Tarhu

The tarhu came into existence to make available a range of musical styles that couldn’t previously be played on one instrument. The long slender neck allows 2½ octaves to be played on a single string with the melodic fluidity encountered on traditional instruments that employ along-the-string techniques.

The use of 4 playing strings also facilitates playing across the strings (with similar string-crossing techniques used by the violin family), and extends the range of easily available notes to nearly 4½ octaves.

When combined with the distinctive sound, It is the tarhu's ability to employ both of these left-hand technique principals that give it access to such a variety of musical styles.

Since 1998, one of the design goals for the tarhu has been for it to function equally well as both a bowed and a plucked instrument. The acoustic design that gives the tarhu such a range of tone colours with the bow also makes a large variety of sounds available when it is plucked - especially noticeable in the attack of each note. A small change in plucking angle can change the attack from fast and percussive to smooth and flowing.

The Tarhu is now capable of playing a large range of styles from East and West, using either bow, several different forms of plectra, and fingerstyle.

Photographs

Select either low resolution (30k > 40 k) or high resolution (200k > 300k) underneath each image.

Models

 There are now several different construction methods being employed. For more details on choosing a body type, see here Choosing a Body.

The necks in all models have an adjustable truss rod, with sympathetic strings passing along a channel in the middle of the neck.

The vibrating string length for all models is 80cm, which is the maximum length available using cello strings.

All prices below do not include case or freight. Long neck tarhu cases $600 for all models (laminated wood construction)

Brass (as pictured above left)
4 playing strings with 8 sympathetics - Hand beaten brass body, Blackwood neck, Ebony fingerboard, Schaller gold machine head
$4500

Wooden Ribs (as pictured above right)
4 playing strings with 8 sympathetics - Body made from 18 ribs of figured Blackwood, Blackwood neck, Ebony and/or Boxwood fingerboard, Schaller gold machine heads
$6500

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Stringing and Tuning

Playing strings consist of (from highest to lowest): Cello E (used for 5 string cellos); CelloA; Cello D; Cello G. A variety of tunings have been used, including:

g,d,a,d

g,d,a,e (same as lowest 4 strings on a guitar);

a,d,a,d

f,c,g,c

g,c,g,

a,d,g,c (same as cello)

a,d,a,A (my own favourite, with lowest two "a" strings tuned an octave apart)

Sympathetic strings are of plain steel/brass in a range of gauges. These strings sound best if the tension is kept low, which also means that breakages are very uncommon. The sympathetic strings are usually tuned to whichever scale is being played, or alternatively to a selection of chromatic notes when the music played involves a lot of modulation.

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Fretted and Fretless

Fretted

Traditionally, long-necked bowed instruments are fretted with threads tied around the neck, and this method has been found quite suitable for the tarhu. Many different tuning systems are available using tied frets, as the threads are moveable, and frets are easily added or removed. Systems range from Western 12 tone equal temperament, thru to traditional Turkish tanbur fretting of 27 notes to the octave.

Fretless

When playing with a bow, the traditional Turkish fretting produces a result that is close to fretless, in that the tones are so close together that an almost smooth glissandi can be achieved. However, once a fretless longneck tarhu has been tried, it becomes clear that there is a big difference between a fretted "almost smooth glissandi" and a fretless glissandi that is actually smooth. There is also a deeper level of tone colour exploration possible without frets. When used as a plucked instrument, there is a huge difference between fretted and unfretted tarhus, glissandi of any sort not being possible with frets.

For some musicians, the security that frets provide for accuracy of intonation can not be easily dispensed with. However, it is worth considering that for bowed use, frets do not guarantee accurate intonation - one still has to place the left-hand fingers very accurately, and in many ways the tied frets operate principally as a marking system. On a fretless tarhu, one can substitute an alternative marking system, with marks etched or inlaid down the side of the fingerboard according to whatever system the individual musician is familiar with. For bowed use, intonation on a fretless tarhu then functions almost identically to a fretted tarhu, but with an entirely new vista of possibilities opening up when the tarhu is used as a fretless plucked instrument (fretless sound samples will appear on this page soon)