The kamancheh or kamānche (كَمانچِه) is a Persian instrument similar to a violin. Played with a variable-tension bow, the kamancheh consists of a round body made from gourd or wood, which acts as a sound box, covered with a thin sheep or fishskinmembrane. Traditionally, kamanchehs have three silkstrings, however, modern ones have four metal ones. At the bottom of the instrument is a spike to support the kamancheh while it is being played.
About the length of a viola, kamanchehs are highly ornate, often with mother of pearl or bone inlays and beautifully carved ivory tuning pegs.
The kamancheh is the only bowed string instrument in classical Iranian music. Kayhan Kalhor is a famous kamancheh player.
The instrument is traditionally played while sitting down and is held like a cello, but the end-pin can rest on the knee or thigh while seated in a chair.
External link
Arash Dejkam's Iran Pages kamancheh section, features sound clips (http://www.dejkam.com/music/iran_traditional/instruments/kamancheh/)
Kamanche is played in many different cultures and regions, like in Iran, Azerbaijan, Armenia, Turkey,...and with different pronounciations and different names, like Kamanche or Kamancheh or Kamantche in Iran, Kamancha or Kamantcha in Azerbaijan, Kemanche or Kemancha or Kemantcha in Armenia, Kabak Kemane in Turkey, Ghichak (Gijak, Gidzhak,...) in Central Asia, Rababa in Arab countries....
Kamanchestrings are produced in the countries, in which Kamanche is played, but the quality of these strings are not good enough, that is why many Kamanche players try to use Violin or Violastrings for Kamanche.
Kamanche has mainly four strings at the present time, but there are some kinds of Kamanche that they have three strings and there were at the past time some kinds of Kamanche with two until six strings.
A performer must be aware of all the possible tunings for the twelve dastgah-ha such as the main tunings for the dastgah-ha, tuning for menÂ’s or womenÂ’s voiced, favored tunings for important gushe-ha, and the use of scordatura tunings.
The first two higher strings on the tar, setar, and kamanche (see Figure 6) are tuned for playing the melody, and the other lower strings are tuned for bourdon effect, usually to the prominent notes and the tonic of the pieces.
Kamanche and violin are easier to change and adapt for these tunings.
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