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Domezrab Chap (Part 5) Alireza Javaheri June 2007

Domezrab Chap (Part 5)

Alireza Javaheri
June 2007

Observing of Domezrab Chap in Reza Shafiean works:

In this section pay attention to some examples of Reza Shafiean works which like old Santour playing it is used by left hand by performing characteristics and melodic grace.
Now pay attention the section of Chaharmezrab-e Abuata by Reza Shafiean. At first this piece will be performed simply and then mainly.

Simple performing Chaharmezrab-e Abuata from Reza Shafiean
Audio file 37

Main performing Chaharmezrab-e Abuata from Reza Shafiean
Audio file 38

Now pay attention to section of Chaharmezrab-e Dade Bayat-e Tork by Reza Shafiean which here is used of left hand for performing melodic characteristics and graces.

Audio file 39

Now pay attention to section of Chaharmezrab-e Bayat-e Tork in Golchin (selected works) of two works of Reza Shafiean. This technique is more used in Reza Shafiean works statements especially sing statement that is seen less than in other contemporary artists’ works. Of course simpler performing of this technique is seen in Reza Varzandeh sing statements.

Audio file 40

We are going to have a comparison in writing Mezrab Pamalakhi and Domezrab Chap and its performing differences in next section. At first pay attention to final passage of Chaharmezrab-e Abuta composed by Reza Shafiean which is written in two types and is performed.
At first pay attention to the note and performing of this passage as Pamalakhi.

Audio file 41

Now pay attention to the note and performing of this passage as Domezrab Chap.

Audio file 42

By telling this introduction we are going to go over Farmarz Payvar ‘ works especially written works in Thirty pieces book, Chaharmezrab for Santour to understand that how is get is used to of different states of Domezrab Chap.
As we gave an example from Reza Shafiean before, it is better to get used to Domezrab Chap instead of Pamalakhi in Thirty pieces book for Chaharmezrabs because we observed this kind of Mezrab practically.
For proving this subject, pay attention to the following examples:
Pay attention to the note and performing a part of Chaharmezrab-e Segah composed by Faramarz Payvar in Thirty pieces book .As we said the note of this part from Chaharmezrab is written as Pamalakhi but this part of Chaharmezrab is practically heard as Domezrab Chap. The note of this part from Chaharmezrab-e Segah is written in two kinds.

Chaharmezrab-e Segah note from Faramarz Payvar as Pamalakhi.

Chaharmezrb-e Segah note from Faramarz Payvar as Domezrab Chap.

Audio file 43

Pay attention to a part of Chaharmezrab-e Bayat-e Tork composed by Faramarz Payvar from Thirty pieces book.

Audio file 44

Pay attention to a part of Chaharmezrab-e Hejaz composed by Faramarz Payvar from Thirty pieces book.

Audio file 45

Pay attention to a part of Chaharmezrab-e Shur composed by Faramarz Payvar from Majlesi music pieces.

Audio file 46

Observing of Domezrab Chap in Milad kiayi works:

Now we observe some pieces of Milad Kiayi works which in those is get used of Domezrab Chap.
At first, pay attention to a part of the note and performing Chaharmezrab Afshari composed by Milad Kiayi.

Audio file 47

Then pay attention to performing of a part of Chaharmezrab-e Rastpanjgah composed by Milad Kiayi.

Audio file 48

As you observed, here is get used of Domezrab Chap technique.

Observing of Domezrab Chap in Pashang Kamkar works:

Here we will go over some pieces of Pashang Kamkar works which in those is get used for Domezrab chap techniques a lot. You heard in pervious samples performing of Be Zendan from Abolhassan Saba with Pashang Kamkar performing and adjusting.
Now pay attention to some works of Pashang Kamkar composed for Santour instrument.

a. Bisheh (Grove) in Dastgah-e Homayun