Azerbaijan Tar: Tar is one of the oldest musical instruments in Azerbaijan and the Middle East, which is of great importance in these areas and is the most important instrument in performing the Moghams of Azerbaijan. The Azari string is a member of the string-percussion instrument family, which is played by the plectrum. According to reliable and written information, the Azerbaijani Tar is the result of changes made to the five-string Persian Tar. Mogham refers to a collection of different Maghams, angles, and melodies that in many ways have common roots with Persian music. History: It is thought that theorigin of the tar is refers to the tenth century. In the 11th decade, Qatran Tabrizi, Khaghani, Shirvani, Nezami Ganjavi and Abdolqader Maraghei also mentioned tar in their poems. During the reign of Qaraquyunlu and Aq Quyunlu, in the 15th century, Tar become more popular. Iranian Tar was common in the 18th century in Armenia, the Caucasus, Azerbaijan, Tajikistan, and present-day Iran. Mirza Sadegh Asadoghlou (Sadegh Jan), a famous musician, in the city of Shusha, played the Azerbaijani TAR by making changes such as Increase the number of chords, Reduce the volume of the resonator bowl  Reforming the resonator bowl ▪ Change fingerboard ▪ change the tune Change the shape of the handle ▪ Deformation of tuning nest (phone box), claws Deformation of the vault . deformation of tailpiece . deformation of pallet ▪ Change the way the handle connects to the bowl ▪ Change the form of holding the Tar ▪ change the shape of plectrum ▪ change the way of playing with plectrum ▪ changing the shape of the whole playing style on the Persian Tar. An example of this Tar is in the Shousha Museum, which was built in 1744.  Because in the past centuries, the republics of Azerbaijan, Armenia, Georgia, Tajikistan, Turkmenistan, Uzbekistan and Nakhchivan have been part of Iran's territory, the existence of common instruments among these tribes is inevitable. The first Azerbaijani Tar is sometimes called the Caucasian Tar because it was born and flourished in the Caucasus. Later, due to the high pressure that the wires put on the skin and vault, it changed to eleven wires. Following this change, the overall weight of the instrument decreased and the resonant bowl was deformed. This made it possible for the musician to hug the Tar and place them on his chest. Due to the increase in the number of sub-chords (Vocals) and the arrangement, the sound of the frets also increased and ultimately Tar is created. The late Ali Salimi, a famous musician of Azerbaijan, believes that before the formation of the Caucasian Tar, there was a type of Tar in Azerbaijan that had a one-part bowl and six chords, and its bowl shape was almost like a Ashigh instrument. But today this Tar has been forgotten and it is believed that the current Tar is only the result of changes in the Tar of Sadegh Asadoglu (Sadegh Jan). Appearance and structural features Reverberation bowl: The reverberation bowl consists of two parts, a large bowl (Boyuk Chanaq) and a Naqara or a small bowl (Kichik Chanaq), which the first is called the bowl and the second part is Naqara. The bowl section (large bowl) is one piece and is much smaller than the Iranian Tar. Also, the back of the bowl, unlike the Persian Tar, is relatively flat. These two features, the small size of the bowl and the flatness of the back, allow the musician to easily place it on his chest. The opening of the bowl and Naghara are relatively open and the skin is stretched on it. The shape of the mouth of the bowl is more similar to the Persian Tar, while the opening part of the string is round. In general, the Azerbaijani Tar is more elongated than the Iranian Tar. The size of the Tar is made in two general small modes (for children) and one large general size, and each musician chooses the desired instrument according to his physical condition. Making a bowl follows two patterns, Baku and Tbilisi. In the Tbilisi pattern, the edge of the bowl is more curved and therefore easier to hugged by the musician, while in the Baku pattern, the edge of the bowl is sharper. Sometimes bowel of Tar is like both pattern of Tbilisi and Baku style. In East Azerbaijan, both patterns are used. A piece of wood is installed as a support along the Tar from the bowl to the end of the drill to prevent possible bending of the handle. This wood does not go into the handle and only connects to the handle. The skin on the Naghara and bowl is stretched separately and is divided into two parts. The bowl is made of mulberry wood and is made in one piece. Walnut wood is also sometimes used. The skin that is drawn on the opening of the large bowl and the small bowl is from the cow's heart. Although this skin is thin and clear, it has a lot of strength. Sheepskin can't stand the high pressure of eleven wires.  Handle: The handle of the setar is shorter and wider than the Persian one. The Azerbaijani Tar is attached to a wooden appendage inside the bowl, which in commercial terms is called the rabbet. This feature strength the handle when chords are stretching too hard. The back of the handle is pyramidal (the surface of the handle is the base of the pyramid and the back of the handle is the other side of the pyramid) and on it 22 to 24 frets are closed at certain distances. The Azerbaijani Tar is made of walnut wood. Marine Oysters sometimes administered to decorate the handle. The Tar with oyster on it, is usually played by a musician who is more experienced and has a master's degree. In ancient times, the frets were made of gauze, and today most of the wires are made of nylon. The size of each frets depends on the diameter of the nylon wire used. Some Azerbaijani Tar players believe that the main fret or the king curtain (G-c) and sometimes (D) should be one or two rounds thicker than the other frets, and others believe that all frets should be the same diameter.  Claws: The claws of the Azerbaijani Tar is longer and less wider than the Iranian Tar. But its side surfaces, like the Persian Tar, have a valve or a hole that is in different shapes in different Tar. Therefore, it is possible to find out the manufacturer of the Tar from the shape of the valve in the claws. At the top of the claws, there are two small holes for the passage of "Alikot" strings, known as "Zang" or "Jingneh" string. The earphones box is made of wood used in the handle, ie walnut wood. The piece of wood inside the bowl is also made of mulberry or walnut wood. Earphone: On the claws, there are six large earphones and three small earphones with eleven chords connected to nine earphones. On the Azerbaijani Tar, four chords, known as jingle strings, are tuned in pairs, and both chords are connected to the same earphone. The only remaining earphone is the bass string. Of the nine earphones, six are on the top surface of the claws and three are on the bottom. Large and small Azerbaijani Tar earphones are usually made of walnut wood and sometimes forest wood.  Chords: The Azerbaijani string has eleven chords, six of which are the main chords, and are divided into three double groups called white, yellow, and bass. The seventh chord is the bass string, which is the thickest Azerbaijani chord. The other four chords are the Zang or Chingeneh, which function like aliquot strings. The Zang strings are sometimes fastened individually to make them easier to tune. Therefore, some Azerbaijani Tar have nine strings, which may cause the tone of the strings to decrease along with its volume, and for this reason, the Azerbaijani Tar must have eleven strings. Two-to-two Zang strings. The knots or hooks are connected. In some cases, a small brass roller as an interface converts the double strings of the Zang into a single string, fastening around the its earphone. Therefore, by rotating the earphone and changing the traction of the single string, the double string of the Zang change with one pull and simultaneously, the traction changes. In other words, with one earphone, the two strings are tuned  - Double strings of the first group (first and second chords), white steel wire, 0.18 Up to 0.22mm - Double string of the second row (third and fourth chords), yellow bronze strings, score 0.18 Up to 0. 22mm or 0.29. Up to 0.25mm - Fifth string, white steel string is 0.17 up to 0.22 - Sixth string, white steel string with nylon cover 0.36mm, Or a bronze string with a spring cover. - Bass string, white steel string with spring cover is 0.59mm. - zang strings (including four strings ) and white steel string 0.18- 0.22mm (And sometimes less). Valut: The Azerbaijani vault is larger and wider than the Iranian Tar, because eleven strings pass through it. The vault is located at a certain point on the skin of the large bowl. The loop is connected to the tailpiece by long strings called the loop strap, to prevent the loop and rods from moving toward the handle due to the tensile and pressure of the 11 chords. The tripod is located on the body, with two holes in the top and sides of the base. These holes connect the two straps to the vault. The surface of the vault is also smooth and without protrusions. The vault is usually made of the horns of a female cow or the bone of a camel's foot pen; But in some Tars it may be made of some kind of plastic or other synthetic material. Pallet: Azerbaijani tar has four pallets:  The main pallet, which is located at the junction of the handle to claws and the six main chords of the string pass through it The sub-pallet is attached to the upper part of the main pallet, and the bass string passes over it. The placement of this pallet made the bass string to be at a higher level than the other chords. The two sub-pallets are placed between the tenth and eleventh frets and the other between the sixteenth and seventeenth frets (respectively, the frets of the "sol" in the middle of the handle and the frets of the "Do" below the handle) and the Zang strings along with metal appendixes are passing through it. The placement of the two sub-pallets causes the four Zang strings to be placed at a higher level and be apart from the main strings. The main pallet and the appendage attached to it (the bass string pallet) are usually made of the horn of a female cow or the bone of a camel's foot pen. The pallets of Zang strings are made of steel pins.  Tailpiece The tailpiece has ten grooves for storing and connecting the chords, which is larger and wider than the Persian Tar. Tailpiece are made of different materials such as horns, brass and aluminum.

Plectrum:  The plectrum instrument is a piece of bone material from the horn of a female cow, the color of which is black; Its length is about 2.5 cm, and in order to prevent it from slipping into the hands of the musician, a few grooves have been created at the end of theit, but unlike the Persian Tar, it does not have wax. But in recent years, plectrums have also been made from a synthetic material called abonite, which is mostly used in industry. Some Azerbaijani Tar players believe that the sound of the abonite is better than bone. Beginners usually use plastic plectrums, which are softer and more flexible. The flexibility of the plastic plectrum makes the beginner musician's strings less torn. Raga's horny plectrum is put in oil for a while, and this probably makes it polished. Administration: Azerbaijani Tar is the most important and main instrument in the performance of Azerbaijani Mogham and musical devices. This instrument is used both in the accompaniment of singing, as a solo and or with other instruments. The Azerbaijani string repertoire is very wide and includes a wide range of melodies. It is mostly played along with Piano in national instruments of Azerbaijan and Western instruments as well as in symphony orchestras, opera and ballet. The most important scenes of the Azerbaijani tar are: . Wedding and happiness gatherings For a long time, musicians have been alone or with kamancheh, qaval (circle) and singer, administered in weddings and celebrations in Azerbaijan, and therefore, there is no difference between ordinary musicians and well-known and skilled musicians. In these gatherings, ballads, colors, dance songs, and sometimes some parts of Mughams are performed. In the Republic of Azerbaijan, there are companies for the gathering of musicians and singers, and artists are invited to attend weddings and celebrations by these companies. Circles and gatherings Since the life of the Azerbaijani people has long been strongly associated with the national music of Azerbaijan, in many formal and informal gatherings, in addition to weddings and celebrations, tar musicians are also invited. In such gatherings, there is often the same small three-member band of Azerbaijani music (Azerbaijani Tar, fiddle and qawwal played by the singer), and the leadership of this three-member group is Tar player. ▪ Tar in the Orchestra of National Instruments of Azerbaijan Orchestras of national instruments of Azerbaijan have been formed in East Azerbaijan and especially in the Republic of Azerbaijan for several decades. The orchestras performed mostly in concert halls, radio and television, and at national celebrations and festivals. A few Tars, a few fiddles, one or two ballabans, a qawwal, a tambourine, a ghastly tambourine and sometimes a board are the instruments of this group of orchestras. Garmon (a type of accordion) is also present in some of these groups. The ordeals of these orchestras are used both as a solo and as a group. Azerbaijani composers have created significant works for this group of orchestras. Tar in the Orchestra of National Instruments of Azerbaijan Orchestras of national instruments of Azerbaijan have been formed in East Azerbaijan and especially in the Republic of Azerbaijan for several decades. The orchestras performed mostly in concert halls, halls, radio and television, and at national celebrations and festivals. A few strings, a few fiddles, one or two ballabans, a qawwal, a tambourine, a ghastly tambourine and sometimes a board are the instruments of this group of orchestras. Garmon (a type of accordion) is also present in some of these groups. The ordeals of these orchestras are used both as a solo and as a group. Azerbaijani composers have created significant works for this group of orchestras. ▪ Tar in mixed orchestras For decades, mixed orchestras have formed from national instruments in Azerbaijan and Western instruments. And other instruments such as violin, viola, cello, double bass, guitar, Ashigh instrument, etc are administered in different orchestras. In these orchestras, tar also participates in both solo and group playing. For this group of orchestras, many works, such as tar concerts and mixed orchestras, have been composed by Azerbaijani composers. . Tar in symphony, opera and ballet orchestras In addition to the Azerbaijani National and Mixed Orchestras, Tar is also present in playing some of the works made for the Symphony Orchestra. The most significant works in this field are the numerous concerts for the Tar and Symphony Orchestra. Tar has also been used in a number of national operas, and ballets in Azerbaijan, and the presence of tar in this type of is more common in the Republic of Azerbaijan. In addition to what has been mentioned, many traces have been made for Tar and various compositional of whether Azerbaijani or Western instruments, especially in the Republic of Azerbaijan. In the Republic of Azerbaijan and East Azerbaijan, a number of methods for teaching Azerbaijani Tar have been written and published. musicians: Ali Salimi Ramiz Gholi F. Bagher Khosh-Fahm Rashid Hassanzadeh  builders: Akbar Jedi Younespour Meshin