MENAME and Najva concert program - 2008

• Bilafrah (introduction: Hijaz G)
• Taqsim org (modulate Hijaz G to Nahawand C)

Nahawand C: (C minor)

• Dulab Nahawand C (w/ short percussion solo, Steven)
• Taqsim oud Nahawand C (Aws)
• Lamma Bada Yatathanna (Nahawand C): chorus
• Shoore Asheghaneh (Ushaq Masri on C): Elaheh solo + chorus
• Hilwa ya Baladi (Nahawand C): Samira solo + chorus
• al-Uzubiyya (Nahawand C) - fast: Soraya + Amal solo + chorus
• Ya Banat Iskandariyya (Nahawand C)

B- series:

• Taqsim saz B kurd (Vahapcan)
• Leylim Ley: solo subgroup of 3 (other singers respond)
• Ach'hal Ayit: Samira + Leila, solos

Farahfaza - G minor:

• taqsim org (Nahawand B to Hijaz Kar D to Nahawand G)
• Chang-e Rudaki (G minor) [if it's ready]
• Ha'agas Street 1 (G minor): Ben solo
• taqsim violin (Nahawand G)
• Longa Riyad (G minor)

In A

• Nassam alayna al-hawa (Kurd A): Rana and Samira solo
• Allah ya moulana (A major): Samira + ?

Bayyati/Hijaz D series:

• taqsim org (Hijaz A to Bayyati D)
• Bint al-Balad
• Ala shawatee Dijla mur: Amal and 1 or 2 others, solo
• Dulab Bayyati (with taqasim)
• Fawq al-Nakhl (D minor): Amal and Samira solo
• Ah ya hilu: Samira solo
• Il hilwa di
• Ah ya zayn (form: perc 4 cycles, all instr, Arabic, violins, Turkish, ud/guitar/saz, Urdu, Arabic)

General principles:

• melodic instrumentalists should take care: (1) to drop volume during vocal solos, and raise volume during chorus sections; (2) to drop volume during targama, 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
• 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!
• all: watch each other, watch me, smile and enjoy the performance! :)