Whitemud Crossing Branch, Edmonton Library, March 9, 2008

Here's a possible lineup...we won't necessarily perform all of these. Especially if they're not ready! Try to arrive shortly after 1pm so we can organize ourselves. The performance will be acoustic, because the library doesn't have microphones.

• Bilafrah (introduction)
• 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! :)