MENAME and Najva concert program - 2008

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MENAME program, I

  • 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)
  • Percussion piece (Steven solo)

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 + percussion

In F

  • Ghaasadek (Mehdi and Michael)

Najva Persian Music Group program

1. Mobtala: in the mode of "Mahoor". Composer: Hasan Yousefzamani (born 1931) Poem: Baba Taher (lived in 11th century)

2. Negah-e-Ashegh: in the mode of "Esfahan" with modulation to "Shoor". Composer: Roohollah Khaleghi (1906 - 1965) Poem: Fereydoon Moshiri (1926 - 2000)

3. Gham-e-Eshgh in the mode of "Rak-e-Abdollah". Composer: Kambiz Roshanravan (born 1949) Poem: Molana Jalaleddin Rumi (1207-1273)

MENAME program, II

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)

Participants:

MENAME

Ali Azad, percussion
Ali Shawwa, voice
Amal Al-Kheder, voice
Anna (Roy) Ganadhy, voice
Ashraf El-Assaly, oud, voice
Aws Shamsan, oud
Basak Acan Clements, voice
Ben Ragosin, guitar, oud, voice
Dion Brocks, electric bass
Drew Price, violin
Elaheh Ahmadi, voice
Kelsey Thompson, percussion
Kioumars Poorhaydari, percussion
Leila Laouar, voice
Leslie Precht, percussion, voice
Maigan van der Giessen, percussion
Martha Steenstrup, percussion, voice
Michael Frishkopf, keyboards
Mohamed Salama, voice
Mohsen Nicksiar, guitar
Nadir Bellahmer, violin
Niyati Dhokai, violin
Pam Cruise, percussion
Rana El Kadi, voice
Samira Elatia, voice
Soraya Hafez, voice
Steven Byrne, percussion
Vahapcan Er, baglama

NAJVA


Performers:

Sara Nobari, violin Ali Hooshiar, voice Hesam Mahmoudi, tar Ali Sharifkhani, setar Raman Yazdani, piano, arrangements

Audio requirements:

MENAME

e-bass: 1 (DI) keyboards: 1 (DI) plucked strings: 5 (five mics) violins: 3 (three mics) percussion: 8 (one mic) voice: 10 (five vocal mics, one positioned with instrumental mic for instrumentalist/singer, 2 soloist mics, 2 section mics for others)


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! :)
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