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Kamanche Introduced

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Faraz Eshghi
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30 views12 pages

Kamanche Introduced

Uploaded by

Faraz Eshghi
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Western Asian String

Instruments(Kemanche)
Tuning

Range
Description

The Kamanche is a 4 stringed bowed instrument common in Iran (Persian Music) and in other
Western Asian and Arabic traditions. It can also be found in countries such as Azerbaijan, and Russia. It
has a resonance box made of hardwood, such as walnut, on one end, which is covered with a very thin
young goat’s skin. Other membranes include sheepskin and fish skin. Its wooden bridge is curved to
allow for the bowing of separate strings, and it is placed in a slanted manner upon the membrane. Some
resonance boxes are made of a whole piece, and some, in Iran, are made of several strips bound
together. The resonance box may be closed or open at the back. The Kurds, for instance, use an open
back, which gives it a very loud and more nasal quality. The neck, also made of a very hard wood, is
attached to the resonance box, and has pegs at the top end to tune the strings. At the bottom end there
is a spike, which is used to hold the instrument upright as it is played, (in the manner of a Cello, but it
does not extend as far as the ground – ch). Nowadays, some Kamanches are made of softer woods,
such as spruce.
Tuning and Notation

There are various tunings in use, and the composer must consult with the player to
ascertain what is most comfortable for him.
Traditionally, the most common tuning is a series of fifths, like the western violin, but one
tone lower:
f – c1 – g1 – d2.
Scordaturas
There are several common scordaturas, all of which can be tuned without restringing:
1. f – c1 – f1 – c2
2. g – d1 – g1 – d2
3. f – c1 – g1 – c2
4. g – d1 – a1 – d2
These scordaturas are especially useful when playing in modes or in keys which have a
strong tonic reference. For example, for a piece written primarily in G, a good tuning could
be: g – d1 – g1 – d2. Similarly, a piece in F would be rendered well in the scordatura: f –
c1 – f1 – c2. The 4th tuning above is very close to that of the western violin.
General Considerations

Kamanche performance belongs to the traditions of modal music in the world, more specifically the
Persian-Arabic tradition. The modes of these traditions incorporate quarter tones and/or microtones, however,
these modes are not chromatic and the western composer needs to look into the modal traditions themselves
in order to grasp the larger modal concepts. There are many styles of Kamanche playing, including those from:
Iran (Persia), Azerbaijan, Russia, and the Arabic world. The style of Kamanche playing in the Arabic world is
close to that of the Persian tradition.
The ideal of clean notes, though executable, is not so important in traditional Kamanche playing. The
Kamanche can of course play discrete tones, as in the west, and so the modes and scales of the western world
are playable on it. However, it is very idiomatic for the bow to touch open strings while playing fingered notes.
This is especially so when the adjacent open string is a tonic or a dominant of the mode being played.
Dynamics
The Kamanche has very good expressive qualities. The dynamic range is good from the point of view of
feeling, and there is dynamic control from a very soft to a quite piercing sound. However, its volume output is
generally softer than the western violin. In this regard it is more delicate dynamically.
Speed of Execution
a) Slurred phrases (many notes to the bow), in a stepwise progression, can be played extremely quickly.
Assume top speed for a stepwise movement, in a not overly long phrase, in 32nd notes at quarter note = 100;
b) Detache (one note per bow) can be executed comfortably up to (approximately) 16th notes at quarter note =
100mm.
c) Tremolos on one note can be executed very quickly; assume 32nd notes at quarter note = 100
Techniques

I. Bowing and Fingering


Down bow is considered to be to the right (like the western Cello). Upbow to the left. ≥ and ≤
The kamanche can execute legato (slurred or one note to a bow), detache, and some basic light staccato. The
1st and 4th strings can be bowed jete, since one can easily avoid striking the other strings.
Fingered chords are possible but very unusual. It is best considered a special technique and planned for in
consultation with the performer. However, bowing a fingered note together with an open string is very do- able,
and even idiomatic.
II. Vibrati, Glissandi
The normal vibrato used in Persian Kamanche playing is a slide vibrato. This is different than the shaking
finger of western violin playing. On Kamanche the vibrato is executed by a small back and forth sliding
movement on the string. This kind of vibrato is very idiomatic.
Glissando is very performable, though sliding between notes is not a traditional technique. However, the
kamanche is well adapted to all the combinations of vibrati and glissandi that are executable on other fretless
bowed stringed instruments.
III. Harmonics
The Kamanche is not capable of good production of harmonics. Its fundamental tones however are very rich in
overtone content.
IV. Pizzicati
Pizzicati are very performable; scales are fine. The sound is very clipped and ‘banjo-like’. It has very good
projection. One can be bowing a melody and pluck an open string with a left hand finger while pausing on a
bowed note. This technique is very common.
V. Accents and Bowing
Accenting generally takes the form of a note of shorter duration together with a bit more inflection than what
would be derived by bowing legato. Strong staccato or staccatissimo does not work. Very hard bowing will
compromise intonation. On the 1st string however a bit more staccato can work. The 1st string is louder and
has a clearer tone than the others – it has good projective qualities.
VI. Special Techniques
Traditional ornaments include a quick upper mordent, sometimes executed on many notes in succession. It
is called ‘kandakari’ (ch sp). There are other ornaments utilized to colour the notes. In listening to Kamanche
playing and in consultation with the player himself the composer may learn about these in greater depth.

Other Asian Relatives of the Kamanche


Rebab (found in many countries) Erhu (China)

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