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Mesaj: <blockquote data-quote="Sadikkara" data-source="post: 88096" data-attributes="member: 1605">I just stepped on a couple recordings, I dont know about Setar or Iraninan music history. I can only make comparision with Tanbur since I play it.It sounds to me that they did some tricks back then on the very same Segah fret to get Dik Kürdi or Kürdis. It sounds like the string action is high, allowing more commas with light pressures or by pressing to gaps in btw perdes. Its a mix of two I guess. Frets might used to be thinner as well, allowing more transparency with next perde. Or simply bending like guitar?In Bayat Esfahan I shared, to my owe as well; he uses so much vibrato that the perdes are seemingly not much stable. If you do this with tanbur you would get zero instability/vibrato. It wont happen. You need more and more frets. In this recording they aquire almost a fretless sound, maybe player had more frets to its Setar. Even Mi is not stable, regarding its Hicaz. Which is awkward to Turkish music understanding. But maybe its in capability of Setar with less frets, I dont know. Its actually very different from our perspective for showing perdes or using a fretted instrument. This playing is like a blurred depiction of perdes. I dont know how they acquired it but in minute: 2.22 there is a very bright Dik Kürdi. Without fret, I would not expect it to be this bright. However the rest of recording is just a vibrato for all perdes, how they did it should be doable for masters of today as well. I assume.Also it could be that if you press very end of an open-string, you get a half-tone effect, naturally raising the pitch making it btw perde segah and open-string. Which would give you Kürdis and Dik kürdis. It might not sound bright in Tanbur, but for the way they play it seems a possibility. In this type of blurred-playing it would be very normal.</blockquote>

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