Dastgāh Piece # 6 for Tar and Fretless Guitar duo; then solo Live Electronics.
by Rich Perks
Dastgāh Piece #6 – Performance notes
1.) Dastgāh system is taken by the Persian musician to internalise the melodies prior to the performance.
2.) Each model from (ii.) is performed by the Tar and Fretless guitar duo, recorded and samples are passed on to the Live Electronics musician.
3.) The Live Electronics artist performs (iii.) as a solo improvisation utilising the material as instructed by the score. This is the final piece.
[Note: stages 2 & 3 could well be performed in a live setting back to back as part of one large performance.] NOTE: This collection of modes and melodies are to be practiced & internalised by all improvisers who utilise them within the piece, prior to performance. i.) Dastgāh System Skeletal Melodies and Modes F= Finalis (Final note) >ll = Sori (Slightly sharp) A= Āqāz (Beginning note) l> = Koron (Slightly flat) S = Šāhed (Prominant note)
Mode of Darāmad Note: Key signatures pertain to mode and range of Darāmad. (And main mode of Dastgāh)
>ll A > F, S l
Darāmad >ll
Mode of Guše 1
>ll F, A S
Guše 1: Gentle >ll
Mode of Guše 2 >ll F, A S
Guše 2: Energetic >ll
Mode of Guše 3 >ll F, A S
Guše 3: Erratic
>ll
Mode of Guše 4 - (As mode of Darāmad - 1 octave higher) >ll > l F, S, A
Guše 4: Encompassing l> >ll
Forud - Cadential/ Binding section - played at end of Dastgāh. (Based on same mode, range and key centre as Darāmad).
Hold trill. >ll l> l> Arbitrary descending melodic patteren with tremelo leads into Forud. F ii.) Miniatures for Tar and Fretless Guitar duo - Peform & Record each of the following miniatures:
a.) Darāmad: Introduction Tacet: When ready. Darāmad: Improvise around Darāmad.
etc. Build Intensity Tar >ll mf [Note: Tar extemporisation occurs as tradition; Improvise around melody, using specific mode.] mp
Enter part-way through Tar's improvisation; SUPPORT Darāmad . Embellish with phrases from Tar improvisation to build intensity as Darāmad develops e.g. Tacet: Tone Row: Play notes freely to provide accompaniment. Repeat notes in order, varing rhythms e.g. Pause on Tar's Long notes initially, with volume swells e.g. final note F. Gtr. >ll p mp mf
Time: ll 0'00" 0'30"- 1'00" 3'00" approx. approx.
b.) Guše 1: Gentle Enter after guitar Guše 1: Improvise around Guše 1. TACET etc.
Tar >ll mf [Note: Tar extemporisation occurs as tradition; Improvise around melody, using specific mode.] mp Conclude improvisation when ready
Pulse Figure: Imply pulse but not metronomic. Embelish & Develop; Low register. increasingly metronimic. e.g. Incorporate phrases from Tar improvisation. e.g. TACET 4 Embellish F. Gtr. Fade to >ll 4 silence. mp mp mf ppp Begin to fade once tar is Tacet. Time: ll 0'00" 1'00" 2'00" approx. approx.
c.) Guše 2: Energetic Enter shortly after guitar
Guše 2: Improvise around Guše 2. etc. TACET Build Intensity >ll Tar f [Note: Tar extemporisation occurs as tradition; Improvise around melody, using specific mode.]
mf STOP SUDDENLY Groove:
Rhythmic Motif: Create groove around this pattern. Embellish & Develop on repeats using notes from mode of Guše 2 . Low register, Maintain groove e.g. etc. etc. TACET F. Gtr. Develop Build Intensity >ll (Enter first, slightly ahead of Tar) mf f ff Time: ll 0'00" 1'30" approx.
d.) Guše 3: Erratic
Guše 3: Improvise around Guše 3. etc. TACET Tar >ll Conclude improvisation when ready [Note: Tar extemporisation occurs as tradition; Improvise around melody, using specific mode.] f Enter after tar TACET Harmonic support: SUL D. Long notes with vibrato/ tremelo. Shorten durations & intensify e.g. Shorten durations & intensify e.g. on Tar's (Use notes from mode of Guše 3. Emphasise Finalis and Šāhed) e.g. (Use slides & wide vibrato) etc. pause etc. etc. F. Gtr. >ll F F S mf p
Time: ll 0'00" 1'00" approx. e.) Guše 4: Encompassing Interplay x.) Fretless Guitar solo
ACCOMPANY solo using this rhythmic pattern: Guše 4: Improvise around Guše 4. etc. Either Percussive or drone ptch TACET Tar Tar >ll mf
Guše 4: Improvise around Guše 4. 8 etc. TACET F. Gtr. Free Solo F. Gtr. >ll f 8 (Any register)
Time: Open- Start & End together (<2':00"). Time: Open (<2':00")
f.) Forud - Cadential/ Binding section - played at end of Dastgāh. (Based on same mode, range and key centre as Darāmad). In unison meet at & hold trill. Tar ll> Descending arbitrary melodic patteren with tremelo e.g. > > l l F In unison meet at & hold trill. >ll F. Gtr. >ll Descending arbitrary melodic patteren with tremelo e.g. > > l l F Time: Open- Start & End together (<2':00").
iii.) Solo Live Electronics – Perform this piece using samples realised from ii.)
Darāmad
Sample (a.) ≤ 3’00” (Introduce sample (a.), then increase p < mf level of manipulation gradually) Guše 1
Sample (b.) ≤ 2’00” mp < mf > ppp Gentle Forud Sample (f.) ( ) (Descent: Reduce intensity from wherever in improvisation to point of repose. ) ≤ 2’00” (Emulate Tremolo effect ( ) from sample.)
FREE SOLO
Sample (x.) ≤ 2’00” f
Guše 4 Guše 2 Sample (e.) Sample (c.) Interplay ≤ 1’30” ≤ 2’00” mp < mf < ff Energetic
Guše 3
Sample (d.) ≤ 1’00” f Erratic
Instructions:
– Negotiate flow chart according to directions of arrows.
– Start at Darāmad and finish at Forud.
– Various Guše may be omitted or repeated (where possible) as desired.
– Improvise according to Guše descriptor, dynamic and duration indications (bottom right & left of each box).
– 10’00” ≤ Duration ≤ 15’00”