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Kamancheh. The kamancheh (also kamānche or kamāncha) (Persian: کمانچه, Azerbaijani: kamança, Armenian: քամանչա, Kurdish: کەمانچە ,kemançe) is an Iranian bowed string instrument used in Persian, [1] Azerbaijani, [2] Armenian, [3] Kurdish, [4] Georgian, Turkmen, and Uzbek music with slight variations in the structure of the instrument.
In the "kifal", the tuning keys are wedged, the "otia" (ears), which are T-shaped (usually) and the strings are tied to them, which, after crossing the whole instrument, end up in the tailpiece ("palikar"), a wooden component in the shape of an elongated inverted triangle, located at the bottom, on which the lower ends of the strings are attached.
The Kemençe of the Black Sea (Turkish: Karadeniz kemençesi), also known as Pontic kemenche or Pontic lyra (Greek: Ποντιακή λύρα), is a box-shaped lute (321.322 in the Hornbostel-Sachs system), while the classical kemençe (Turkish: Klasik kemençe or Armudî kemençe, Greek: Πολίτικη Λύρα) is a bowl-shaped lute (321.321).
The classical kemenche (Turkish: Klasik kemençe), Armudî kemençe ('pear-shaped kemenche') or Politiki lyra (Greek: πολίτικη λύρα, 'Constantinopolitan lyre') is a pear-shaped bowed instrument that derived from the medieval Greek Byzantine lyre.
A tuning system is the system used to define which tones, or pitches, to use when playing music. In other words, it is the choice of number and spacing of frequency values used. Due to the psychoacoustic interaction of tones and timbres, various tone combinations sound more or less "natural" in combination with various timbres. For example ...
322.21 Without tuning mechanism. 322.211 Diatonic frame harps. 322.212 Chromatic frame harps. 322.212.1 With all strings in one plane. 322.212.2 With strings in two planes crossing each other. 322.22 With tuning action. 322.221 With manual tuning action. 322.222 With pedal action.
Kamancheh has gone from having 2 strings to having 3, 4 or even 5. Prominent Azeri sazanda Sadigjan developed a new version of tar (nowadays known as the Azeri tar or the Caucasus tar) by adding one more string to this once 6-string instrument and improving it with a number of new features. [ 3 ]
Alexander J. Ellis refers to a tuning of seventeen tones based on perfect fourths and fifths as the Arabic scale. [2] In the thirteenth century, Middle-Eastern musician Safi al-Din Urmawi developed a theoretical system of seventeen tones to describe Arabic and Persian music, although the tones were not equally spaced.