in the Schools program in Persian music and culture at King-Chavez Academies in San Diego. The instructor is Kourosh Taghavi, a world-renowned professional setar player, and CWM teaching artist in residence.

Mr. Taghavi teaches about 250 K-5th grade students at King-Chavez Academies, where he is on campus for two full days a week. As the students learn about Persian classical music, they are introduced to Persian culture as well. . . . In the spring of 2010, the demand for the program increased beyond the resources that were immediately available, so the Center reached out to the Iranian-American community in California and members of the community responded generously.

The CWM is thankful for this support, and we’re sure the students would agree!

Read the full story here.

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