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from shaahin mohajeri

🔗Mohajeri Shahin <shahinm@kayson-ir.com>

6/7/2006 8:56:14 PM

Hi all

- First many thanks to dear margo and other friends for their very
kindly encouragement which I think I'm not in the place to be
encouraged so much (-;

- And then :

Persian music has a modal structure and as told before in dastgahs we
can see some modes which can be considered independent.

One of the most important things in dastgahs is that we can consider a
general intervallic system for it to cover all changes in its inner
intervallic system( gushehs and independent modes)

And consider that we can have changes in modal parameters in one
dastgah , so we can have different modes as shur , afshari , .... In
dastgah-e-shur.

But in shurist , I used new intervals (out-of-tradition) to change modal
sense . I like these 2 intervals so much because of their rural taste.

- Another thing is that my problem for large files is my little site and
expensive domains and low speed and ....

So forgive me if my uploads are in a low bit rate.

Shaahin Mohaajeri

Tombak Player & Researcher , Microtonal Composer

My web site , click picture : <http://240edo.tripod.com/index.html>

My tombak musics in Rhythmweb: www.rhythmweb.com/gdg
<http://www.rhythmweb.com/gdg>

My articles in Harmonytalk:

- www.harmonytalk.com/archives/000296.html
<http://www.harmonytalk.com/archives/000296.html>

- www.harmonytalk.com/archives/000288.html
<http://www.harmonytalk.com/archives/000288.html>

My article in DrumDojo:

www.drumdojo.com/world/persia/tonbak_acoustics.htm
<http://www.drumdojo.com/world/persia/tonbak_acoustics.htm>

My musics in Wikipedia, the free encyclopedia :

- A composition based on a folk melody of Shiraz region, in shur-dastgah
by Mohajeri Shahin <http://www.xenharmony.org/mp3/shaahin/shur.mp3>

- An experiment in Iranian homayun and chahargah modes by Mohajeri
Shahin <http://www.xenharmony.org/mp3/shaahin/homayun.mp3>

________________________________

From: MakeMicroMusic@yahoogroups.com
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Messages In This Digest (5 Messages)

1a.

Odd impressions -- shall we compare notes? From: Margo Schulter

1b.

Re: Odd impressions -- shall we compare notes? From: J.Smith

1c.

Re: Odd impressions -- shall we compare notes? From: Kraig Grady

2.

Re: no lyrics? From: hstraub64

3.

cakewalk rapture loads .scl files From: Joe

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Messages

1a.

Odd impressions -- shall we compare notes?
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Posted by: "Margo Schulter" mschulter@calweb.com
<mailto:mschulter@calweb.com?Subject=Re:%20Odd%20impressions%20--%20shal
l%20we%20compare%20notes?>

Mon Jun 5, 2006 8:13 pm (PST)

Hello, everyone, and I'd like to share quickly a few
impressions about my present state that might possibly
invite interesting comparisons from others, or at least
attempt to describe an experience that reflects one side of
making microtonal or "alternatively tuned" music.

First, please let me express my appreciation, Shaahin, for
your "shurist" piece recently posted, and for the tuning.
That calls for a distinct post in its own right, and I hope
to do it soon -- but my immediate purpose is to try to
explain my reaction.

Today I'm very tired because of some developments mostly
unrelated to music, and hope that tomorrow I will have more
energy. Anyway, I find that Shaahin's scale division
prompted me to borrow lots of the ideas and approximate
interval sizes for a Peppermint variation -- thank you for
the creative energy of your music and theory alike.

The curious thing is that I can put together and analyze
Scala files, and also very usefully practice at the
keyboard. A lot of my practice concerns different versions
of Persian patterns such as Shur, Nava, and Afshari -- as
well as variations on Arabic tetrachords such as Rast --
available in the 11-note set I've chosen within Peppermint
24 as a variation on Shaahin's "shurist.mp3" tuning.

However, I somehow feel that to do a recording that I'm
going to post on the Internet, I should be in a more fresh
and rested condition. From one viewpoint, this is an extra
opportunity to practice in a relaxed way, to internalize
some melodic patterns and also patterns of counterpoint with
which I am experimenting. I tell myself that the more the
patterns become spontaneous -- maybe one of the meanings of
"learning the theory and then letting it go" when actually
performing -- the more fluidly I should be able to do
something posted here.

Further, what I'm saying doesn't apply only to my new
"shurist"-inspired set. It also applies to a "Yahya12"
tuning inspired by one of Yahya's JI scales, and a tuning
which occurred to me as a variation of Jon Lyle Smith's
"pelendro-1" used in an impressive and adventurous piece
posted here called _Quincunx_.

One thing that's happening in the process of all this
adapting and practice, very notably, as I've commented,
driven by scales and pieces posted here, is that I'm
considering how the dastgah concept of Persian music
might influence my organizational approach.

While _dastgah_ often gets translated more or less like
"mode," from another perspective it might be considered a
family of related modes and melodies. This leads me to
consider the different steps and "scales within a scale"
such as the ones inspired by the tunings of Yahya, Jon, and
Shaahin, and seek some kind of tentative scheme or "program"
for an improvisation, almost a kind of "suite."

Anyway, it's maybe a bit humbling as well as pleasant to
say, "I may really not be in the best condition now to make
a recording and post it on MMM, but I can practice and thus
move toward a better performance which maybe will come this
week."

A main lesson might be patience: getting something more or
less "right" takes time, even when one is full of energy.

My warmest thanks to Yahya and Shaahin -- and now also Jon
-- for their patience in this process.

Peace and love,

Margo

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1b.

Re: Odd impressions -- shall we compare notes?
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Posted by: "J.Smith" jsmith9624@sbcglobal.net
<mailto:jsmith9624@sbcglobal.net?Subject=%20Re:%20Odd%20impressions%20--
%20shall%20we%20compare%20notes?> vrishika77
<http://profiles.yahoo.com/vrishika77>

Tue Jun 6, 2006 8:18 am (PST)

--- In MakeMicroMusic@yahoogroups.com
<mailto:MakeMicroMusic%40yahoogroups.com> , Margo Schulter
<mschulter@...>
wrote:
>
> A lot of my practice concerns different versions
> of Persian patterns such as Shur, Nava, and Afshari -- as
> well as variations on Arabic tetrachords such as Rast --
> available in the 11-note set I've chosen within Peppermint
> 24 as a variation on Shaahin's "shurist.mp3" tuning.
>
> One thing that's happening in the process of all this
> adapting and practice, very notably, as I've commented,
> driven by scales and pieces posted here, is that I'm
> considering how the dastgah concept of Persian music
> might influence my organizational approach.
>
> While _dastgah_ often gets translated more or less like
> "mode," from another perspective it might be considered a
> family of related modes and melodies. This leads me to
> consider the different steps and "scales within a scale"
> such as the ones inspired by the tunings of Yahya, Jon, and
> Shaahin, and seek some kind of tentative scheme or "program"
> for an improvisation, almost a kind of "suite."
>
>
> Peace and love,
>
> Margo

Thanks, Margo. I think others here have commented on the
scale-within-the-scale concept as well. What is most Western music, if
not mostly 7 out of 12? Many (though perhaps not all) traditional musics
with an extended gamut tend to use various intervallic subsets to build
melodies and modes. It is a very effective method of organizing coherent
music from microtonal chaos. Shaahin, Yahya or Ozan could speak far more
competently on this than I.

I would say that Schoenberg's use of the row strikes me as a
particularly dastgah-like approach to using all the tones of 12-edo --
the pitches arranged to form a "mode" from which the rest of the
composition evolves. Even more so the works of Josef Hauer, who
organized 12-edo into two 6-tone "modes". In my serial experiments, I
frequently constructed and treated my rows as rags or
ascending-descending melodic patterns:

C - Db - E - F - G# - A - B - A# - G - F# - Eb - D

for example.

Regards,

jl

[Non-text portions of this message have been removed]

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1c.

Re: Odd impressions -- shall we compare notes?
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Posted by: "Kraig Grady" kraiggrady@anaphoria.com
<mailto:kraiggrady@anaphoria.com?Subject=%20Re:%20Odd%20impressions%20--
%20shall%20we%20compare%20notes?> banaphshu
<http://profiles.yahoo.com/banaphshu>

Tue Jun 6, 2006 8:40 am (PST)

In Erv Wilson's papers on the Moment of Symmetry he goes into these
secondary scales (scales formed of subset of a scale) and shows how
these scale form an important part in Japanese music , both in theory
and practice.
http://anaphoria.com/mos.PDF <http://anaphoria.com/mos.PDF>

This approach is extremely useful in working with scales that are
unequal in size steps where the same sub pattern will produce many
variations, often organized in very fruitful and musically interesting
ways. Such material comprises maybe 99 per cent of what i work with

J.Smith wrote:
>
> Thanks, Margo. I think others here have commented on the
> scale-within-the-scale concept as well. What is most Western music, if
> not mostly 7 out of 12? Many (though perhaps not all) traditional
musics
> with an extended gamut tend to use various intervallic subsets to
build
> melodies and modes. It is a very effective method of organizing
coherent
> music from microtonal chaos. Shaahin, Yahya or Ozan could speak far
more
> competently on this than I.
>
> I would say that Schoenberg's use of the row strikes me as a
> particularly dastgah-like approach to using all the tones of 12-edo --
> the pitches arranged to form a "mode" from which the rest of the
> composition evolves. Even more so the works of Josef Hauer, who
> organized 12-edo into two 6-tone "modes". In my serial experiments, I
> frequently constructed and treated my rows as rags or
> ascending-descending melodic patterns:
>
> C - Db - E - F - G# - A - B - A# - G - F# - Eb - D
>
> for example.
>
>
>
>

--
Kraig Grady
North American Embassy of Anaphoria Island <http://anaphoria.com/
<http://anaphoria.com/> >
The Wandering Medicine Show
KXLU <http://www.kxlu.com/main.html <http://www.kxlu.com/main.html> >
88.9 FM Wed 8-9 pm Los Angeles

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2.

Re: no lyrics?
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Posted by: "hstraub64" hstraub64@telesonique.net
<mailto:hstraub64@telesonique.net?Subject=%20Re:%20no%20lyrics?>
hstraub64 <http://profiles.yahoo.com/hstraub64>

Tue Jun 6, 2006 6:01 am (PST)

--- In MakeMicroMusic@yahoogroups.com
<mailto:MakeMicroMusic%40yahoogroups.com> , "stephenszpak"
<stephen_szpak@...> wrote:
>
>
> I don't read every post or download every
> song here. Maybe it's just me...
>
> Is it true that few microtonal compositions
> have lyrics?
>

Wasn't there that song in 60EDO with lyrics in Klingon?
--
Hans Straub

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3.

cakewalk rapture loads .scl files
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Posted by: "Joe" tamahome02000@yahoo.com
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%20.scl%20files> tamahome02000
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Tue Jun 6, 2006 12:03 pm (PST)

I recently confirmed this with the demo. It doesn't seem to be
advertised anywhere though. But it's the same programmer as z3ta and
dimension pro, Rene G. C. Don't try to load a .tun file though; it'll
blow your host, lol.

Joe

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