In the contemporary era, Iranian music includes three branches;
the two above-mentioned groups in addition to a third one which
is Iran’s national music. This branch covers the traditional
melodies of the two above groups, but with a classic rendition.
According to the new classifIcation of Iranian Awaz (songs) and modes, which has been set since a century ago, Iran’s traditional singing and music has been divided Into 12 groups. The seven groups which are wider and more independent are called Dastgah (mode) and the other five groups which are not independent and have been derived from the Dastgahs or modes are called Awaz (a group of melodies with the same gamut.) So, Iran’s present traditional music is only a remainder of the former 12 Maghams (modes) and what we have today is a very small part of the Iranian traditional music. The seven main Dastgahs (modes) and the five Awaz groups have several pieces (gushe) which are now the models of the contemporary musicians and singers. The number of these pieces (gushes) is said to be 228. The varoius and well-known Radifi (Iranian classical music) of the masters of the 100-year old Iranian traditional music such as Agha Hosein GhoMirza Abdollali, Darvish Khan, and Saba follow the same order.
The Dastgahs (modes) and Awazes (melodies) in iran’s Traditional Music.
The seven main Dastgahs or modes are: Shoor, Mahoor, Homayoon, Segah, Chahargah, Nava, and Rast Panjgah. The five Awazes or melodies are: Isfahan, Abou Ate, Bayat-e-Tork, Afsharl and Dashti.
The Components of Dastgah and Awaz
In order to perform a Dastgah or Awaz, a special order must be followed and that is; prelude, Awaz, Tasnif (song) and Reng (dance tune). The late Oarvish Kban Innovated and added Plshdaramad (what comes before the prelude) and Chahar Mezrab to this order.
Iran’s Folklore Melodies
The late Khaleghi said in this regard," One of the valuable sources of music in every country is the music and melodies played and sung by the rural people who live in villages far from the cities. And since their music and songs have been less influenced by the urban people, they are
more ~iatural and original and are closer to the country’s ancient and authentic music. Collecting such music not only preserves It, but also gives us more lnformaUonaboutaco~ntry and theway Its people live." As Iran has dlffrenttrlbeswlth different cultures, Its folklore musk enjoys a vast variety, both In the songs and the music. For Instance, the music of Gilan, Azarbal Jan, Khorasan. Kordestan, Shlraz, and Baluchistan have different melodle~ and accents. Iran’s folklore music has two forms: 1)- Local melodies which are sung by one person or by a group. 2)~ Local dances which are accompanied by nativ. musical instruments.
Iran’s local melodies are one of the richest, most beautiful and most various among the folklore melodies in the world. These melodies reflect the thoughts, lives, and nature of the people who have created them. They are one of the rich cultural sources of Iran and can be the best inspiration for our musicians to compose scientific music.
Some Samples Iran’s folklore Melodies:
Gilan and Talesh Music. Kurdistan Music. The music of the South Coast of Iran. Lorestan, Bakhtlari & Fars Music. Sistan va Balouchestan Music. Khorasan Music. Turkmen Music. Azarbaijan Music.
Iran’s musical instruments have been of immense importance since ancient times.
Around a hundred years ago, Iran’s music was gradually separated from songs and followed its own way Iranian musicians and composers masterted the Iranian musk and made innovations in this regard but, on the whole, Iran’s Instrumental music, has two main parts:
Solo Is highly significant in oriental music and this can be related to the eastern philosophy and mysticism and making a connection with the spiritual world. The eastern musician, in his own sense, is engaged in some sort of worship, especially in his soNtude.
Group playing became more common irlran since the time of Nasereddin Shah the Qajar king. Itwas both in the form of traditional music and
instruments and martial music and western instruments which were introduced in Iran by Monsieur Loumer (the French music teacher who had been invited to Iran to teach at Daroiphonoon school) later, group playing became more common and with western musical instruments joining the Iranian ones and the playing of Iranian pieceson western Instruments, It further prospered.
The oldest Iranian musical instruments are the ney (the Iranian flute) and the tambourine. The following are the different kinds of Iranian musica instruments generally classified:
The ney is the oldest instrument in this group. it is a tube
made of cane wIth seven joints and six knots. The ney Is among
Iran’s rural instrumenti and i~ usually played in all parts
Another Iranian wind instrument is Sorna (an oboe-like Iranian instrument) which is common all ovElran and is of two types:Bakhtyari and Azarbaijani. In Iran, the Soma is usually accompanied by the Dohol or the naghareh (a drum-like Iranian Instrument). This instrument is played at different occasions according to the particular region of the country. In lran’Kordestan, the dohol and the soma are played at mourning ceremonies while in the north, the soma is played along with the performance of ropewalkers and West Azarbaijari, the villagers play the Sorna in their marriage ceremonies along with wood dancing.
The Korna is an ancient and historical instrument which is made and played differently In various provinces Iran. The main types of the Korna (an Iranian instrument of the sorna family) are those in the north ciran, Gilan and Mashhad. The Korna is mostly played in Kordestan and Azarbaijan.
The Bagpipe: It is mostly used in the south oiran. In some parts of Iran, it is called "Khiknai". It is also played in some parts of Azarbaijan. '
One of the oldest string Instruments is Kamancheh (an Iranian violin-like instrument resting on the ground during the performance). This instrument can be used well both in solo and in group performance. Kamancheh isa national musical instrument which is played in all the provinces of Iran, but Is mostly common among Turkmen and Turk tribes.
- The barbat (a harp-like Iranian instrument): this is an instrument from the family of limited string instruments. It is also called AI-e-Oud or Lout. Its body Is like a pear divided lengthwise into two parts. It has a big body and a short necI~ which, in earlier times, used to have three strings. The rabab: This instrument has four parts: a melon-shaped body, middle, neck, and head. The strings of the rabab used to be made of the she-bowel, but now they are made of nylon threads. Its plectrum is made of chicken feather. This instrument is mainly rural and is mostly played in Khorasan and also in some parts of Baluchistan and Sistan.
The tar: it is one of the original Iranian string instruments, It has a multi-part body and six strings. Other musical instruments of the tar family are the Doter and the Setar. The doter is usually played in Turkmen Sahra anKhorasan.
Musical Percussion Instruments
The famous Iranian percussion instruments are the dohol, the dayereh, the drum and the Tonbak.
Dohol: It is a musical percussion instrument consisting of a hollow cylindrical body with a diameter of around one meter and a height of 25 to 30 centimeters. Both ends of the cylinder are covered with a tightly stretched skin, the dohol is played with two sticks, one of which is like a walking stick and the other one isa thin twig. The dohol isa rural instrumentwhich usually accompanies the sorna and is mostly playedFars. Baluchistan andKordestan provinci.
Dayereh(Tambourine): This percussion instrument consists of a wooden circle on one side of which, there is a tightly strectched skin, it is struck with fingers of the two hands. The Dayereh Is commonly used in urban areas rather than rural and usually accompanies another musical instrument Presently, the Dayereh is mostly played in Azarbaijan.
Drum: It is another percussion instrument which is smaller than the dohol and is played with two sticks. Inmost parts Iran, it is usually used in mourning ceremonies.
Tombak: The tombak isa percussion instrument made of wood (usually wainutwood). It consists of two parts: the upper part is acylindercovered by skin and the lower part is the neck of the tombak which has a wide, open mouth. It is played by the fingers and the skillful player performs artistic subtleties on it.
String Percussion Instruments
The unique Iranian musical instrument in this group is the santir. It consists of a trapezoid wooden box over which 72 white (high) and yellow (bass) strings have been stretched. It has two wooden plectrums. The santir is an instrument which can be played both solo and in group and it ii played in all parts oflran.