Final MENAME concert: Thursday, March 25, 2010

Wasla I (continuous, no breaks)

• Bilafrah Hijaz G (3 min). Play entire form twice (first time ensemble, second time with sections: first plucked, then bowed/blown).
• Taqsim Hijaz G to Nahawand C (org)
• Dulab Nahawand C. Cue: org; melody instruments start (upbeat), then percussion enters on wahda, switching to maqsum. Repeat form twice, with four bar percussion solo in middle.
• taqsim Nahawand C (Hadi)
• Lamma Bada Yatathanna, Nahawand C
• Taqsim (Ashraf) and Mawwal (Tony), Rast C.
• Ya Shadi al-Alhan, Rast C, Tony
• Ya Dha al-Qawwam, Hijaz Kar Kurd G, Tony. Cue from org, begin with instrumentals.
• Qadukka al-Mayyas, Hijaz G (trad. version, Tony) and Nahwand C (Jesse Cook version, all). Cue from org, begin with instrumentals.

Wasla II

• Asphar Awordim (Kurd D). Ali intro (with drone)

• Sari Gelin (Nahawand G). Ali intro, then Kioumars cues.

• Qoqaye setaregan (Nahawand A). Kioumars.
• Kalabandi (Nahawand G)
• Oshyoni bulbulon (Hijaz G)
• Mahbubai jon (A center, Mixolydian F)

Wasla III

• Dulab Bayyati

• Taqasim bayyati (oud) (Ashraf), leading to Samai Bayyati (Bayyati D): first Khana (Rast) plucked; second Khana (Hijaz) bowed; third Khana (Saba) clarinet and org

• Rinda min (Bayyati D), Marie

• Short mawwal & Hare Layle (Bayyati D), Hoshyar (3 verses only)

• Dulab and Taqasim Bayyati (Nadir and Drew)

• Fawq al-Nakhl (Nahawand D), Amal

• Brief taqsim (Hadi) & mawwal (Mona), then Zuruni (Ajam Eb), Mona

• Aziza (Nahawand G) featuring Pam Cruise, dancer

• Shu hal iyyam (Nahawand D)

• Encore: Repeat Hare Layle for debke

General principles

• listen to one another, watch for cues...
• melodic instrumentalists should take care: (1) to drop volume during vocal solos, and raise volume during chorus sections; (2) to drop volume during targama (=tracing the main melody line), and raise volume during lawazim, creating a sharp contrast; (2) to drop volume prior to solos, in order to maximize contrast; (3) develop your own tasteful lawazim and heterophonic variations, filling all spaces.
• melodic instrumentalists should vary repeats, by rising an octave if possible (violins especially)
• when one instrument has a solo, others should not drop out. For taqasim, provide a quiet drone on the tonic. For other solos, use a "targama" technique, as if accompanying the singer.
• percussionists should take care: (1) not to let volume get too high; (2) to listen to one another and to the rest of the ensemble, in order to stay in time; (3) not to accelerate or decelerate except where required; (4) provide nice balance of dum and tek, drum sound and jingle sound, within the ensemble by including a variety of percussion instruments: tabla, tonbak, riqq, tambourine, shaker, clave, etc.
• percussion should always change between chorus and verse; use quieter, less dense cycles with less jangling for verses; louder, denser, janglier for chorus. Precise specifications will vary with the piece.
• singers: (1) know who is singing solo part and who is singing chorus; (2) sing loudly!; (3) if you're not soloing, be sure you're not singing directly into the microphone!; (4) take care to listen to the instruments for pitch, and to the percussion section for timing.
• all: know the forms well, then perform with confidence, especially on entrances.
• watch me for cues, especially to end the pieces. Not all pieces end the same way - some end quietly, and others noisily. See individual piece descriptions for details.
• please bring only the music/lyrics you need, in the right order, and keep it in a black folder.
• don't talk on stage, or look at one another. Except when watching for cues, look out at the audience.
• all: watch each other, watch me, smile a lot, and really enjoy the performance! :)