Domezrab Chap (Part 7)

Alireza Javaheri
June 2007

Observing Domezrab Chap in Parviz Meshkatian works:

In pervious sections and comparing with structural specifications some pieces we pointed to Parviz Meshkatian works. But in this section we will give more examples about it, till we find out how this Mezrabi technique will be performable in Parviz Meshkatian works. One of the pieces that because of rhythmic Variety and performing will be discussable is, Khazan (Fall)Piece in Dastgah-e Shur the rhythm of the piece is Double rhythmic with different cycles 2+3+3, 4+4, 3+2+3, 3+3+2. The main point of performing variety of the piece refers to different states of left hand, because this piece is performable both as simple and as Domezrab Chap. Of course usually in live performing may all lefts can not be performed with Domezrab Chap and it is possible that some of bases accidentally and sensorial are performed some with one Mezrab and some with Domezrab Chap. But the main point in writing such pieces is that structural strength of piece during writing note should be observed. So searching in any performing in any measure different form and as it present performed is a non scientific and non practical, so it is better that, the whole piece is written strongly and performing or none performing of a certain technique should be depend on player will. So the note of this piece should be written generally simple or completely with Domezrab Chap. Now we will see difference between simple performing and performing with Domezrab Chap will be too much.

The other point that in writing this piece is important is writing style of Domezrab Chap. So depend on modified points we will see that this piece is written able with Domezrab Chap in two Ways.
Type one: in this type we will write two notes of Domezrab Chap as Selachang (thirty second note) and we will subtract the spent time from pervious note. For example pay attention to the following type.



In second state we can write to Domezrab Chap as grace and main notes are written with complete harmony. Pay attention to following examples.


The important point in writing as second type is that we should pay attention, that how we can subtaract the time obtained of Domezrab Chap performing from which note and these two notes (grace) are depending on to which side.



As you see in the picture, the base (khazan) has been written in two types. At the first state (left side) curved line (tie) is connected to pervious note of graces and in second type curved line (tie) is connected to the next note. Now we should see which one of these two types are closer to reality and which writing is more correct.
At first looking perhaps both writing is correct, because two graces note for performing time are connected to second note but the obtained time of their performing.
Should subtract from first note, so despite of expecting, it is better from writing principles to be connected to the note curved line (tie) that obtained time should be subtracted from obtained graces.
So the first type (left side) seems to be correct, but should not be forgotten that two the graces notes must be performed at the final time point of the first note when is connected to the second note. Some of the players are going to perform Domezrab Chap after performing the first note because they think wrongly that this kind of Mezrab (plectrum) is merely Mezrabi fast and speedy. So they will give out unparallel sound and non rhythmic.
Other point that is so important in performing Domezrab Chap is that, we shouldn't perform this technique like Pamalakhi. This is the mistake that most students make during practing such works and after that after a lot of practicity and spending time the can not get a favorite resolution.
Now pay attention to simple performing and with Domezrab Chap from Khazan piece.

Khazan simple notes

Audio file 63 (Khazan simple performing)

Audio file 64 (Domezrab Chap Khazan performing)


After the mentioned samples, now pay attention to some audio example of Khazan piece that are performed with two simple states and Domezrab chap.

Audio file 65 simple performing

Audio file 66 Domezrab Chap performing


Audio file 67 simple performing

Audio file 68 Domezrab Chap performing

Pay attention to a section composed by Parviz Meshkatian.




Audio file 71

Pay attention to a part of Some Hejaz Mezrab composed by Parviz Meshkatian.



Audio file 72

Pay attention to a part of Chaharmezrab-e Afshari from Gol Aieen book composed by Parviz Meshkatian.




Audio file 73

Now pay attention to a part of Bakhtiyari melody from Homayon Pishdaramad composed by Parviz meshkatian, the sentence is performed is two ways.
First performing is two ways rhythmic and simple and second performing is seven rhythmic (Lang) with Domezrab Chap.



Audio files 74 Performing of Homayun Bakhtiyari Pishdaramad Sentence as Simple double rhythmic

Audio file 75 Performing Homayun Bakhtiyari Pishdaramad Sentence as Seven rhythmic (Lang)

Pay attention to a part of Delangizan piece composed by Parviz Meshkatian from Twenty pieces for Santour book.




Audio file 76

Pay attention to a part of Kord-e Bayat piece composed by Parviz Meshkatian from Twenty pieces for Santour book.



Audio file 77

At the end pay attention to the note and performing of Jamedaran piece composed by Parviz Meshkatian from Twenty pieces for Santour book.

This piece is performed in two ways, at the first state you will hear with Sarmezrab performing and at the second state this piece is performed with Domezrab Chap.




Jemedaran performing with Sarmezrab
Audio file 78

Jemedaran performing with Domezrab Chap
Audio file79