Posted on June 6, 2024May 28, 2025 by Dale Phillips Questions: Orpharions Questions: Orpharions by Wes Brandt Originally published in American Lutherie #82, 2005 Lance N. Mearing of cyberspace asks: Who makes orpharions in the U.S.? Wes Brandt of Amsterdam, Holland replies: Unfortunately, I do not know of any orpharion makers in the U.S., but Stephen Barber and Sandi Harris (www.lutesandguitars.co.uk/htm/cat05.htm) are makers in London whom you may wish to contact. ◆
Posted on March 7, 2024June 6, 2025 by Dale Phillips Hardanger Fiddle Hardanger Fiddle by E.M. Peters Originally published in American Lutherie #7, 1986 The Hardanger fiddle differs from the conventional violin in several respects. Most apparent is the fact that it has eight strings. It has four strings which are bowed in the usual manner, and in addition it has four strings on a lower level, running under the fretboard. These lower four, sympathetic strings resound to the vibration of the four upper strings when these are stroked with the bow. There are other differences between the Hardanger fiddle and the common fiddle, too. The bridge and the fingerboard are flatter, making it easier to stroke two strings at the same time. Much of the time they are stroked two at a time, one open and one stopped. The usual fiddle is tuned one way (E, A, D, G), but the Hardanger fiddle, in the hands of an expert, may be tuned in over twenty ways. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on March 7, 2024May 14, 2025 by Dale Phillips The Santur The Santur by Javád Náini Originally published in American Lutherie #92, 2007 Also see, Introducing Santur by Javád Náini The santur is a traditional Persian dulcimer which is played with two light wooden hammers. Its isosceles trapezoidal shape, tuning plan, and playing methods are similar to the American hammered dulcimer and East Indian santoor. Origins of the santur trace back to ancient Persians in the Middle East, India, and perhaps ancient China. Modern santur design, however, is most likely no more than two centuries old. In this article, we focus on the design that is most popular in contemporary Iran or Persia. The santur provides over three octaves of musical notes (e–f ´´´ or ≈164Hz–1396Hz), with eighteen unison courses of four strings. The strings in each course share the same chessman-style bridge. There are two columns of nine bridges; bass courses are on the right, treble courses on the left. Treble bridges divide each course into a higher and middle octave. This provides two consecutive octaves of notes, with one additional overlap note. The strings running to the right side of the bass bridge are not played. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on March 6, 2024May 14, 2025 by Dale Phillips Building the Kamanché Building the Kamanché by Nasser Shirazi Originally published in American Lutherie #4, 1985 and Big Red Book of American Lutherie Volume One, 2000 The word kamanché in the Persian language (Farsi) means “small bow.” This instrument, with varying shape, size, and material, is widely used in Middle Eastern countries. The kamanché described in this article is modeled after the Persian (Iranian) instrument. The kamanché is a very old instrument and possibly dates back as much as 1500–2000 years, being another form of the ancient Indian ravanstron. In 1418 A.D. Ben Abd-ul-Cadir wrote a treatise (the manuscript of which is in the University of Leyden) which shows that its existence today has changed little since that time. A 16th-century Iranian miniature painting in the Khamza of the poet Nizami shows a kamanché very similar to the one described below. Various early European travelers to Iran have described it also. Among these are Sir W. Ouseley in 1819,1 and Sir Percy M. Sykes.2 Sykes describes a kamanché in Khorasan, an eastern province of Iran, as follows: “...made of walnut wood. The total length is 37", with fingerboard 9" in length. The instrument is handled like a violoncello; but in shape resembles a mandolin with a long spike of worked iron. The belly is constructed from a pumpkin covered with parchment and mounted with stripes of bone radiating from a turquoise. The neck is pierced on each side with three holes, and with a hollow at the back, 3" in length; there are three wire strings and six pegs, three of which are dummies. The bow resembles our double-bass bows and is 22" in length; it is made of gypchin wood and has a strap and a loop with which to tighten the horsehair. To complete the equipment, a bit of beeswax is tied on to serve as rosin.” Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
Posted on March 6, 2024May 28, 2025 by Dale Phillips Using the Golden Section to Design a Kamanché Using the Golden Section to Design a Kamanché by Ahanali Jahandideh, Mitra Jahandideh, Hadi Abbaszadeh, and Samad Jahandideh Originally published in American Lutherie #98, 2009 The kamanché is a Persian bowed string instrument related to the violin. (See “Building the Kamanché” by Nasser Shirazi, AL#4, p. 27 and BRBAL1, p. 126, and GAL Instrument Plan #9. The kamanché has a long neck and a spheroid sound chamber made from gourd or wooden staves, which is usually covered on the playing side with skin from a lamb, goat, or fish. It is widely played in classical music of Iran, Azerbaijan, Uzbekistan, and Turkmenistan, with slight variations in structure. The Golden Section (also known as the Golden Mean, Ratio, or Proportion) is a ratio defined by the number phi (Φ=1.618033988...). It has been used in designing violins and other musical instruments, but for the first time we used it to design an Iranian instrument. Become A Member to Continue Reading This Article This article is part of our premium web content offered to Guild members. To view this and other web articles, join the Guild of American Luthiers. Members also receive 4 annual issues of American Lutherie and get discounts on products. For details, visit the membership page. If you are already a member, login for access or contact us to setup your account.
