کرنا

fa-noun

کرنا • (karnâ)

karnâ (romanization)
کرنای (alternative)
کارنای (alternative)
کرنی (alternative)
کرهنای (alternative)
خرنای (alternative)
قرنا (alternative)

→ Armenian: կառնայ (kaṙnay)

→ Azerbaijani: kərənay

desc

→ Ottoman Turkish: كرنای (kerenay, kürenay)

Turkish: kürenay

→ Uyghur: كاناي (kanay), كارناي (karnay)

→ Uzbek: karnay

→ Kyrgyz: керней (kerney)

→ Kazakh: керней (kernei)

→ Russian: карнай (karnaj)

→ English: kerana, karnay

[kʰʲæɹ.nɒ́ː]

Dehkhoda Dictionary
Dehkhoda Dictionary Institute
University of Tehran Press

Possibly of Semitic origin. Compare Classical Syriac ܩܪܢܐ (qarnā), Aramaic קרנא (qarnā), Akkadian 𒋛 (qarnum), Arabic قَرْن (qarn), Hebrew קֶרֶן (qéren).
Various native etymologies have also been proposed by Persian lexicographers:
* From کار (kâr) + نای (nây, “flute”), with the کار (kâr) portion being equivalent to the one occurring in کارزار (kârzâr, “battle; battlefield”) and کاروان (kârvân, “convoy”), going back to Old Persian 𐎣𐎠𐎼 (k-a-r /kāra/, “army”).
* From خر (xar, “donkey; large”) + نای (nây, “flute”), either in reference to the size of the instrument or in comparison of its hoarse tone with a donkey's bray.

affix

(music) kerana, kernei, karnay (a long thin brass horn or trumpet)


ر

(music) D, Re (the second note of the fixed-Do solfège scale)

(music) Re (the second note of the movable-Do solfège scale, i.e. the supertonic)


میزان

fa-noun

میزان • (mizân)

→ Hindustani:

Hindi: मीज़ान (mīzān)

Urdu: میزان (mīzān)

→ Uzbek: mezon


جنس

جنس • (jens) (plural اجناس (ajnâs), or جنسها (jens-hâ))

(music) jins (set of stepwise pitches in Islamic music theory)


پل

پُل (canonical)
pol (romanization)
پلها (plural)

→ Bengali: পুল (pul)

→ Gujarati: પુલ (pul)

→ Romani: phurt

From Middle Persian 𐭯𐭥𐭧𐭫𐭩 (puhl, “bridge”), ultimately from Proto-Indo-European *pértus (“crossing”) (compare English ford, German Furt, and Latin portus).


لا

(music) A, La (the sixth note of the fixed-Do solfège scale)

(music) La (the sixth note of the movable-Do solfège scale, i.e. the submediant)


دو

(music) C, Do (the first note of the fixed-Do solfège scale)

(music) Do (the first note of the movable-Do solfège scale, i.e. the tonic)


راست

راست • (râst)

râst (romanization)
راس (alternative colloquial)

→ Armenian: ռաստ (ṙast)

→ Hindustani:

Hindi: रास्त (rāst)

Urdu: راست (rāst)

→ Kazakh: рас (ras)

→ Khalaj: râst

desctree

→ Ottoman Turkish: راست (râst)
Turkish: rast
→ Albanian: rast

→ Uzbek: rost

→ Yagnobi: рост (rost)

From Middle Persian rāst, from Old Persian 𐎼𐎠𐎿𐎫 (rāsta, “right”), from Proto-Iranian *Hraštáh, from Proto-Indo-Iranian *Hraštás, from Proto-Indo-European *h₃reǵtós (“having moved in a straight line”), from *h₃reǵ- (“to straighten, direct”). Cognate with English right.


سی

(music) B, Si (the seventh note of the fixed-Do solfège scale)

(music) Ti (the seventh note of the movable-Do solfège scale, i.e. the leading note)


ارکستر

orkestr (romanization)
ارکسترها (plural)

رهبر ارکستر


می

Ultimately Borrowed from Latin mīra, either via French mi or English mi.

(music) E, Mi (the third note of the fixed-Do solfège scale)

(music) Mi (the third note of the movable-Do solfège scale, i.e. the mediant)


درست

fa-adj

درست • (dorost) (comparative درستتَر, superlative درستتَرین)

dorost (romanization)
درستتَر (comparative)
درستتَرین (superlative)

desc

→ Middle Armenian: դրուստ (drust), տրուստ (trust)

Armenian: դրուստ (drust)

→ Azerbaijani: dürüst

→ Bashkir: дөрөҫ (döröś)

→ Bengali: দুরস্ত (durosto)

→ Gujarati: દુરસ્ત (durast)

→ Hindustani:

Hindi: दुरुस्त (durust)

Urdu: درست (durust)

→ Kazakh: дұрыс (dūrys)

→ Khalaj: durust

→ Kyrgyz: дурус (durus)

→ Marathi: दुरुस्त (durusta)

→ Ottoman Turkish: درست (dürüst)

Turkish: dürüst

→ Punjabi:

Gurmukhi script: ਦਰੁਸਤਾ (darustā)

Shahmukhi script: دَرُست (darust)

→ Tatar: дөрес (döres)

→ Uyghur: دۇرۇس (durus)

From Middle Persian drw(y)st' (drust, “right; well, healthy”), from Old Persian *dᵘruvišta, from Proto-Iranian *druwištah. Compare Baluchi دْراه (drāh, “well, healthy”).

inh

پنجم درست


کلید

fa-noun

کِلید or کَلید • (kelid or kalid) (plural کلیدها)

کِلید (canonical)
کَلید (canonical)
kelid (romanization)
kalid (romanization)
کلیدها (plural)
کیلیت (alternative Tehrani dialectal)
کلیل (alternative)
کلی (alternative Kabuli dialectal)

→ Yagnobi: калит (kalit)

→ Mazanderani: کلی (kli)

→ Central Kurdish: کلیل (kilîl)

→ Northern Kurdish: kilîd

→ Azerbaijani: kilid

→ Kazakh: кілт (kılt)

desctree

→ Ottoman Turkish: كلید (kilid), كلیت (kilit)
Turkish: kilit

→ Uzbek: kalit

Inherited from Middle Persian *kilēd, from Ancient Greek κλείς, κλειδός (kleís, kleidós).

uder

κλείς, κλειδός

کِلیدِ سُل

کِلیدِ فا


پرده

desc

→ Middle Armenian: փարդայ (pʻarday), փարտայ (pʻartay), փարդէ (pʻardē), փարտէ (pʻartē), փէրտա (pʻērta), փէրտէ (pʻērtē)

Armenian: փարդա (pʻarda), ֆարդա (farda)

→ Azerbaijani: pərdə

→ Bengali: পর্দা (porda)

→ Bashkir: пәрҙә (pərźə)

desctree

→ Georgian: ფარდა (parda)
→ Bats: ფარდ (pard)
→ Mingrelian: ფარო (paro)
→ Svan: ფარდა (parda)

→ Gulf Arabic: پرده

→ Malayalam: പർദ്ദ (paṟdda)

→ Hindustani:

Hindi: परदा (pardā)

Urdu: پردہ (pardah)
→ English: purdah

→ Iraqi Arabic: پرده

→ Kazakh: перде (perde)

→ Punjabi: ਪਰਦਾ (pardā) / پردہ (parda)

→ Ottoman Turkish: پرده (perde)
Turkish: perde
→ Albanian: perde
→ Armenian: փէրտէ (pʻērtē)
→ Bulgarian: перде́ (perdé)
→ Greek: μπερντές (berntés)
→ Laz: ფერდე (perde)
→ Macedonian: перде (perde)
→ Romanian: perdea
→ Serbo-Croatian: перда / perda

→ Uyghur: پەردە (perde)

→ Uzbek: parda

From Middle Persian pltk' (pardag), ultimately from Proto-Indo-European *pel- (“to cover, wrap; hide, cloth”). Cognate with Sanskrit पट (paṭa, “piece of cloth”), Northern Kurdish perî, pelhe (“curtain; bridal curtain”) and pate: piece of cloth}}, Central Kurdish پەردوو (perdû, “roofing material, such as leaves, barks, etc.”).
Compare also Old Armenian պարտակ (partak), Classical Syriac ܦܪܕܩܐ (pardəqā), Iranian borrowings.

cog

Rumi, "Ney-nameh", Masnavi-e Ma'navi
... پردههایش پردههای ما درید
... pardehâyaš, pardehâ-ye mâ darid

(please add an English translation of this quotation)

(music) tone, a whole tone (musical interval equal (exactly or approximately) to two semitones)


سل

(music) G, Sol (the fifth note of the fixed-Do solfège scale)

(music) Sol (the fifth note of the movable-Do solfège scale, i.e. the dominant)


زیر

zir (romanization)
زیرها (plural)
زیل (alternative dialectal)

From Middle Persian [script needed] (hcdl /azēr/, “underneath”), from Old Persian *hacā-adari, equivalent to 𐏃𐎨𐎠 (h-c-a /hacā/, “from”, from Proto-Iranian *háčaH, from Proto-Indo-European *sékʷ-eh₂) + *adari (“under”, from Proto-Iranian *Hadárah, from Proto-Indo-Iranian *Hadʰáras, from Proto-Indo-European *h₁n̥dʰ-ér-o-s, distantly related to English under).
The prepositional usage is a contraction of older در زیرِ (dar zir-e, literally “in the underneath of”) or به زیرِ (be zir-e, literally “at the underneath of”); the full forms are dated in Iran but more common in the eastern lands.

inh

زاری اندر نی ز گفتار منست
زیر چنگ از نالهٔ زار من است

1177, Farīd ud-Dīn ʿAṭṭār, “The tale of the nightingale”, in منطقالطیر [The Conference of the Birds]:

The mystery in the flute is from my speech;
The treble of the harp is from my forlorn cries.

rāzē andar nay zi guftār-i man ast
zēr-i čang az nāla-yi zār-i man ast

(music) high-pitched tune; soprano or treble


سرنا

sornâ (romanization)
سرناها (plural)
سورنای (alternative)
سرنای (alternative)
سرنی (alternative)
زرنا (alternative)
سورنا (alternative)
صرنا (alternative)
صرنای (alternative)
سرنائی (alternative)

→ Azerbaijani: zurna

desctree

→ Ottoman Turkish: زورنا (zurnâ), زرنا (zurna)
Turkish: zurna
→ Bulgarian: зурна́ (zurná)
→ Classical Syriac: ܙܘܪܢܐ (zurnā)
→ English: zurna
→ Georgian: ზურნა (zurna)
→ Bats: ზურნ (zurn)
→ Greek: ζουρνάς (zournás)
→ Macedonian: зурла (zurla)
→ Middle Armenian: զուռնայ (zuṙnay), զոռնա (zoṙna)
Armenian: զուռնա (zuṙna)
→ Russian: зурна́ (zurná)
→ Serbo-Croatian:
Cyrillic script: зу̑рна
Latin script: zȗrna

→ Kazakh: сырнай (syrnai)

→ Uzbek: surnay

→ Uyghur: سۇناي (sunay)

→ Chinese:

Mandarin: 嗩吶 /唢呐 (suǒnà), 唢呐 (suǒnà)

Borrowed from an unknown, possibly Anatolian, Indo-European cognate of Luwian 𒍪𒌨𒉌 (zurni, “horn”), Sanskrit शृङ्ग (ṡṛṅga, “horn”), Latin cornū, English horn, probably ultimately from Proto-Indo-European *ḱerh₂- (though Kloekhorst disagrees). Folk etymology explains the word as سور (sur, “banquet, feast”) + نای (nây, “pipe, flute, nay”).


دستگاه

fa-noun

دَسْتْگاه • (dastgâh) (plural دَستگاهها)

دَسْتْگاه (canonical)
dastgâh (romanization)
دَستگاهها (plural)
دَسْتْگَه (alternative rare)

→ Armenian: դազգահ (dazgah)

→ Azerbaijani: dəstgah, dəsgah, dəzgah

→ English: dastgah

desctree

→ Georgian: დაზგა (dazga)
→ Bats: დაზგ class dd (dazg)

→ Gujarati: દસ્તગાહ (dastagāh)

→ Ottoman Turkish: دستكاه (destgah), تزكاه (tezgah)
Turkish: tezgâh
→ Albanian: tezgjah
→ Arabic: تَازِجَة (tāzija)
→ Bulgarian: тезгя́х (tezgjáh)
→ Greek: τεζάκι (tezáki), τεζιάκι (teziáki), τεζάχι (tezáchi), τεζιάχι (teziáchi)
→ Macedonian: тезѓа (tezǵa)
→ Romanian: tejghea
→ Serbo-Croatian: tèzga / тѐзга

[d̪äst̪.ɡɑ́ːʱ]

[d̪äst̪.ɡɑ́ːʱ]

[d̪äst̪.ɡɑ́ː]

[d̪äst̪.ɡɔ́ː]

[d̪æst̪.ɡɒ́ːʰ]

[d̪äst̪.ɡɔ́ʱ]


عود

Borrowed from Arabic عُود (ʕūd, “wood; lute”).


ارتفاع

fa-noun

ارتفاع • (irtifā' / ertefâ') (plural ارتفاعات (irtifā'āt / ertefâ'ât), Tajik spelling иртифоъ)

irtifā' (romanization)
ertefâ' (romanization)
ارتفاعات (plural)
spelling иртифоъ (Tajik)

[ʔɪɾ.t̪ʰɪ.fɑ́ːʔ]

[ʔɪɾ.t̪ʰɪ.fɑ́ːʔ]

[ʔɪɾ.t̪ʰɪ.fɑ́ː]

[ʔeɹ.t̪ʰe.fɒ́ːʔ]

Borrowed from Arabic اِرْتِفَاع (irtifāʕ).


صفحه‌کلید

صفحهکلید (canonical)
safhe-kelid (romanization)


کنسرت

fa-noun

کُنْسِرْت • (konsert) (plural کنسرتها (konsert-hâ))

کُنْسِرْت (canonical)
konsert (romanization)
کنسرتها (plural)


گوشه

guše (romanization)
گوشهها (plural)
گوشه (singular)
گوشهها، گوشها (guše-hấ, gušeấ^△) (colloquial plural)
گوشه را، گوشه رو (gušé râ, gušá ro^△) (colloquial definite direct-object singular)
گوشهٔ (ezafe singular)
گوشهای (definite relative singular)
گوشهای (indefinite singular stressed)
گوشهام، گوشم (gušé-am, gušám^△) (colloquial first-person possessive singular)
گوشهات، گوشت (gušé-at, gušát^△) (colloquial second-person singular)
گوشهاش، گوشش (gušé-aš, gušáš^△) (colloquial possessive singular third-person)

→ Azerbaijani: güşə

From Middle Persian [script needed] (gwšk' /gōšag/, “corner”), which appears to be a suffixed formation from the word found now as گوش (guš, “ear”), in the sense of a lappet or protruding end of something.

inh

fa:گوشه (موسیقی)


مقام

fa-noun

مقام • (maqām / maġâm) (plural مقامها (maqām-hā / maġâm-hâ), Tajik spelling мақом)

maqām (romanization)
maġâm (romanization)
مقامها (plural)
spelling мақом (Tajik)

→ Assamese: মোকাম (mükam)

desctree

→ Middle Bengali: মোকাম (mōkam)
Bengali: মোকাম (mōkam)

→ Gujarati: મુકામ (mukām)

→ Old Hindi: मुकांम (mukā̃ma)
Hindustani:
Hindi: मुक़ाम (muqām), मक़ाम (maqām)
Urdu: مقَام

→ Maithili: mokām

Devanagari script: मोकाम

Tirhuta script: 𑒧𑒽𑒏𑒰𑒧

→ Marathi: मुक्काम (mukkām)

→ Marwari:

Devanagari script: मुकांन (mukā̃n), मुकांम (mukā̃m)

Mahajani script: 𑅬𑅒𑅕𑅧𑅧 (muknn), 𑅬𑅒𑅕𑅧𑅬 (muknm)

→ Odia: ମୁକାମ (mukāma)

→ Ottoman Turkish: مقام (makam)

→ Turkish: makam

→ Old Punjabi: ਮੁਕਾਮੁ (mukāmu)
Punjabi: muqām
Gurmukhi script: ਮੁਕ਼ਾਮ
Shahmukhi script: مُقام

→ Sindhi:

Arabic script: مُقامُ

Devanagari script: मुक़ामु

Khudabadi script: 𑋗𑋣𑊺𑋩𑋠𑋗𑋣 (muqāmu)

→ Telugu: మకాము (makāmu)

→ Uyghur: مۇقام (muqam)

→ Chinese: 木卡姆 (mùkǎmǔ)


مضراب

fa-noun

مضراب • (mezrâb)

Ultimately from Arabic مِضْرَاب (miḍrāb).

(music) mezrab, a small lightweight hammer with a slightly curved end and an inbuilt pick that is used to play the santur (Iranian hammered dulcimer) by striking the strings.


بم

fa-adj

بم • (bam) (comparative بمتَر, superlative بمتَرین)

bam (romanization)
بمتَر (comparative)
بمتَرین (superlative)


ارغنون

fa-noun

ارغنون • (arġanun) (plural ارغنونها)

arġanun (romanization)
ارغنونها (plural)

[ʔäɾ.ɣä.núːn]

[ʔäɾ.ɣä.núːn]

[ʔäɾ.ɣä.núːn]

[ʔäɾ.ɣä.nún]

[ʔæɹ.ɢæ.núːn]

[ʔäɾ.ʁä.nún]

1207-1273, Rumi, Masnawī-i Ma'nawī
پس عدم گردم عدم چو ارغنون
گویدم کانا الیه راجعون
pas adam gardam, adam ču arġanūn
gōyadam k'"innā ilayhi rāji'ūn"


سنتور

santur (romanization)
سنتورها (plural)
سنتور (singular)
سنتورها، سنتورا (santur-hấ, santurấ^△) (colloquial plural)
سنتور (ezafe singular)
سنتوری (definite relative singular)
سنتوری (indefinite singular stressed)
سنتورم (first-person possessive singular)
سنتورت (santúrat, santúret^△) (second-person singular)
سنتورش (santúraš, santúreš^△) (possessive singular third-person)

desc

→ Armenian: սանթուր (santʻur), սանթուռ (santʻuṙ)

→ English: santur, santūr, santour, santouri, santoor, santir

→ Ottoman Turkish: سانطور (santur)

Turkish: santur

[sän̪.t̪ʰúːɾ]

[sän̪.t̪ʰúːɾ]

[sän̪.t̪ʰúːɾ]

[sän̪.t̪ʰúɾ]

[sæn̪.t̪ʰúːɹ]

[sän̪.t̪ʰúɾ]

Sometimes suggested to be from Ancient Greek ψαλτήριον (psaltḗrion, “psaltery”).

der

(music) santur (type of hammered dulcimer played in Persian music)


گشایش

fa-noun

گشایش • (gošâyêš)

[ɡʊ.ʃɑː.jɪ́ʃ]

[ɡʊ.ʃɑː.jɪ́ʃ]

[ɡʊ.ʃɑː.jɪ́ʃ]

[ɡu.ʃɔː.jíʃ]

[ɡ̥o.ʃɒː.jéʃ]

opening; act of becoming open
(music) exposition

opening; act of becoming open
exposition


سمفونی

سمفونی • (samfoni) (plural سمفونیها (samfoni-hâ))

samfoni (romanization)
سمفونیها (plural)


خرک

(music, lutherie) bridge (of a musical instrument)


نت

نت گرد

نت سفید

نت سیاه

نت چنگ

نت دولا چنگ


فا

(music) F, Fa (the fourth note of the fixed-Do solfège scale)

(music) Fa (the fourth note of the movable-Do solfège scale, i.e. the subdominant)


راک

(music, uncountable) rock, rock and roll


حصار

حصار • (hesâr) (plural حصارها (hesâr-hâ))

(archaic, music) a variant of Persian traditional music


پاپ

pâp (romanization)
پاب (alternative)
پاپا (alternative)

موسیقی پاپ

آهنگ پاپ


گام ماژور

گامهای ماژور

گام ماژور • (gâm-e mâžor) (plural گامهای ماژور (gâm-hâ-ye mâžor))

gâm-e mâžor (romanization)
گامهای ماژور (plural)

fa:گام ماژور


گام مینور

گامهای مینور

گام مینور • (gâm-e minor) (plural گامهای مینور (gâm-hâ-ye minor))

gâm-e minor (romanization)
گامهای مینور (plural)

fa:گام مینور


ریتم

ریتم ۴/۴

ریتم ۶/۸


اکتاو

اکتاو • (oktâv) (plural اکتاوها)


بمل

سی بمل


دیز

دو دیز


نت سیاه

Calque of French noire (“quarter note”, literally “black”).


نت دولا چنگ

(music) semiquaver or sixteenth note (US)


کسر میزان

fa:کسر میزان


پنجم درست

fa:پنجم درست


چهارم درست

fa:چهارم درست


کرن

سی کرن

B lowered by an interval broadly corresponding to a quarter tone

لا کرن

A lowered by an interval broadly corresponding to a quarter tone

نتهای کرن

notes lowered by an interval broadly corresponding to a quarter-tone in Iranian traditional music

(music, especially Iranian traditional music) koron, a symbol used to lower a note by an interval smaller than a semitone and broadly corresponding to a quarter tone. It is used to show an effect on pitch in a similar way to a sharp or a flat.


نیم پرده

fa-noun

نیم پرده • (nim-parde) (plural نیم پردهها)

nim-parde (romanization)
نیم پردهها (plural)


ترانه‌سرا

ترانهسرا • (tarâne-sarâ) (plural ترانهسرایان, or ترانهسراها)

ترانهسرا (canonical)
tarâne-sarâ (romanization)
ترانهسرایان (plural)
ترانهسراها (plural)
ترانه سرا (alternative)


راک اند رول

راک اند رول • (râk and rol)

fa:راک اند رول


نهاوند

From Middle Persian [Term?], probably from Old Persian *Niθāvanta-, related to Old Persian [script needed] (n-i-s-a-y /Nisāya-/), from the prefix [Term?] (/ni-/, “down”). For the second component, compare Avestan [Term?] (/√say/), [Term?] (/√si/, “lie down”).


تحریر

[t̪ʰäɦ.ɾíːɾ]

[t̪ʰäɦ.ɾíːɾ]

[t̪ʰɑː.ɾíːɾ]

[t̪ʰæɦ.ɹíːɹ]


دانگ

fa-noun

دانگ • (dâng)

From Middle Persian [Term?] (/dānag/), from Old Persian [Term?], ultimately from a derivative of the root reflected in دانه (dâne, “grain, seed”). Akin to the Iranian borrowings: Old Armenian դանգ (dang), Old Georgian დანგი (dangi), Classical Syriac ܕܳܢܩܳܐ (dānqā), Arabic دَانَق (dānaq), Ancient Greek δανάκη (danákē).


سیم‌گیر

سیمگیر (canonical)
sim-gir (romanization)
سیمگیرها (plural)

(music, lutherie) tailpiece, or something which secures a string or wire


شیطانک

شیطانک • (šeytânak) (plural شیطانکها)

šeytânak (romanization)
شیطانکها (plural)


آلتو

[ʔɒːl̪.t̪ʰó]

کمانچه آلتو

صدای آلتو


اعتدال

اعتدال • (e'tedâl)

[ʔe̞ʔ.t̪ʰɪ.d̪ɑːl]

[ʔe̞ʔ.t̪ʰɪ.d̪ɑːl]

[ʔeː.t̪ʰɪ.d̪ɑːl]

Borrowed from Arabic اِعْتِدَال (iʕtidāl).


درآمد

fa-noun

دَرآمَد • (dar-âmad)

دَرآمَد (canonical)
dar-âmad (romanization)

[d̪ä.ɾɑː.mǽd̪]

[d̪ä.ɾɑː.mǽd̪]

[d̪ä.ɾɑː.mǽd̪]

[d̪ä.ɾɔː.mǽd̪̥]

[d̪æ.ɹɒː.mǽd̪̥]

Deverbal from درآمدن (dar-âmadan, “to enter; to be earned”). In the sense of “income”, it largely displaced the Arabic loan عایدات ('âyedât), more common earlier, as part of Pahlavi-era language purification policies.


آکوستیک

fa-adj

آکوستیک • (âkustik)

[ʔɒː.kʰuːs.t̪ʰíːkʲ]

Borrowed from French acoustique or English acoustic.


باند

fa-noun

باند • (bând)

Borrowed from French bande or English band, ultimately from Proto-Indo-European *bʰendʰ-. Doublet of بند (band).


اوورتور

[ʔuːveɹ.t̪ʰúːɹ]


ماژور

fa-adj

ماژور • (mâžor)


بکار

fa-noun

بکار • (bekâr)