Zvighar

A zvighar, or zvigharam (Balak zvîğar ~ zvîğaram, meaning "two tones") is a fretted string instrument used in Balak traditional music. It is primarily a plucked string instrument, although bowed variaties are prevalent regionally. As a Balak instrument, the zvighar and variants of it are prevalent across the Balak-speaking world, including in historic and recent diaspora communities. It can also be found under various names in countries under historic Balak influence, such as Amaia, Kunjut, and Baghazan.

History

The existence of string instruments resembling the zvighar dating back to the Kothlen Horde is inferred through fragmentary documents, such as [tbd]. It is unknown if these are direct predecessors to the zvighar, with notable variations in construction such as the number of strings, though they are nonetheless classed as part of the zvighar family of chordophones.

The prototypical zvighar rose to prominence under the Great Horde, with the first construction standards for the instrument being established by guilds of luthiers such as [tbd]. In related documents and other manuscripts - such as music theory treatises - the instrument is named as [tbd], a Nashaghan rendition of the name. Artistic representations of zvigharists depict the widespread use of the instrument in Balak-speaking regions of the empire, from street corners to royal courts.

Construction and technique

The body of the zvighar comprises a hollow pear-shaped body with sound holes for resonance, to which a long neck is attached, along which the strings are stretched and the frets are laid out. At the end of the neck there are two tuning pegs, one for each string. The frets - typically metal - are adjustable, and can be moved along the neck of the zvighar to allow fine tuning for playing different scales. Traditional zvighar strings are made using catgut, though metal strings are typical of modern builds.

A zvighar has two played strings, which are most commonly tuned to B₃–E₄, with the lower string tuned a perfect fourth below the higher string. Certain varieties across time and space - such as those found in the Yandar Peninsula - may also use sympathetic strings, but this is increasingly uncommon. When playing in different keys, the use of a capo is commonplace to avoid individually fretting the drone string during play, which can be awkward for the zvigharist. In common traditional practice, melodies are played on the higher string (or "melody string"), whereas the lower string is played unfretted as a drone. More rarely, the drone string is fretted in the same manner as the melody string, creating an additional melodic line transposed a perfect fourth below the main melody, resembling the practice of organum. Compare the same short piece played with simple drone harmony versus a harmonising melodic line. More advanced players in modern times may separately fret the drone string to produce a particular harmonic effect.

Traditional use

In traditional contexts, the zvighar sees frequent use in weddings and at concerts, as well as to accompany poetry such as epics. It typically accompanies singing or other vocal performances.

Modern use

The zvighar has seen an increase in popularity in popular music, partly as a way to hybridise traditional and modern genres of music, and partly due to the versatility of its adjustable frets, which allow for the use of more exotic (from a Vaniuan perspective) scales and facilitate the internationalisation of the instrument. Notable modern musicians who use the zvighar include Şakan Saqsarlah.