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Leitfaden für schriftliche Arbeiten an der KUG (laut Beschluss des Senats vom 18. Juni 2019) Seite 1 von 1 UNIVERSITY OF AND PERFORMING ARTS GRAZ

Institute 1: Composition, Music Theory, Music History and

WAIT

For Trio and Dance

Author: Aria Esmaeili Torkanbouri

Type of Work: Bachelor Thesis

University of Music and Performing arts Graz

Institute 1: Composition, Music Theory, Music History and Conducting

Study: Composition and Music Theory

Supervisor: Univ. Prof. Privatdozent Clemens Gadenstaetter

Date: February 2020

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Table of Contents

1. Introduvtion ...... 5 2. Idea and Form ...... 5 2.1. Idea ...... 5 2.2. Gholam-Hossein Saedi (under pen name Gohar Morad) ...... 5 2.3. Wait Pantomime ...... 6 2.4. Form ...... 6 3. Composition Techniques ...... 8 3.1. “A” Part ...... 8 3.1.1. Gesture ...... 8 3.1.2. Dynamic, Tempo and Sound Range ...... 9 3.1.3. Short infromation about ...... 9 3.1.3.1. Uzeyir Hajibayli ...... 9 3.1.3.1. ...... 10 3.1.4. Harmonic ...... 11 3.1.5. Instrument Techniques ...... 12 3.1.5.1. Flute ...... 12 3.1.5.2. Accordion ...... 13 3.1.5.1. Flute ...... 13 3.2. “B1” Part ...... 14 3.2.1. Gesture ...... 14 3.2.2. Harmonic ...... 14 3.2.3. Dynamic, Tempo, Rhythm and Sound Range ...... 17 3.2.4. Instrument Techniques ...... 17 3.2.4.1. Flute ...... 17 3.2.4.2. Cello ...... 17 3.3. “A`” Part ...... 17 3.3.1. Gesture ...... 17 3.3.2. Harmonic ...... 18 3.4. “B2” Part ...... 20 3.5. Coda ...... 21

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4. Conclusion ...... 22

5. References ...... 23

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Abstract

Music and movement have been long closely related. A Movement that generates music, or the music that creates movement, Who’s bond results in an art work which visually connects with the subject. Aesthetics in contemporary art is identified very uniquely in comparison with old times. Specially with expansion of interactions amongst cultures in the last 20 years, this diversity has been exquisite. Sometimes, we encounter art works that are in complete opposition to one another, yet they have their own logical and emotional path through which they interact with their audience. As a result of the current situation, finding a common stance between two different culture or intellectual approaches face difficulties. Understanding the intellectual concerns generated from every regions’ society and culture faces difficulties due to various reasons. This difficulty results in a much more complex climate in the contemporary global art. The connection between music and movement in the past encountered more specified metric, rhythmic, form rules. Having a common order and form is very important in this connection, and inconsistencies of any sorts will result in the loss of common aesthetics and destination. It appears that in order to find this musical and movement order and form, we need to know more about the social, political, and cultural intellects of the different countries and ethnics. Ethno- musicological and anthropological along with theoretical studies can greatly contribute to this objective. “Wait” attempts to find a common audiovisual and movement stance between the cultures of middle Asian and the contemporary musical techniques in the current social and political situation of today’s world.

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1. Introduction

The present text attempts to analyze the aesthetics, composing techniques and form of the musical piece “Wait” regarding the act or dance. “Wait” is inspired by the social, political events of not only the Middle East but also the whole world; that is experiencing an absorbing traumas. A condition caused by a system that has led human beings as the main and influencing pillars in the globe to a state of being between life and death, and wait is one of the main components of this situation. This art work is also generated from the formic and audiovisual structures of culture and beliefs of the middle Asian nations, specially Turkic ethnicities of the region. These structures are to be pointed out in terms of auditory and structural form analysis through the article.

“Wait” terms of instrument has been composed for trio flute, accordion, and cello. Methodologically speaking, the triad compound has deep meaning in middle Asia, especially amongst the Turkic (Shamanism) and Sumerian ethnicities. Through the article, there will be more references to the triad compounds and structures.

2. Idea and Form 2.1. Idea:

The main idea and form of this work is derived from “Wait” the mute performance (pantomime). “Wait” is one of the 10 pantomime plays written under title of “Dah Lalbazi” (Ten Pantomimes) in 1342 Hijri (1964) by Gholam Hossein Saedi, who was an Azerbaijani-Iranian psychiatrist, play writer and writer. This piece of writing dates back to an important social and political period in Iranian history, that resulted in the collapse of the Iranian Pahlavi dynasty.

2.2.Gholam-Hossein Saedi (under pen name Gohar Morad):

Gholam-Hossein Saedi (born on 1314 Hijri (1936) in Tabriz; deseased on 1364 Hijri (1986) in ), he began his political activities with the Azerbaijan Democratic Union and when 18 years old, he was prisoned in charge of the cooperation with the union for independence by the Pahlavi regime. He learned to write short stories when he studied medicine in Tabriz through interacting with people such as Samad Behrangi and Gholam-Hossein Farnoud. He graduated in psychiatry in Figure 1: Gholamhossein Saedi Tehran and became specialist psychologist. He eventually abandoned psychology in favor of writing after years of friendship and acquaintance with men like Jalal Ale-Ahmad, Ahmad Shamloo and other writers. Saedi’s specialized knowledge of psychology and human psyche had

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a great influence over his writing ability from a social and political perspective. Saedi got arrested by Savak1 in 1353 Hijri (1975) and served in prison. He had to leave Iran after the revolution at 1357 Hijri (1979) and he died in 1364 (1986), in Paris. He rests in 85th section of Per-Lashes cemetery.

The Cow (GAAV) movie is one of famous works, which it was written by Gholam-Hossein Saedi and directed by Dariush Mehrjui at 1969.2

Figure 2: Cow Movie 2.3.Wait Pantomime

“Wait” pantomime play is narration of three main characters. A poor child, a hand reaching out from coffin and a closed door of a house.

Synopsis: People carry the coffin to front of the closed door of the house. They knock on the door but no one answers. Therefore, they leave the coffin in the middle of the scene. There is a bicycle horn installed on the coffin and a hand reached out of the coffin. A poor child with a bundle approaches the coffin. He takes out a mirror, dried bread, and flower in three times and puts them in the hand that reaches out from the coffin. With touch of these mediums in the hand, it starts to feel alive and a struggle breaks out between the child and the hand. Every time the child attempts to get the mediums back, the hand makes inconvenient sounds with the bicycle horn attached to the coffin. The child hides somewhere. With rise of the sound of the horn, a man with two steel girders in his hand comes out of the house and searches the place with his eyes. As the sound of the horn dwindles, the man goes back to the house and closes the door. The child approaches the coffin and the scene gets repeated with new mediums. As a result of the struggle between the child and the hand, the kid disjoints the horn from the coffin and throws it away. Afterwards, no matter how much the child tries, the hand does not move. Finally, the child lies next to the coffin in wait.

Pantomime “Wait” is symbolic like other Saedi’s writings. It seems that point-by-point analysis will depart from its purpose. But what is evident in the pantomime is a deeper understanding of Saedi’s social and political psyche than the time he once lived. An understanding that is still alive and tangible many years after his death.

2.4.Form: The form of music and also dance designing by Marcella Lopez in the performance above is built based on pantomime rhythm and form (A, B1, A`, B2, coda):

1 The secret police, domestic security and intelligence service in Iran during the reign of the Pahlavi dynasty. 2 See: https://www.youtube.com/watch?v=ZCwKWPRFAEY

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A: calm, silent, unstable, long sounds, suspicious (kid`s acquaintance with coffin and first struggling to the horn sound) B1: Fast, loud, uncertain, short sounds, critical (horn sound, kid`s standing) + closing B1 toward A` (man`s going back home) A`: (result of combining A with B1) like A calm and silent but more unstable, sounds are shorter and faster, signs of B1. (struggling again between the kid and the hand to the horn sound) B2: Repeating the B1, a little louder and longer. (horn sound, kid`s standing until disjointing of the horn from the coffin) + no music with the stage sound (kid`s struggling to give life to the hand, knocking the coffin and sound of the kid`s breathing until he/she gets tired) Coda: A stable and long sound. (kid`s lying down calmly and waiting by the coffin) As it was mentioned above, combination of three somehow is one of the basic foundation of this artwork, like the relationship between “child +coffin +man” or in the instruments, “flute +accordion +violoncello” or in scene, “first dancer +second dancer +orchestra” or in form of music, “(A +B1) + (A’+ B2) + Coda”. Number three is one of the important numbers in the human history. As we know in the Turkic and Sumerian Mythology, number three is a sacred number either. In shamanism world is divided to three parts; underground, on ground and up ground (sky) world. Combination of three things is important in other traditions either, which may be the continuity of the people`s beliefs, e.g. in Judaism; “God +convention +Torah” or in Christianity; “God +Virgin Mary+ Jesus” or in Islam; “God +Quran +prophet”. Usually the combination of three or the arrangement of them is for starting or movement. Like countdown from three to start a competition or fire order. Even in music, lots of examples of three combinations in famous ’ art works can be seen like the starting point of the fifth of Beethoven or the Mozart’s fortieth symphony and lots of other examples which the third step in them is a starting or movement step. In Saedi`s Waiting work, in music or even in Marcella Lopez`s dance designing, this combination or conscious/unconscious triad struggle also can be seen.

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3. Composition Techniques 3.1. “A” Part 3.1.1. Gesture: Music starts with violoncello and in a very short distance, it gets completed by flute and accordion. Movement of violoncello and accordion is in a way that long sounds along with vibrations in such a way that the trembling results in instability of sounds.

Example 1: Accordion and Violoncello from 0:30

Flute starts playing with a calm and long sound, but it seems like flute works a bit different from the order governing the relationship between violoncello and accordion. Although accordion and violoncello have linear process, flute starts with Glissando move downwards. In the following, in the twenty eighth second, triplets can be seen in the flute`s movements which can be counted as a new and different movement from violoncello and accordion.

Example 2: Flute from 0:29

In the 1:06 minutes, the affects and relationship between the vibrations of violoncello and accordion also can be seen in the flute. This relationship continues until the 2:30.

Example 3: Flute from 1:06 In 2:30, violoncello with an upward Glissando move, somehow breaks its linear movement. Example 4: Violoncello from 2:35 At 2:34 the triplet movement in accordion reminds flute`s first movements.

Example 5: Accordion at 2:35 And somehow all three instruments over time, get aligned together. It means that at first A, each instrument has an independence line and getting closer to B, they get closer to each other and the result of the merge and affinity of this three lines or characters, is the birth of B.

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3.1.2. Dynamic, Tempo and Sound Range: The range of sounds in instruments are either too low or too high or moderate. Somehow the three range shows the triad structure again. The border line sound can be felt in the whole A part. The sounds in A part are so calm and silent and are changing between the (pppp) and at most mezzo piano (mp). Tempo is very calm. Music has a close relationship with dynamic in rhythmic aspect. Silence= triplet, pppp = 16th note, ppp = quintuplet, pp = sextuplet, p = septuplet, mp = 32th note. 3.1.3. A short information about Azerbaijan Classical Music3: 3.1.3.1. Uzeyir Hajibayli Uzeyir Hajibayli (1885-1948) recognized as the father of classical music and of Azerbaijan, who also composed the first classical opera of “Leyli and Majnun” in the Middle East is one of the most famous and important classical music composers in Middle East. Alongside his artistic way, one of his important works is the analyzing of the Azerbaijan and also Middle Eastern music tone system. He published the Principles of Azerbaijan Folk Music at 19454. Alongside with the analysis of the Azerbaijani music system, Uzeyir proposes a thesis that as a result, Azerbaijani music will change from modal to tonal. He submits his Opera of "Koroglu" as a practical proof of his theoretical thesis. He uses the seven Figure 3: Uzeyir Hajibayli Azerbaijani scales with modulations in the Overture5 of Opera Koroglu. Uzeyir’s music is somehow the classic period of Azerbaijani music history.

3 Read: O‘Brien, M. (2004). E-book: http://content.taylorfrancis.com/books/download?dac=C2009-0-10509- 0&isbn=9780203496268&format=googlePreviewPdf 4 E-Book: http://musbook.musigi-dunya.az/en/conn_tetrahord2.html 5 https://www.youtube.com/watch?v=nERyPxP7BHw&t=11s Other music examples of Uzeyir Hajibayli: Ashig Sayaghi for string orchestra: https://www.youtube.com/watch?v=-HLde3n1rdg Arazbari for string orchestra: https://www.youtube.com/watch?v=6IgQkfehp5c&t=135s . Arazbari is a transcription of “Arazbari ”. Listen the Arazbari Mugham by Alim Qasimov: https://www.youtube.com/watch?v=6fiGe45azX8 Choral work from Koroglu Opera for choir and symphonic orchestra: https://www.youtube.com/watch?v=FslRNm3-VCA Dance from Koroglu Opera for solo and symphonic orchestra: https://www.youtube.com/watch?v=RaYCi9CTVBA

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3.1.3.2.Gara Garayev (Kara Karayev) So many classical composers inside or outside of Azerbaijan like Armenia, , Iran, Turkey have influenced by Uzeyir Hajibayli. Gara Garayev was one of the most famous soviet composers who was student by Uzeyir Hajibayli and then by Dimitri Shostakovich. Gara Garayev (1918-1982) music is the step from classicism to modernism in Azerbaijani music. He composed so many ballets and uses all seven scales based on Uzeyir Hajibayli’s theory.6 During the in 1961, Gara Garayev and were the only two Soviet composers who attended the first International Los Angeles Figure 4: Gara Garayev Music Festival held at UCLA. Fifteen composers from seven nations presented their works, including and . On June 11, conducted the Festival Symphony Orchestra with a suite from Garayev's ballet “In The Path of Thunder”7. He composes his 3th symphony after meeting by Igor Stravinsky at USA. This symphony is one of the first serial composed in the , fusing the twelve-tone technique with Azerbaijani folk music influences in the Ashig tradition in the frame of a Figure 5: Gara Garayev in composition course classical structure, attempting to find to new ways of by Uzeyir Hajibayli at . artistic expression, new principles of form and construction, and, most notably, new means of expressive musical language and wanting to prove that strictly following the twelve-tone technique it is possible to write musicbased on Ashig structure according to the .8 It is also so many other composers like , Hajibeyov, Soltan Hajibeyov and etc. in the same Figure 6: from left: Irina Shostakovich, Dmitri period with Karayev are influenced by Uzeyir Hajibayli. Shostakovich and Gara Garayev

6 Examples from ballet of “”: Adagio was written in Rast: https://www.youtube.com/watch?v=F0zHXx3NUIs , Rast Mugham: https://www.youtube.com/watch?v=VM_EuF6v6Vs Waltz written in Chargah: https://www.youtube.com/watch?v=vuuvB7VRpQs , Chargah Mugham (The main theme of piece at 5:14): https://www.youtube.com/watch?v=aNaez4LhZpA Iran Beauty dance was written in Humayun: https://www.youtube.com/watch?v=ngsOYuAV9cY , Humayun Mugham: https://www.youtube.com/watch?v=tKA5lAXZKls

7 Read: Levitz, T. (2013). Suite from the ballet :In The Path of Thunder” :https://www.youtube.com/watch?v=tFwnktjwtVI 8Gara Garayev Symphony No.3: https://www.youtube.com/watch?v=qVYiwE_VpyA&t=1240s

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Figure 7: Igor Stravinsky and Gara Garayev at first international Los Angeles Music Festival held at UCLA

3.1.4. Harmonic: In A part, somehow we can see a cluster from E to C. The first sound in music by flute begins with A sound and until 1:02 has movements downwards toward the G but as soon as it gets close to it, again goes back to A. Example 6: Flute from 44-58 The second main sounding can be heard in accordion with the combination of B and C with the short second distance.

Example 7: Accordion at 1:02 In following, in 1:36 again we can hear the combination of the minor second interval in 2:35, we can see the movement combination of A Flat -B and in the continue, G-B in accordion. It seems like that the whole piece, doesn’t follow tonal music, but there’s some signs of Middle Asian tonal/modal music connection in A part can be heard among the other sounds. The sound combination of the short second distance and the second added distance recalls the Middle Asian music trends. If we consider combination of E, F (accordion 1:02), G, A-flat, B (2:35-3:04 in Accordion), B, C (1:02 in accordion) and in the end, D, E-flat (4:00 flute) in this piece, we can see Azerbaijani Shushtar scale.

Example 8: Shushtar scale with tonic C and ending tone G. Shushtar is one of the main music scales of Middle Asian people including: Turks, Persian, Arabs and other local people. Theoretically speaking, Shushtar trend consists of 2 Tetrachords (inside each Tetrachord, with formula [1/2-1-1/2] ) that’s made of one and half tone far from each other.

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In the example above, the C sound is Shushtar’s tonic trend and G sound is the Ending Sound or somehow can be counted as the second tonic trend. To the fourth minute of the piece, we can hear E, F, G, A-flat, B and C with the flute’s D and E-flat with the presence and emphasis of C sound in violoncello, Shushtar trend stabilize itself in music. Something that must be noticed is that A sound and Glissando movement downwards (toward G) and upwards (toward C) in flute. Each Tetrachord of Shushtar scale have some kind of tonic sounds. (G in the first tetrachord, C in the second tetrachord). The line between these two Tetrachords is from A-flat to B. If we see each Tetrachord as an independent structure, the following Glissando sounds in Flute will change into a middle sound between 2 tetrachords that form below to G and from above is getting close to C line:

Example 9:

Actually, here we have the triad structure and combination again, which mean it’s consists of “first Tetrachord+ the moderate sounds between two Tetrachords+ the second Tetrachord”.

Example 10:

3.1.5. Instrument techniques: 3.1.5.1.Flute: Up to 4:00 minute, only the flute header is used. The volume is controlled by the lip band and the opening and closing of the flute header output. The interval between the flute sound in the open state with the closed one is nearly the minor seventh. The playing structure has been used in three forms of air, half-air and full sound. In the half-air mode, the following high sounds in the open state make more air sound. However, the bass sounds in closed state are close to full sound. That is, by opening and closing the hole in the half-air mode, the sound effect will be the “sound- air” combination (1:07). Another technique that is used in performance of the flute is using the hand hitting the flute header output hole to produce sound without blowing. In this case, the tuner is controlled by opening and closing the hole with the lips (1:39 - 1:42). Also, by the combination of blowing and hand hitting simultaneously, a new sound effect is heard in the flute volume (2:02 – 1:53). The next technique that is used in the flute is the performance of whisper tones. In the second 31, the “half-opening-half-closing” combination by the hand simultaneously with the performance of whisper tones is performed. The combination of the “half-opening-half-closing” of the whisper tone with the triple rhythm of the flute becomes the sound interface with the first A-flat and B at 2:35 in the accordion.

Example 11: flute at 31

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The technique of blowing in the flute header, along with the opening and closing of the output hole, is also associated with the sounds of the accordion air effect and violoncello white noise. 3.1.5.2. Accordion: In the accordion, the air technique, both types of vibration and ordinary sound, is used. The combination of vibration with the soprano sounds, as well as the air, causes in shaking of the sound stability. Another spiral vibration with bass accordion sound is used. (1:36) In this case, the accordion player uses the forward and backward movement of the accordion body rather than using the ordinary technique of vibration by hand, foot, or even jaw through a right-left movement. This spiral movement combined with a massive bass sound of the accordion causes the electronic sound effect of the acoustic instrument. This case per say creates a sense of instable and alienated space for the listener. 3.1.5.3. Cello: The cello starts from the point of string connection to the tailpiece and moves to the top of the bridge, i.e. Sul Pantichello. In the second 20, we observe a change in the intensity of the pressure of the bow on the string. That is, by weakening and tightening the pressure intensity, a kind of connection with the accordion vibrations is created. Another type of this technique is the Battuto used in 2:21, which is considered as a combination of the same idea with the percussive sound.

Example 12: Violoncello at 2:21 Up to 1:00, the bow moves only on the string and goes off before the minute one from the sound. At the new birth of the sound at 1:00, we observe a tail piece vibration as the pressure intensity on the string increases till 2:02.

Example 13: Violoncello at 1:00 In the first seconds, the: tail piece vibrates, but as the bow moves toward the wire along with the tail piece vibration, this vibration of tailpiece affects the sound of the string, and a new effect (of noise kind) is achieved by the combination of the string vibration and the tail piece vibration. At 2:08, we observe an independent line for the left hand. That is, the left and the right hands tend to be independent as opposed to the usual. That is, while the right hand performs the lower part of the bridge, the left hand creates a new line of movement with the finger hitting on the fingerboard.

Example 14: Violoncello at 2:08

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At 3:18, these two moves together reach a common point. The result of this combination relates to the trio movement in the accordion as well as the flute.

Example 15: Violincello at 3:18 Also, the combination of the harmonic sound with the finger hitting sound is also associated with the combination of the opened and the closed sound of the flute output hole (1:07).

3.2.“B1” Part 3.2.1. Gesture and Movement: Part B, unlike Part A, is very busy, fast, as well as unstable. There is a constant but unstable movement in the cello as well as the accordion. The flute has more interrupted movements in comparison to the accordion and the cello. All the three instruments move independently, but gradually come closer under the influence of each other. For example, the movement of Key- Glissando in accordion, with the movement of Saltando on Tailpiece in cello and Jet in flute, or the flute responses to the accordion in its movement line. The discipline collection of this part gradually becomes slower and more interrupted from the 4:36. 3.2.2. Harmonic: The sound combination in the cello is unknown due to its very high position and closeness to the bridge. So that the sound of the cello has more of a noise effect. In the accordion, we observe a constant movement of known sounds. The first sound combination indicates the presence of music in Shushtar. But in the third beat at the 4:03, we observe the note of C-sharp. In the following, we also observe the note of B-flat.

Example 16: C-sharp and B-flat in Accordion from 4:04

The C-sharp is sometimes combined with the natural E and the natural B (third beat 4:03) and in some cases with B-flat, E-flat and D (third beat at 4:05 to the end of the first beat 4:06).

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If we consider C as tonic - the upper notes as the tonic C-sharp (or D-flat), natural E and F, the lower notes B and A-flat and G - in this case, the scale become the Chargah in C: Example 17 : Chargah scale with tonic C The Chahargah is also one of the main scales in the central Asia. The theoretical formation of the Shushtar scale and the Chahargah scale is very close to each other, and this makes the two scales closely related.9 The presence and combination of the four notes of D, C-sharp, E-flat, and B-flat are also indicative of the modulation. The combination of the three of half-tones of C-sharp, D, and E-flat along with B-flat is also reminiscent of the Chargah with tonic D:

Example 18: Chargah scale with tonic D

There are also cases where the combination of D with C-sharp, B-flat, but natural E. This is also reminiscent of the Shushtar with tonic D:

Example 19: Shushtar scale with tonic D and ending tone A.

That is, the combination of D with C-sharp, B-flat, and natural E will lead the listener to Shushtar, and the combination of D with C-sharp, B-flat, and E-flat will lead the listener to the Chahargah with a tonic D. The result is a kind of one-tone modulation between the two of tonic Do and Re, and the two scales of Chahargah and Shushtar in part B, which creates four different sounding form from each other. In fact, part B looks like a large cluster of two Chargah and Shushtar scales with two tonics C and D, which is highlighted at the different points and times of the acoustic components of this series, and in this way highlight the sound conflicts between them. The performance of the D in very high position and in loud volume by the flute somehow strengthens this relationship (4:14) and causes a tension between the two structures of the tonic C and D. G is one of the main sounds of all four different sounding form: Shushtar with tonic C, Shushtar with tonic D, Chahargah with tonic C and Chahargah with tonic D. G in the Chahargah with tonic C has a dominant association with the tonic. In the Chahargah with tonic D, the second tonic is actually considered as the scale. The first section (Shuba) in the Chahargah consists of the fourth interval from tonic. But theoretically, the G is somehow considered a parallel pitch to the Chahargah. As such, the Chahargah mode is theoretically consisted of two Tetrachords (within each Tetrachord [1/2-11/2-1/2]) continuously (the interval between the Tetrachords is perfect prima):

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Example 20:

Now, if two Tetracords with a large second interval is formed, it would do like this:

Example 21:

In fact, both pitches are part of one structure. However, in the second combination we can also observe the character of the tonic G. In a way, the second tonic G is considered as the Chahargah pitch. These two pitches in Western music are defined by the names of Gypsy mode (Zigeuner scale) Major and Minor:

Example 22:

Nevertheless, in all four, G is a common voice between the four achieved pitches, which will be more discussed in the section on coda. In flute, we observe the diatonic clusters consisting of harmonic sounds of C and B: 1. Formed sounds from C: A, D, F-sharp, E, G, B-flat, C. (4:05)

Example 23:

2. Formed sounds from B: B, D-sharp (or E-flat), F-sharp, A-sharp (or B-flat), B, C-sharp (flat D) (4:07)

Example 24:

The sound compound achieved by the combination of Chahargah and Shushtar is very matches the tonic C and D. Only, an absence of the A-flat and the natural F is observed in the archived harmonic sounds, whose place is filled with the stress of accordion and the responses of the flute.

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3.2.3. Dynamics, tempo, rhythm and sound range: In terms of sound range, all three instruments move in high position. The bass sounds are occasionally heard with the accordion cluster and very short movements in the middle sounds by the flute and the accordion. In terms of dynamics, part B starts with f, and towards A’, the sounds get slower and slower. In terms of tempo and rhythm, the music is very fast. The notes are not very variable. In flute and accordion, the sounds are connected to each other with the combination of 32th notes, and their order is only interrupted by the silences or the techniques such as Cluster, Key-Glissando, Jet, and so on. The cello is chaotic in terms of rhythm. In the table of signs part on the performance of the cello rhythm in part B, the player is free, and the obligation of the accurate performance of the rhythm is not on player’s shoulder. That is, the written rhythm is only a guide to the understanding of the sound and effects necessary for the musician in this part. Also, the musician has let the accordion composer free in the performance obligation of the accurate sounds and rhythms. 3.2.4. Instrument Techniques: 3.2.4.1.Flute: In flute, diatonic clusters are used. A complete example of the use of these clusters is as forte and piano available in the “Morte Tamburo” for solo flute of Salvatore Sciarrino10. Other techniques used such as Jet or Slap Tongue are common music techniques that do not need to be reexamined. Accordion also uses common techniques. 3.2.4.2.Cello: In the cello, the emphasis is on the finger pressure on the string at the closest point on the bridge simultaneously as the bow. But the main rhythm written for the musician is the very fast rhythm of lifting the fingers off the strings and turning them again over the strings (Damping). The quick lifting causes noise in the wires, and the resulting sound is like a fixed whistle that connects and disconnects like a telegraph sound. It is as if some messages are heard in the source manner, and gradually, these messages become less and less. And eventually, a constant beep/hiss sound remains. This steady sound is closely related to the first movement of the cello in part A, and somehow implies a return to the A mode, which results in the start of the A’.

3.3. “A`” part 3.3.1. Gesture: This part is structurally in a very direct association to A. Tempo like A starts with 60. The cello is still the starter of this part, and the whisper tone of flute and the air vibrations of the accordion

10 Sciarrino, S. (2007). Performance and Score: https://www.youtube.com/watch?v=WzE4GAQ9ecw&t=56s

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are all part of the reminder of A part. But the main difference is the rhythm speed and movement of the instruments. It is as if all the sounds are getting shorter and faster, which in comparison to A, causes a loss of tranquility and silence that is dominant. At 5:39 of the flute and 5:40 of the cello, we observe the A-flat-B accordion movement in part A. At 5:44 to 5:46, in all three instruments, there are new but related movements related to the previous vibrations. In A’, just like A, we observe long constant sounds in the flute (5:48), in the cello (5:44), and in the accordion (5:56 right hand and 5:59 left hand).

Example 25:

However, the sounds are all shorter and emphasize clearly on one sound. In A, we mostly observe second interval combinations of accordion, and the vibrations or the small seventh intervals in the flute. For example at 5:56 the right hand and at 5:59 the left hand of accordion are clearly one sound, and to the end of the A’, these sounds are variable as opposed to A.

Example 26:

That is, in general, it looks like A’ is an A that is influenced by B and has lost its previous form. At 6:06, the presence of movements from B strengthens these signs. 3.3.2. Harmonic: Part A’, as opposed to part A which started with an unknown tone by violoncello, starts with the fifth harmonic G voice of the string C. As mentioned before, the sound of G is the common sound of all four forms of the Chahargah and Shushtar with two tonics of C and D. The second achieved is the overtone of the A, i.e. the sounds of A, C-sharp, E, G, B (a few comas sharper) in the flute (5:27). The next sound is the C sound in accordion (5:29), which is the reminiscent of the character of the tonic C in music.

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Example 27:

The sound combination in the cello, that is, the sound movement between the E-flat and the G has greater distance from the octaves with the flute movement in part A (1:07). Also, the combination of all these sounds with the air vibrations in the accordion (5:37) and the movement combination of the A-flat with B in flute and cello (5:40) all and all have a very strong relationship with part A. (Example 20) But what we observe at 5:44 in flute and also at 5:54 in accordion is the emphasis on the sound D. Also, in the following, we can observe a change in the combination of the A-flat -B to the B- flat –C-sharp, which indicates the effects of B on A, and consequently, it results in the creation of A’.

Example 28:

At 6:36, the cello emphasizes on its lowest sound, i.e. C. But at 6:54, this consolidation is gone. At 7:16, the C-sharp is observed in the flute. The acoustic and kinetic combination of A’ indicates a change in the previous stability. In fact, the initial stability is lost because of B. Because, in terms of tonality, in A part, the tonic C and the Shushtar were fixed. But in A’, this consolidation is gone, and the music varies between the two scales of Chargah and Shushtar, as well as the two sounds of C and D, and the music is unstable and the conditions of stability shakes greatly. In terms of tempo, rhythm, dynamics, and technicality of the music, there is a direct association with A and B. Only the music in comparison to A has become a little faster in terms of rhythm and the sounds are shorter.

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In terms of playing technique, key sound and bamboo tone in the flute, rubbing the bow on the string in a cello are the new techniques, which were used primarily in A’, which is very closely related to the previous techniques.

3.4. B2 Part B2 is equal to B1 in terms of structure. B1 is 79 bars, and B2 is 48 bars. In B2, after 48, a long silence is written, in which the orchestra actually give the role to other movement sounds. These sounds are combination of the hitting sound on a coffin, the successive breaths, running or various attempts to revive the hand by the child. That is, B2 is 48 bars plus the orchestra’s silence is accompanied by the sounds of the movement. If we look closely at B1, after the 48 bars, the piano part or the transition part to A’ starts.

Example 29:

In a way, as opposed to the relation between A and A’, B2 can be considered a B1 repetition. But there are also slight differences between the two parts. B2 is louder than B1 in terms of dynamics. Another major difference is the presence of numerous clusters in both the left hand (low) and the right hand (high) of accordion, the very high sound in the flute and the very low sound in the cello. This combination creates a conflict between the sound of D and C, as well as the conflict between the most high and the bass in flute and the cello. Accordion, on the other hand, plays an intermediate role between the two sounds. This conflict seems to have a direct association with the ternary relation in A, i.e. the conflict between the main sounds between the two Shushtar tetrachords and the intermediate role of the flute between the two Tetrachords. The combination of Glissando movement from A by the flute, the sound of the air in accordion and Glissando downward to the cello at 8:44, strengthen this triple relationship. Before the start of the coda, the music gives its role to the sound of the movements on stage, and these sounds, according to the musician’s explanation, are getting formed on the basis of sound characteristics in the piece and gradually turn off.

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3.5. Coda As a result, this turn off of the coda starts with the cello as well as being again equal to A. The next sound that is heard is the air in the accordion. In fact, the start of the coda has a very close relationship with the beginning of the A and imposes a restart on the listener.

Example 30:

But the key difference of coda is the presence of a multiphonic sound performance of the flute at 10:06. The combination of this multiphonic sound is with the presence and disappearance of the air in the accordion and the continuous sound in the cello and the repetition of these three signify the disappearance of the telematic and the change of the previous repetitions. On the other hand, the sound relation between coda and A part indicates that the main structure is not destroyed.

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4. Conclusion If we consider the overall structure of the music as well as the Wait of Saedi all together, the result of the movement and the conflict in the work with all its conditions is of life essence. Sometimes, it is quiet, sometimes unrestful. But the result of prolonged conflicts and the removing of the bicycle horn from the coffin, or in a way, removing the music from the orchestra with the idea of a solution to the current situation, the result is the loss of the original structure and form of the system. The constant and unchanging repetitions in the coda indicate that the structure does not die or that the structure is not destroyed, but the structure is no longer in the same status as before. In simple words, it is as if the music has gone into a coma. A coma that can last years without a major change, and Wait would be the undeniable part of the current situation.

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5. References

Asadi, K. (2019). Recognition of Gholamhossein Saedi. Nimaj. (in Farsi)

Gadjibekov, U. (1985). Principles of Azerbaijan Folk Music. Yazichi.

Levitz, T. (2013). Stravinsky’s Cold War: Letter about the composer’s Return to Russia, 1960- 1963: STRAVINSKY AND HIS WORLD, ed. by Tamara Levitz (pp. 281). Princeton University Press.

O‘Brien, M. (2004). and his role in the development of musical life in Azerbaidzhan: Soviet Music and Society under Lenin and Stalin, ed. by Neil Edmunds (pp. 209- 224). Routledgecurzon.

Saedi, Gh. H. (2005). Wait: Pantomimes. Mahriz. (in Farsi)

Sciarrino, S. (2007). L’Opera per Flauto II. Ricordi.

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