Article | www.JavaheriMusic.com

Domezrab Chap (Part 1)

Alireza Javaheri
June 2007

Through many years the method of notation/note writing of contemporary of Santour players specially Parviz Meshkatian works have been discussed so much and many specialists have talked and observed skillfully such works in private and public sessions. Although most of this specialist haven't introduced themselves so their most formal opinion in their comments and web logs with pen name or sometimes they have introduced themselves in private classes.
Although no one is against friends private opinion but it is better that every opinions must be depend on studying and searching, then it should be criticized and observed and this way that is sometimes domineering doesn't obstruct they discussion path. Therefore every opinion should be based on studying and having more information about Iranian music specially Santour instrument.
Although such private opinions that are from unknown friends have been daily habitual in recent decade and there is usually less note or book that published and has not been denied by these persons!
Although such grade authorities usually have been silent near masters and they haven't given any qualified opinion.
In Iran is usual that collecting the works of an artist will be done after his death meanwhile those works have been collected before the death of that artist. In this way starting, writing and publishing of Iranian contemporary Santour players works was as the age which all of these artist were alive and all of them observed the quality of adjusting and writing of their works .Now how can we give a simple opinion about a book which is published in the third millenary: entire of the book is false and even we can find a correct statements in its context .These statements and opinions show the level of musical knowledge and education of such writers. Such crisis for a book and without any proof and perhaps such discussion causes critical discussions about writing and writing note about music in academic field. Certainly for progressing and continuing of artistic and cultural fairs need right qualified criticism and observation. But unfortunately collecting mentioned works except a few exact criticisms by official and famous persons that accurate observations have artistic and cultural identity, others are not criticized skillfully.
Most of these fellows think getting no response of writers proves that they are right. Of course the most useful and best way against these persons is silence. Because answering to such persons is useless and has not any other effect. Anyway progressing and continuing these kinds of artistic activities need practical criticisms and qualified observation and surely such criticisms can guide us to such goals like continuing artistic works and the same opinion in collecting and publishing such works.

***
In this text we will distinguish one of the common techniques in Santour playing which is perhaps depend on most positions with helping of using of this technique specially Parviz Meshkatian works.

Domezrab and Domezrab Chap

Domezrab Chap technique is all most in most of all old and present Santour players and almost is a part of the first and main common Mezrabi technique in Santour players works.
Domezrab as four continual note and with (right – right –left - left) Mezrab and is performed as following.

Audio file 1

Because Domezrab from main and primitive Mezrab in Santour Mezrab in Santour playing so in beginner books is paid attention to This Mezarbi technique.

Santour instruction book (Faramarz Payvar), lesson 29 piece in Afshari.

Santour instruction book (Faramarz Payvar) Lesson 31 Joghatayee in Dastgah-e Segah.

Santour self study book (Hossein Saba) exercise number 21 Shahnaz Zarbi (Shahnaz Rhythmic).

Domezrab is performed as a separate piece and as a Mezarbi technique among rhythmic and sing items.
Pay attention to a sample of Domezrab-e Shahnaz in Domezrab piece of Habib Samayee which is used from Domezrab as a separate piece.

Pay attention to a part of Domezrab-e Shahnaz from Habib Samayee.
Audio file 2

Pay attention to a part of performing and note of Domezrab-e Esfahan piece (Nahib) composed by Parviz Meshkatian.

Audio file 3

Pay attention to a part of performing and note of Domezrab-e Joghatayee Piece in Segah adjusted by Faramarz Payvar.

Audio file 4

The Samples that you have heard and seen all are complete and separate pieces which are composed by getting used of Domezrab technique.
Now pay attention to samples that are used from parts of those ones.
Pay attention to the part of performing and note of Taraneh (Song) piece composed by Faramarz Payvar in Dastgah-e Mahur.

Audio file 5

Pay attention to a part of note and performing Hosseini Zarbi (Hosseini Rhythmic) piece composed by Faramarz Payvar from Eight Songs Book.

Audio file 7

Pay attention to a part of the note of performing a piece in Mahur composed by Ardavan Kamkar in "Darya" (Sea) cassette.

Ardavan Kamkar's picture

Audio file 8



Biography News Gallery Music Films CD Concerts Books Sheets Article Links Contact سایت فارسی
Domezrab Chap (Part 1) Alireza Javaheri June 2007 Through many years the method of notation/note writing of contemporary of Santour players specially Parviz Meshkatian works have been discussed so much and many specialists have talked and observed skillfully such works in private and public sessions. Although most of this specialist haven't introduced themselves so their most formal opinion in their comments and web logs with pen name or sometimes they have introduced themselves in private classes. Although no one is against friends private opinion but it is better that every opinions must be depend on studying and searching, then it should be criticized and observed and this way that is sometimes domineering doesn't obstruct they discussion path. Therefore every opinion should be based on studying and having more information about Iranian music specially Santour instrument. Although such private opinions that are from unknown friends have been daily habitual in recent decade and there is usually less note or book that published and has not been denied by these persons! Although such grade authorities usually have been silent near masters and they haven't given any qualified opinion. In Iran is usual that collecting the works of an artist will be done after his death meanwhile those works have been collected before the death of that artist. In this way starting, writing and publishing of Iranian contemporary Santour players works was as the age which all of these artist were alive and all of them observed the quality of adjusting and writing of their works .Now how can we give a simple opinion about a book which is published in the third millenary: entire of the book is false and even we can find a correct statements in its context .These statements and opinions show the level of musical knowledge and education of such writers. Such crisis for a book and without any proof and perhaps such discussion causes critical discussions about writing and writing note about music in academic field. Certainly for progressing and continuing of artistic and cultural fairs need right qualified criticism and observation. But unfortunately collecting mentioned works except a few exact criticisms by official and famous persons that accurate observations have artistic and cultural identity, others are not criticized skillfully. Most of these fellows think getting no response of writers proves that they are right. Of course the most useful and best way against these persons is silence. Because answering to such persons is useless and has not any other effect. Anyway progressing and continuing these kinds of artistic activities need practical criticisms and qualified observation and surely such criticisms can guide us to such goals like continuing artistic works and the same opinion in collecting and publishing such works. *** In this text we will distinguish one of the common techniques in Santour playing which is perhaps depend on most positions with helping of using of this technique specially Parviz Meshkatian works. Domezrab and Domezrab Chap Domezrab Chap technique is all most in most of all old and present Santour players and almost is a part of the first and main common Mezrabi technique in Santour players works. Domezrab as four continual note and with (right – right –left - left) Mezrab and is performed as following. Audio file 1 Because Domezrab from main and primitive Mezrab in Santour Mezrab in Santour playing so in beginner books is paid attention to This Mezarbi technique. Santour instruction book (Faramarz Payvar), lesson 29 piece in Afshari. Santour instruction book (Faramarz Payvar) Lesson 31 Joghatayee in Dastgah-e Segah. Santour self study book (Hossein Saba) exercise number 21 Shahnaz Zarbi (Shahnaz Rhythmic). Domezrab is performed as a separate piece and as a Mezarbi technique among rhythmic and sing items. Pay attention to a sample of Domezrab-e Shahnaz in Domezrab piece of Habib Samayee which is used from Domezrab as a separate piece. Pay attention to a part of Domezrab-e Shahnaz from Habib Samayee. Audio file 2 Pay attention to a part of performing and note of Domezrab-e Esfahan piece (Nahib) composed by Parviz Meshkatian. Audio file 3 Pay attention to a part of performing and note of Domezrab-e Joghatayee Piece in Segah adjusted by Faramarz Payvar. Audio file 4 The Samples that you have heard and seen all are complete and separate pieces which are composed by getting used of Domezrab technique. Now pay attention to samples that are used from parts of those ones. Pay attention to the part of performing and note of Taraneh (Song) piece composed by Faramarz Payvar in Dastgah-e Mahur. Audio file 5 Pay attention to a part of note and performing Hosseini Zarbi (Hosseini Rhythmic) piece composed by Faramarz Payvar from Eight Songs Book. Audio file 7 Pay attention to a part of the note of performing a piece in Mahur composed by Ardavan Kamkar in "Darya" (Sea) cassette. Ardavan Kamkar's picture Audio file 8