The position of the three string instrument in Iranian music

From the ancient times to the modern era, the three-stringed instrument has reached its present form through various transformations and changes in design and playing. This development is due to the prominent role of this instrument in the traditional music of Iran. In reviewing the complete history of the three-stringed instrument, many points can be addressed, including cultural and artistic influences and technical and technical changes that have been applied to this instrument over the centuries. From the outstanding musicians who have contributed to the development and evolution of the three-stringed instrument over time, to the playing techniques that have gradually developed over the centuries, all form parts of this rich history.

Many mystics and Sufis, for To express spiritual feelings and achieve spiritual states, they have used the three-stringed instrument. This feature has made three strings a symbol of mystical music. The complete history of the three-string instrument not only includes the structural and technical developments of this instrument, but also reflects the cultural, religious and social changes of Iran over time.

The three-stringed instrument is one of the most important and original Iranian musical instruments, which has always had a special place among different classes of society because of its delicate and meaningful sound. This instrument, which is considered to be a family of stringed and wound instruments, has undergone many changes and developments from the past to the present day. To better understand the complete history of the three-stringed instrument, its evolution can be divided into four important periods, ancient and pre-Islamic, post-Islamic, Safavid and Qajar era, and contemporary era. Each of these periods has played an important role in the evolution of this instrument and has left its own cultural and historical effects.

According to the complete history of the three-string instrument, the roots of this instrument can be traced back to ancient times and before Islam. Some researchers believe that three-string evolved from harp and tambur instruments in ancient Iran. Berbat is one of the oldest stringed instruments in Iran, which has many similarities to three strings. In the Achaemenid and Sasanian periods, this instrument was widely played in the courts and aristocratic circles. Also, in some ancient civilizations such as Sumer and Babylon, evidence of the existence of instruments with the same shape and structure as three strings can be seen.

Paintings and pottery works discovered in the ancient areas of Iran, such as the city of Susa, show that a similar instrument Se tar existed in Iran during the Achaemenid period, more than two thousand years ago. Farabi, the famous philosopher and musician of the Islamic era, also mentions in his book Ba Sazi that it was from the Tanbur family and similar to three strings. These evidences show that the complete history of the three-string instrument has deep roots in the music and culture of ancient Iran.

With the arrival of Islam in Iran and the cultural and social changes that occurred afterwards, Iranian music was also affected. During this period, the official and instrumental music of Iran evolved and various instruments such as the tanbur, two-string and three-string were more noticed. Due to its quiet and gentle sound, the three-stringed instrument was mostly played in mystical and Sufi circles during this period, and many mystics and Sufis used it as a tool to express their spiritual feelings.

In this During this period, important changes were made in the structure and playing style of the three-stringed instrument. The three-stringed instrument, which originally had three strings, evolved into four strings during this period. According to historical quotes, Abu Nasr Farabi, Abu Ali Sina, Safi al-Din Ermoi and other prominent musicians of the Islamic period contributed to the evolution of this instrument and recognized the need to add one more string to the three-stringed instrument. This change made se-tar to find a more important place in Iranian music in the post-Islamic era and to receive more attention.

The Safavid period is one of the most important periods in the complete history of the three-string instrument. During this period, Iranian instruments were played more widely in the courts of kings and aristocratic circles. The six-string instrument, whose strings were tied in pairs, was very popular during this period. This instrument was close to the three-stringed instrument and is considered to be the precursor of today's three-stringed instrument. Mirza Mohammad Torbati Khorasani, known as Mushtaq Ali Shah Kermani, who was a prominent dervish of that time, was very fond of this instrument and added a fourth string to it. This string, known as Mushtaq string, was one of the important changes that affected the playing abilities of three strings. This evolution made the three-stringed instrument to be transformed from a simple instrument to one with more capabilities, and its sound became more dynamic and rich. During the Qajar era, the three-stringed instrument was played by great musicians such as Mirza Abdullah Farahani, Gholamhossein Darwish. Khan and Ali Akbar Shida became more known and spread among the people. Mirza Abdallah Farahani played a great role in the development of the three tars and playing them by compiling the Iranian music row and passing it on to his students. This period can be considered the period of maturity and growth of three strings in Iranian music. Darvish Khan was also one of his prominent students who played a role in promoting this instrument. During this period, prominent three-string makers such as Ostad Farajollah, Haj Tayer and Seyed Jalal were also active. These makers helped to improve the sound quality of this instrument by making high-quality strings and modifications in the design of this instrument.

In the contemporary era, the three-stringed instrument is still known as one of the prominent and important instruments of traditional Iranian music. Great musicians such as Abolhassan Saba, Ahmed Ebadi and Jalal Zulfanun have contributed greatly to the expansion and development of this instrument. Abolhasan Saba, one of the most prominent Iranian musicians, taught and played the three-string instrument, trained a new generation of musicians and contributed to the fame of this instrument. Ahmad Ebadi, the son of Mirza Abdullah, using modern methods Musicianship and creativity in performing traditional music brought Se Tar to the peak of its fame. He was one of the first musicians who was able to introduce the three-stringed instrument on Iranian radio and bring its sound to the ears of the public. Jalal Zulfanun also contributed to the expansion of the three-string at the global level by combining traditional and modern music and holding international concerts.

The makers of the three-string have also played an important role in preserving and improving this instrument. During the Qajar era, prominent makers such as Ostad Farajollah and Haj Tayer made three high-quality strings, examples of which still remain. In the contemporary era, builders such as Nariman Abnoosi, Mehdi Kamalian and Mahmoud Hakim Hashemi helped to improve the design and quality of the three-string construction. By using their experiences and innovations, these creators made Se-Tar become one of the most widely used Iranian instruments. Today, Se-Tar is known as an instrument of solitude and meditation, and many musicians even in their solitude and solitude. They play it. Due to its soft and soothing sound, this instrument still has a special place in the hearts of fans of traditional Iranian music.