Está compuesta en el Dastgah Mahour y una parte en el Dastgah de Shur:
Detalle de los diferentes gushehs y dastgahs (modos) que componen esta canción:
1. Daramad de Dastgâh Mahour : del principio hasta "o zebar kon".
2. Goshayesh de Mahour: de"Bolbol-e par" hasta "tudera"/
"por sharar kon" es foroud (vuelta al la melodía base) ,
3. Shekasteh de Mahour : de"zolm-e zalem" hasta "dadeh bar bad"/
De "ey khoda" hasta "mara sahar kon": foroud.
4. Delkash de Mahour : de "No bahar ast" hasta "zsaleh bar ast"
5. Modulación al dastgah Shur, con el gusheh Qaracheh : de "In ghafas" hasta "atashin")
6. Sigue en dastgah Shur, con el gusheh Razavi ("Dast-e tabi'at... Gol az in"),
7. Forud (vuelta) al dastgah Mahour: de "bishtar kon" hasta el final.
Quiero señalar que puede que haya algún error en este análisis de las diferenres partes de Morgh-e Sahar, por ello son bienvenidas cualquier correcciones que se puedan aportar. Sin embargo, todos los gushehs mencionados son indudablemente presentes en esta canción, la parte de la cual tengo unas dudas aún es la de los "Foroud".
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Tasnif-e "Morgh-e Sahar". Composition of the jewish-Iranian composer Morteza Neydavoud, on a poem of Bahar also known as Malek to o-Shóara. This song is perhaps as well-known in Iran as the national anthem, very popular, as much for its lyrics (tyranny, freedom, oppression...) as by its beautiful music. Mohammad Reza Shajarian helped much to this popularity singing it almost always at the end of his concerts during many years, to such an extent that when in 2007 he decided not to sing it in a concert, people waited for it and it requested it shouting after the last encore; that song is considered by many his song, as much the poet's and the composer's, many even think that it is one of his compositions, erroneously.
The tasnif is a composition in the Dastgah Mahour and a part in the Dastgah de Shur:
Detail of the different parts:
The tasnif is a composition in the Dastgah Mahour and a part in the Dastgah de Shur:
Detail of the different parts:
1. Daramad ( from the begining up to "o zebar kon"),
2. Goshayesh ("Bolbol-e par" > "tudera"; "por sharar kon" is foroud),
3. Shekasteh ("zolm-e zalem > dadeh bar bad"; "ey khoda...mara sahar kon": foroud)
4. Delkash ("No bahar ast... zsaleh bar ast")
5. Modulation to Shur, gusheh Qaracheh ("In ghafas... atashin")
6. Shur, gusheh Razavi ("Dast-e tabi'at... Gol az in"),
7. Forud (back) to Mahour: "bishtar kon": to the end.
I aknowledge there may be some errors in the analysis of the tasnif and its differents parts and I appreciate any corrections anyone may add to it as far as the different gushehs are concerned.
2. Goshayesh ("Bolbol-e par" > "tudera"; "por sharar kon" is foroud),
3. Shekasteh ("zolm-e zalem > dadeh bar bad"; "ey khoda...mara sahar kon": foroud)
4. Delkash ("No bahar ast... zsaleh bar ast")
5. Modulation to Shur, gusheh Qaracheh ("In ghafas... atashin")
6. Shur, gusheh Razavi ("Dast-e tabi'at... Gol az in"),
7. Forud (back) to Mahour: "bishtar kon": to the end.
I aknowledge there may be some errors in the analysis of the tasnif and its differents parts and I appreciate any corrections anyone may add to it as far as the different gushehs are concerned.
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