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Berklee College of Music
Iranian Fusion Music
Submitted in Partial Fulfillment of the Degree of Master of Music in
Contemporary Performance (Production Concentration)
Supervisor: Polo Orti
by Mohammad H. Keivan
Valencia Campus, Spain
July 2019
Table of Contents
1
Introduction ....................................................................................................................... 1
2
Objectives .......................................................................................................................... 2
3
Methodology ...................................................................................................................... 5
4
Results ............................................................................................................................... 7
4.1
1st Example Song: Dear Darneh ............................................................................... 8
4.2
2nd Example Song: Boyer Ahmadi Girl.................................................................. 10
4.3
3rd Example Song: A Dancer With Closed Eyes .................................................... 11
4.4
4th Example Song: HOMAYOUN .......................................................................... 13
5
Professional Plan & Next Steps ....................................................................................... 15
6
Conclusions ..................................................................................................................... 16
Bibliography ............................................................................................................................ 18
Listening Sources ................................................................................................................ 18
Videos .................................................................................................................................. 19
Appendix A: Dear Darneh ....................................................................................................... 20
Appendix B: Boyer Ahmadi Girl............................................................................................. 24
Appendix C: A Dancer with Eyes Closed ............................................................................... 26
ii
Abstract
Following my musical background and my proposal, I’ve done my best to record
some of my compositions in order to show my goals in fusion music style. In fact, I’ve
managed to write my pieces showing some details, such as Iranian scales, folk melodies, and
microtones. Having said that, these pieces are the keys for me to reach the new colors in my
composition and in this style. Namely, Iranian Fusion Music.
In fact, Iranian music, especially folk music in my country, is monotone and without
harmony. That is to say, when we listen to Iranian music we can realize that there is not
reharmonization for melodies and these themes play just simple bass lines or some of the
music ranges like alto or soprano. According to this background of Iranian music I’ve
managed to create a new vision to recompose folk themes, Iranian scales, and rhythms. For
this, I used contemporary harmony like jazz voicing in my composition to reharmonize of
Iranian melodies. I should mention that I used some Iranian scales in order to create new
pieces in fusion music styles like CHARGAH and HOMAYOUN. I also tried to use some
contemporary music styles in my composition. For instance, jazz music, minimal music, and
electronic music were some materials for new compositions in these styles to then fuse with
Iranian music materials.
Keywords
Fusion music, jazz, piano, folk melody, composition, minimal.
1
Introduction
An artist’s mission is to show his/her view of the artistic language as much as possible
to the audience. With this mission in mind, I intend to show the music of my country with a
new attitude to the world because I consider myself as an ambassador of the music of my
country. Of course, any musical work should look for new colors and artistic creations for
listeners. As a perfect composer, one can begin with creating the simplest elements around us
and making a masterpiece of art, like Bach, Beethoven, Bela Bartok, etc.
In fact, these musicians are an example of using simple music materials for their
composition. For instance, Bela Bartok has managed to use Folk themes in his composition
like Strings Quartets or Piano Sonatas that are marvelous developing of simple motifs and
melodies and he could be a unique source for us as music students. When I listen to
Beethoven’s symphonies I realize that he could write melodies that were inspired by people’s
emotions, especially after Symphony NO 3. In fact, he composed his Symphony NO 9 from
people who gave him simple notes. At present, I just should say Bach is an unparalleled
musician who wrote marvelous pieces to show the beauty of his life and his society, as his
Pastorals represent, for example, his time. As a result, there were unique composers of each
period of music history and they are a good source of finding a new vision that uses simple
elements in the composition.
I have heard this potential in Persian music repeatedly (in terms of melodies, rhythms,
and Iranian folk instruments), in examples such as Dear Darne, Gazelle Hunting and Boyer
Ahmadi Girl. In fact, these melodies are kind of folk themes of my country that people in the
countries around Iran sing as monotone melodies for their ceremonies or for their kids. There
are many of these examples in my country could be recomposed, assist composers to gain
musical ideas for the way they create and compose. Therefore, I am happy to work these
1
melodies into new compositions, especially as I consider this type of music still remains
silent in this artistic era to the world.
In other words, I intend to create a new structure in contemporary music and with
regard to previously existing musical styles, including jazz, so that the Iranian music styles
can be introduced to everyone on a global scale. Now I can display/demonstrate that Berklee
College of Music has provided me with the opportunity to turn my thoughts into art and to
polish my music which can add new elements and form to the music of my country and
culture.
Through this experience, I would like to be part of contemporary Irian music history and
add a new page in its music development.
2
Objectives
Here are my goals in this project, as follows:
One of the aspects of aesthetics that I can point out is that I would like to reach new
musical layers to portray Iranian music in a way that could be consumed and performed
globally.
Clearly, when a song is written in the Iranian musical scale and made for other
cultures, they are facing an alien language and cannot capture the aesthetic aspects of the
elements used in this music. The same situation takes place if you want to read
Molana's1poetry to people from other countries or other cultures, however, this does not
happen with an Iranian reader/listener. I would like this connection to take place for all
listeners in the world. How to do this? My approach is to work as a translator of Iranian
music to the world. By translator I mean that any art transferred, combined and fused would
intend to portray the spirit of the art but through a different language, that complements and
1
Wikipedia, s.v. “Rumi,” last modified June 25, 2019, 18:10, https://en.wikipedia.org/wiki/Rumi.
2
highlights the general traits of the music. In fact, it should be in a different language which
will be important for other cultures. Of course, this example is slightly different from music
as a form of art.
Another example I can point out is that when you listen to Indian music, you probably
hear the complex rhythm patterns or melody with strange elements you hear in other cultures
However, the artists, such as Steve Smith from the Rhythmic Perspective or musicians and
students from Berklee College of Music such as the Berklee Indian Ensemble ft Shankar
Mahadevan, have displayed to the world that Indian music can be illustrated in a variety of
ways from the point of view of melody and harmony. As my artistic mission and extensive
experience from my country's music and contemporary music, I can recap the artistic aspect
of Iranian music in a different way from my culture to other cultures which is one of the most
fundamental goals of my project.
Another goal in this project is to show the scales of Iranian music alongside the
harmony of contemporary music based on microtones. Apart from the full and half-full
intervals quarter distances, Iranian music is made from a complete musical distance. Since I
am expanding my motifs and melodies, it is necessary to carefully select the contemporary
harmony and music style for these scales or melodies, such as CHARGAH and
HOMAYOUN.
In other words, these steps are some of the most difficult challenges for me in terms
of incorporating them into contemporary music. Since they represent the common ground
between Iranian music and contemporary harmony, I think positive things can result from
being blended together.
Another point I would like to reach is to add new colors in orchestration and
instrumentation in Iranian Fusion music. In fact, fusing folk melodies or Iranian scales with
contemporary music should not be the end of my mindset in this style. I need to find new
3
materials to show my mindset in terms of orchestration and instrumentation. For instance, I
always think about regular jazz trios or quartets that could be for Iranian music. Having said
that, I want to compose Iranian music for trios or jazz big band in order to reach new colors
in music from my country. In this case, using electronic materials such as synthesizers could
be also useful for showing new sounds of my composition. For instance, when I use
electronic sounds in order to use microtones in electronic music it could be new
instrumentation or a new vision for beginning methods in my compositions for reaching new
colors in Iranian Fusion music.
My other main goal in the project is the commercial and business side of the music
industry. I believe I can introduce my music at world-renowned festivals in order to find
good music producers to get acquainted with. For example, I wanted to start with my career
recording my project collaborating with professional musicians from Berklee to apply to
other producers and festivals. This is because it should represent music that can actually
attract many fans around the world. Fusion music comes with very pure and regular
melodies, especially the music of the country of Iran, but the importance of the introduction
of these elements by the artists has not been accepted. According to my research, in the
genres offered by fusion music, there are important festivals in the world that will be a great
opportunity to show off. Music is made up of modern and creative thinking. From another
angle, I refer to this issue if I want to point out the concerts given by Iranian artists in Europe
and the performance of European musicians in Iran, I can say that the artistic relationships
between Iran and Europe can make it important for me to make my music in Europe. That is
to say that we are able to bring our listening culture closer to each other, and this has created
a very good platform for developing artists' ways of thinking.
4
3
Methodology
Since one of the main focuses in my project is to use jazz language in my composition
and my performance, I tried to get more familiar with harmony, piano, and contemporary
arranging techniques in jazz in order to develop my knowledge in this style. Thus, I studied
some of the most important books at the Berklee library. For instance, I received some
information about arranging for big band from my supervisor, and he also suggested the
study of two books: Arranging 1 and Arranging 2 by Berklee Press, to improve my arranging
techniques. From my time at Berklee, I became acquainted with the very professional and
modern library of this school, so that I could easily find books here that can improve my
performance for my projects like Berklee’s Harmonies. In fact, the most technical and
important aspect of my project is piano playing, which plays a very significant role in
connecting the music of the East and the West. In fact, these books have, in some cases,
affected my playing well.
I should mention that my recording process was full of experiences in order to listen
to my music ideas, voicings, rhythms, and form. In fact, before the main recording sessions, I
tried to make a demo of my songs at Berklee studios so my advisor and I could talk about the
different music layers of my composition. Also, I’ve done my best to incorporate some
suggestions from my professors in my main recording. Additionally, in order to gain new
concepts for new music ideas and my composition, my advisor and other professors
presented to me some songs from famous artists that I needed to listen to, and who become
important role models this year, such as Keith Jarret, Aziza Mustafa Zadeh, and Lalo
Schifrin.
On the other hand, in order to enrichen my performance and composition with new
techniques, I made the decision to improve my Piano technique so I spent more time
practicing this year. I believe that when I want to write for Piano I should have good
5
technique on Piano to show the mindset of my composition. Polo Orti and Perico Sambeat
influenced the improvement of my technique and my finger work. In fact, reaching to jazz
language and learning voicings needs the artist to devote much time to improve. For instance,
Dear Darneh or Boyer Ahmadi Girl is an example of how I display my technique on Piano.
When I wrote Dear Darneh piece as a trio, I couldn’t play some techniques or some voicings
but now, since I have spent more time practicing (about three or four hours every day), it is
possible.
Also, I participated in Perico Sambeat’s classes like Ear Training, his Ensemble and
Jazz Improvisation to gain more knowledge. I would consider Perico Sambeat played a vital
role in my composition and was one of the most important sources for my composition and
performance. In fact, I became familiar with jazz harmony and contemporary ear training
with Perico during this year, and I could find new horizons in my music life in order to take
Iranian Fusion Music into new steps.
Before I arrived at this school, YouTube was one of my best sources of research for
years. It continues to be so in the present because I can use it to study the technique of
various musicians in composing different types of music. It is also a great platform for me to
study other musicians’ work, play along and imitate them. This has continued so far, and now
YouTube is one of my best sources for the greater impact of various artists in my project. For
example, Tom Kennedy's latest playback of bass guitar (add footnote) on YouTube is very
precise in terms of technique, as well as the performances of Fusion Music of Aziza Mustafa
6
Zadeh,2 Chick Corea,3 Herbie Hancock,4 Tom Kennedy,5 and Dave Weckl6, who are wellknown artists in the world. Recently, I could do researches about bass or piano lines from
these artists that were extremely rewarding for me. I could use modern bass lines from Tom
Kennedy in my composition like Dear Darneh or something similar.
Another way I used YouTube as a source directly in my project is to study Iranian
musicians, who are as well-known as Iranian musicians from the perspective of Iranian music
and audience. I investigate them as closely as possible. In fact, because my instrument
(piano) does not commonly create some of the traditional Iranian sounds, other Iranian
musicians and their traditional instruments would need to be incorporated into my project,
maybe in the future. One of them is my brother who is famous TAR player in my country, he
could be my instructor at my side to teach me Iranian scales step by step. So, I’ve managed to
learn about some scales that have microtones for writing about Iranian scales in my
composition. Although I could not use Iranian instrument in my pieces, I selected electronic
music in order to use microtones well.
4
Results
After analyzing my compositions with faculty and playing my pieces during some
events by students and me in this year, I realized that I’ve managed to show my mindset in
2
Wikipedia, s.v. “Aziza Mustafa Zadeh,” last modified June 21, 2019, 21:09,
https://en.wikipedia.org/wiki/Aziza_Mustafa_Zadeh.
3
Wikipedia, s.v. “Chick Corea,” last modified June 22, 2019, 08:25,
https://en.wikipedia.org/wiki/Chick_Corea.
4
Wikipedia, s.v. “Herbie Hancock,” last modified June 25, 2019, 23:26,
https://en.wikipedia.org/wiki/Herbie_Hancock.
5
Wikipedia, s.v. “Tom Kennedy,” last modified May 6, 2018, 20:38,
https://en.wikipedia.org/wiki/Thomas_Kennedy.
6
Wikipedia, s.v. “Dave Weckl,” last modified May 19, 2019, 00:07,
https://en.wikipedia.org/wiki/Dave_Weckl.
7
Iranian fusion music in terms of composition, orchestration, and performance. I received
positive feedback from my professors and audiences after playing my pieces. The first thing I
should mention is that when I listen to my compositions I realize that I have reached global
sounds and I am able to develop short melodies or themes for the piano or big orchestra. For
instance, when I listen to new version of Boyer Ahmadi Girl, Dear Darneh or Gazelle
Hunting that I arranged for a jazz big band, trio and quartet at present I would say that my
repertories of Iranian music are ready to be presented to people around the world. At the
moment, globalizing these melodies has been successful. Now, here are some examples of
these pieces.
4.1 1st Example Song: Dear Darneh
The first example is of Dear Darneh, a short melody from my country. This theme is a
kind of folk theme from the country around the north of Iran, named Zanjan (See Fig. 1.).
Example 1. The Theme of Dear Darneh
Another feature which I should mention is that in terms of harmony I’ve managed to
reharmonize folk melodies in the jazz style, and I could fuse these melodies with jazz music.
In fact, I could introduce Iranian themes in a jazz fusion style of music. For instance,
basically this short melody could be reharmonized based on I-IV-V chord progression as triad
chords, but I tried to used jazz chords like altered, Mixolydian, Lydian, Dorian, Minor
Melodic and sus4/2. In fact, I’ve done my best to reach jazz voicing for this melody in order
to develop the chord progressions.
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Also, I should mention that I developed this melody line using some intervals like the
third minor up or down. In fact, this melody is 6 bars but I could develop it for many pages.
For example, I wrote an introduction based on the Flamenco rhythm Bulerias and Solea in
terms of the rhythm section and then I made different bridges between some sections by
adding chromatic scales or jazzy voicing.
Additionally, I should say that in order to develop this melody I was inspired by this
short melody and then I wrote a melody for the section B of this song. In fact, the original
melody does not have a fixed structure and, to combine the folk elements and jazz elements, I
created a form for this song. For instance, I made an Introduction based on flamenco rhythms
and I used jazz chords as accompaniment of melody and then introducing main melody as
section A. I composed first bridge to create a new interval of the main melody as section A2
and then a second bridge to make a better connection between some sections. Also, I
introduced a section B or new melody and then developed it with new groves like jazzy
syncopations. In addition, I introduced solo sections for Piano and Bass and then returned
back to coda and I created the ending as final section of this form.
Also, I got inspired by a well-known artist named Aziza Mustafa Zadeh who has
different jazz fusion albums including famous artists in the world. I composed Dear Darneh
based on some trios of Aziza and drew inspiration some music ideas in this song. So, I could
develop Dear Darneh theme for a trio and now it could be a complete piece for piano and
this is an example of developing this theme.
As a conclusion for Dear Darneh song, I should say that now we can listen to an
Iranian melody with jazz language and I used virtuoso Piano techniques to compose the piece
completely for Piano as a jazz trio. In fact, I was able to fuse the Iranian folk theme with
contemporary music and, in this case, jazz music was the main source for this interpretation
of Iranian fusion music.
9
4.2 2nd Example Song: Boyer Ahmadi Girl
The second example, Boyer Ahmadi Girl, is arranged for a jazz style big band:
Example 2. The new example of Boyer Ahmadi Girl short theme
Through this song, I’ve managed to improve my technique on the piano in order to
introduce this project this year. I needed to have a composition that was based on jazz
language and piano. After writing this piece, I had to improve my finger work and my
knowledge to have a perfect performance. As well as, in another of my piece named Boyer
Ahmadi Girl, I had hard challenges for playing this piece because it is a real jazzy piece and I
introduced jazz piano techniques in this piece. Although I had some challenges for playing
my pieces, I think I could overcome them very well. Thus, I can say that after one year I
could almost reach virtuoso techniques on piano.
Also, my vision and my mindset have changed towards my piano performing. Having
said that, I should say that I tried to develop this melody like Dear Darneh but there are
differences between the Boyer piece and Darneh piece in terms of form and composition. For
instance, I wanted to use a jazzy form in this piece in order to develop my composition. This
means that I didn’t want to develop the melody as an addition of new sections like I had done
in Dear Darneh. On the contrary, I wrote a new variation based on the Boyer Ahmadi Girl
melody and then I used the variation of this melody as a jazz head where I introduced solo
10
sections. The other thing I should mention is that I created an introduction for this song with
some bridges, and ending as reaching to a complete the jazz form.
On the other hand, I had some arrangement challenges because composing for Horn
section in jazz style was one of the biggest challenges that I faced. I wanted to gain new
experience and new colors in orchestration, so I selected jazzy instruments for this song. In
fact, the Tenor Sax plays a vital role in this song and I wrote a specific line for it. Also, I’ve
managed to compose some hits for Brass section in order to reach jazz language.
As a result, we can listen to an Iranian melody but with a jazz taste. In fact, I was able
to fuse Iranian music materials with jazz instrumentation, voicing, rhythm and a jazzy form.
In addition, I could show how a folk theme of my country can be fused with a contemporary
music style to reach new colors in Iranian Fusion Music.
4.3 3rd Example Song: A Dancer With Closed Eyes
In addition, I am able to compose my own melodies in minimal music style. In fact,
this following piece is composed in a different contemporary music style called minimal
music.
I should mention that some years ago I composed an album named Minimal For
Noise and Piano and I have a musical background in this genre. I selected this style as an
introduction of my compositions based on Iranian scales. In fact, I wanted to use Iranian
scales in my composition as new materials to develop. In this case, I didn’t want to work with
a preexisting folk melody, this is a new composition. This means, that I had to write a new
song.
In this case, I’ve managed to write my own composition based on an Iranian scale
called CAHRGAH, or Iranian Phrygian. As I mentioned before, I focused on traditional
Iranian themes, but in this part, I wanted to use new materials in my composition without
11
adding elements from folk themes. Therefore, I used another music style to fuse with Iranian
scale. A Dancer with Closed Eyes is my new melody to introduce Iranian scale.
I also wanted to introduce a different instrumentation, mostly in the rhythm section.
That is, the song was written for Piano, Bass and Percussion instead of Drums. I wanted to
use traditional percussions from of around world in order to reach new minimal elements in
my composition. By incorporating percussionist and fellow student Patrick Duke Graney, I
was able to realize this instrumentation, as he helped in creating the mindset I was looking
for.
Additionally, I was inspired by artist Leonardo Blanco and Alon Yavani who has
different music albums in the minimal jazz style. That is to say, when I listen to these albums
from Leonardo and Yavani I could understand that I can create simple melodies or simple
chord progressions in this piece that will have jazz taste but be in minimal style. In fact, he
composed some pieces that incorporate difficult jazzy groves and jazzy syncopation in terms
of rhythm, but when I listen to his music I can realize that his song is very simple but has
complicated layers in the composition.
Thus, A Dancer… is a piece in which I focus on Iranian scales, and rhythm section,
and the simple elements of minimal art in order to fuse Iranian material with a contemporary
music style. As a result, when I analyze this piece, I can understand that I’ve managed to
write my own melody, which is a simple theme and then I introduced an Iranian scale in this
piece based on my melody. Also, I could find new vision about syncopations in jazz and
connect this to folk percussion and modern percussions like Djembe with brooms, Ocean
Drum, Hadjira, Cajon, Shakers and Bells.
Example 3. CHARGAH IN C
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4.4 4th Example Song: HOMAYOUN
My last piece in Iranian Fusion Music project is Electro HOMAYOUN. I first tried to
use microtones to introduce another Iranian scale in my composition, but I decided to work
on electronic music style for this composition. In fact, I composed a new melody based on
the Iranian scale called HOMOYOUN that has microtones for Iranian instruments. In terms
of instrumentation, however, I used it for digital synthesizers and computer. In this piece, I
used my own melody that I fused with electronic music. I think we can use different music
styles for fusing with other styles but one of the most important facts that I wanted to gain
during this year was reaching new correct ways for future steps in my own composition in
fusion music. Having said that, I’ve done my best to not limit reaching new colors in this
project, since I think we have a wide range of music styles in contemporary music that we
can fuse and HOMAYOUN is the result of this thinking.
I should mention that, in terms of harmony, I didn’t use jazz harmony or any specific
jazz chord progression in this piece. In fact, in this section of my composition I focused on
improvisation based on microtones and creating a melody in the HOMAYOUN scale. I had
the same challenges in this piece in issues such as improvisation and arranging for
synthesizers but I’ve managed to create a good instrumentation and solo section in this song.
For instance, I was inspired by musician Jordan Rudess on improvising on synthesizer. To be
honest, in my opinion, he is the best source on keyboard. On the other hand, I should mention
that the HOMAYOUN scale has some microtones. For example, I decided to compose this
piece in the key of C or HOMAYOUN in C. In fact, it has Bb-E natural-Ab and D microtone
or Persian musicians called KORON.
13
One of the most important parts of my composition is the use of Logic Pro software.
That is to say, in order to make microtones I used the synthesizer on the software of this
program. I have used Logic Pro as a good source of synthesizers that I needed to use in the
theme of my new piece, like some Arpeggiators, Pads or Lead voices. Also, Logic Pro is a
good platform to change tunes. For instance, I could change the tune of D to microtone +50
the in recording setup tuning section pretty easily. In fact, I made a D Koron that is like Flat
but it is ½ of Db.
Example 4.HOMOYOUN piece
In the end, to reach a common music language and new colors in modern
composition, I can say that I have used different materials and music ideas and combined
14
them, but the most important thing is finding the correct ways to show it and present it. I
think I have succeeded to reach good models of my next steps in fusion music.
5
Professional Plan & Next Steps
During this year, I’ve managed to compose five my own composition in order to
introduce Iranian music layers in fusion music style. Each of those tracks offers a new word
to show my mindset in composition, and each of these pieces can be also the beginning of
new ways in my composition in the future and in new albums. Each piece is a role model for
new work in my music life and my future. For instance, I wrote two pieces for a trio with jazz
language based on Iranian Folk themes. According to these compositions, I can make a new
album based on folk melodies in Iranian fusion style for a small ensemble as a jazz fusion
trio. Another piece was composed for a big band based on a traditional melody. This piece
could be my framework in composition for big orchestra in a jazz style and I want to develop
it as a music album. At present, I can say that creating my album based on these tracks is one
of my most important goals and performing those pieces will be another purpose in the
future.
As a composer, I always think about new music ideas and new materials to develop
my ideas in composition. As a result, I can say that Iran, where I came from, can be a good
source for me in terms of inspiring of unapparelled ideas for my composition and I think I
can start to create a new album in Iranian fusion style. In fact, I have specific plans for my
future, which include taking part in different music festivals around the world to introduce
my style and the music from my country. At present, I think I should promote my
composition in a wide range of music styles and countries to present myself as a composer
and performer. On the other hand, my next music album will be one of the best ways to
introduce my mindset and my music style to people. The nature of my new materials opens
the possibility of finding fans all over the world, instead of just my country.
15
6
Conclusions
As a conclusion, I should say through the projects completed this year I gained new
information which will be applied to my composition for my next albums in particular and
my musical life in general. In fact, I found new ways for reaching the new colors in
composition in fusion style in terms of orchestration, instrumentation, harmony, form,
rhythm, and composition. For instance, at present, I can choose my subjects of the new album
to make new compositions including folk melodies, scales or rhythms. I should mention that
Dear Darneh, Gazelle Hunting, Boyer Ahmadi Girl, A Dancer With Closed Eyes and Electro
Homayoun are tracks that I can use as references songs to create my next album that will be
called Melody.
On the one hand, I should say I completed all the musical ideas that I had planned to
this year and, more importantly, I learned to judge my own music. For example, I composed
Gazelle Hunting as my first song at this school based on folk themes but I don’t use it as my
reference track to explain about composition or my purpose of composing this song for
several reasons. For instance, this song was good in terms of arranging but I didn’t like it in
terms of (1) fusing contemporary music with Iranian melody and composition or (2)
developing motifs or structure, because this track was my first experience doing so, and I
didn’t know some important notes or what my main goal was this year. So, I think one of the
professional points that I reached is the ability to analyze my composition.
On the other hand, after one year I have realized how I can extract a musical idea. I
mean that I have learned to understand how I should visualize the different music layers like
Harmony, Scales, Form, Rhythm, and Orchestration. Therefore, I’ve managed to learn which
theme or which music idea to develop in terms of composition.
In addition, each of my compositions this year is new doors for new music ideas. In fact,
I could realize my potential in terms of composition by working on different musical layers.
16
For example, I’ve managed to compose some songs based on details, like scales or rhythms,
therefore, I can work on other music styles like rock music in order to fuse them with Iranian
music materials or perhaps work on Indian scales and then fuse these with Iranian music in
the future. As a result, I should say that I incorporated new musical ideas and I can continue
my composition in Fusion music style based on the results which I gained from projects that I
completed this year.
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Bibliography
Listening Sources
Corea Chick. Expressions Music Album. 1994, CDs.
Farrokh Tofigh. Ferforge Album. CDs.
Laco Tayfa Band. Laco Tayfa Album. 2009, CDs.
Leonardo Blanco. Roots & Effects. CDs.
Mustafa Zadeh, Aziza. Dance of Fire Music Album. 1997, CDs.
Mustafa Zadeh, Aziza. Always. 1993, CDs.
Schifrin Lalo. Jazz Meets the Symphony album. 1994, CDs.
Schifrin Lalo. Fire Bird. 1995, CDs.
Yavani Alon. Travels Notes. 2008, CDs.
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Videos
“Berklee Indian Ensemble ft Shankar Mahadevan - 5 Peace Band,” Posted by Berklee
College of Music Jul 5, 2017 YouTube video,
10:46,dhttps://www.youtube.com/watch?v=dn_1O3J56E8
Corea Chick, “Chick Corea - Jazz in MARCIAC.” Posted by Füzuli Məmmədov
Feb 25,2016 YouTube video, 1:01:43,
https://www.youtube.com/watch?v=G2stYKZF-d4
Dave Weckl, Mike Stern, Tom Kennedy, Bob Malach LIVE@MOGORO. Posted by Nic
Deiana, Nov 25, 2016 YouTube video, 19:39,
https://www.youtube.com/watch?v=RPkiWTvhVsE
“Laço Tayfa Band - Hicaz Dolap,” Posted by Kaan yurdakul Jul 31, 2013 YouTube video,
04:49,
https://www.youtube.com/watch?v=h8rITS0Wwk8&list=PLlho5eW2T_MJNDmNUe
b4hoBUTFYDMzhjI
Mike Stern, Didier Lockwood, Dave Weckl & Tom Kennedy, KT – LIVE, Posted by
ycopolis TV, Apr 20, 2012 YouTube, 11:36,
https://www.youtube.com/watch?v=8qIhSQXx3GU
Mustafa Zadeh, Aziza. “Aziza Mustafa Zadeh - Always [full album].” Posted by Nurlan
Babazade, Feb 6, 2016. YouTube video, 1:02:46,
https://www.youtube.com/watch?v=b9uUNW5_lUk&t=34s
Mustafa Zadeh, Aziza. “Aziza Mustafa Zadeh - Dance of Fire [full album].” Posted by
Nurlan Babazade, October 9, 2016. YouTube video, 1:09:46,
https://www.youtube.com/watch?v=pRLIowtn1J0.
Petrucciani Michel, “Michel Petrucciani – Caravan, Posted by Tivadar Varga, Dec 5, 2008
YouTube Video, 05:44, https://www.youtube.com/watch?v=06_uCl_Bovs
Smith Steve, “Steve Smith - Indian Rhythms at NAMM 2015.” Posted by ZAMAR Musick,
Feb 19, 2015 YouTube video, 07:09,
https://www.youtube.com/watch?v=uLBLCBmX0CA
19
Appendix A: Dear Darneh
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23
Appendix B: Boyer Ahmadi Girl
24
25
Appendix C: A Dancer with Eyes Closed
26
27
28
29
30
31
Iranian Fusion Music
Submitted in Partial Fulfillment of the Degree of Master of Music in
Contemporary Performance (Production Concentration)
Supervisor: Polo Orti
by Mohammad H. Keivan
Valencia Campus, Spain
July 2019
Table of Contents
1
Introduction ....................................................................................................................... 1
2
Objectives .......................................................................................................................... 2
3
Methodology ...................................................................................................................... 5
4
Results ............................................................................................................................... 7
4.1
1st Example Song: Dear Darneh ............................................................................... 8
4.2
2nd Example Song: Boyer Ahmadi Girl.................................................................. 10
4.3
3rd Example Song: A Dancer With Closed Eyes .................................................... 11
4.4
4th Example Song: HOMAYOUN .......................................................................... 13
5
Professional Plan & Next Steps ....................................................................................... 15
6
Conclusions ..................................................................................................................... 16
Bibliography ............................................................................................................................ 18
Listening Sources ................................................................................................................ 18
Videos .................................................................................................................................. 19
Appendix A: Dear Darneh ....................................................................................................... 20
Appendix B: Boyer Ahmadi Girl............................................................................................. 24
Appendix C: A Dancer with Eyes Closed ............................................................................... 26
ii
Abstract
Following my musical background and my proposal, I’ve done my best to record
some of my compositions in order to show my goals in fusion music style. In fact, I’ve
managed to write my pieces showing some details, such as Iranian scales, folk melodies, and
microtones. Having said that, these pieces are the keys for me to reach the new colors in my
composition and in this style. Namely, Iranian Fusion Music.
In fact, Iranian music, especially folk music in my country, is monotone and without
harmony. That is to say, when we listen to Iranian music we can realize that there is not
reharmonization for melodies and these themes play just simple bass lines or some of the
music ranges like alto or soprano. According to this background of Iranian music I’ve
managed to create a new vision to recompose folk themes, Iranian scales, and rhythms. For
this, I used contemporary harmony like jazz voicing in my composition to reharmonize of
Iranian melodies. I should mention that I used some Iranian scales in order to create new
pieces in fusion music styles like CHARGAH and HOMAYOUN. I also tried to use some
contemporary music styles in my composition. For instance, jazz music, minimal music, and
electronic music were some materials for new compositions in these styles to then fuse with
Iranian music materials.
Keywords
Fusion music, jazz, piano, folk melody, composition, minimal.
1
Introduction
An artist’s mission is to show his/her view of the artistic language as much as possible
to the audience. With this mission in mind, I intend to show the music of my country with a
new attitude to the world because I consider myself as an ambassador of the music of my
country. Of course, any musical work should look for new colors and artistic creations for
listeners. As a perfect composer, one can begin with creating the simplest elements around us
and making a masterpiece of art, like Bach, Beethoven, Bela Bartok, etc.
In fact, these musicians are an example of using simple music materials for their
composition. For instance, Bela Bartok has managed to use Folk themes in his composition
like Strings Quartets or Piano Sonatas that are marvelous developing of simple motifs and
melodies and he could be a unique source for us as music students. When I listen to
Beethoven’s symphonies I realize that he could write melodies that were inspired by people’s
emotions, especially after Symphony NO 3. In fact, he composed his Symphony NO 9 from
people who gave him simple notes. At present, I just should say Bach is an unparalleled
musician who wrote marvelous pieces to show the beauty of his life and his society, as his
Pastorals represent, for example, his time. As a result, there were unique composers of each
period of music history and they are a good source of finding a new vision that uses simple
elements in the composition.
I have heard this potential in Persian music repeatedly (in terms of melodies, rhythms,
and Iranian folk instruments), in examples such as Dear Darne, Gazelle Hunting and Boyer
Ahmadi Girl. In fact, these melodies are kind of folk themes of my country that people in the
countries around Iran sing as monotone melodies for their ceremonies or for their kids. There
are many of these examples in my country could be recomposed, assist composers to gain
musical ideas for the way they create and compose. Therefore, I am happy to work these
1
melodies into new compositions, especially as I consider this type of music still remains
silent in this artistic era to the world.
In other words, I intend to create a new structure in contemporary music and with
regard to previously existing musical styles, including jazz, so that the Iranian music styles
can be introduced to everyone on a global scale. Now I can display/demonstrate that Berklee
College of Music has provided me with the opportunity to turn my thoughts into art and to
polish my music which can add new elements and form to the music of my country and
culture.
Through this experience, I would like to be part of contemporary Irian music history and
add a new page in its music development.
2
Objectives
Here are my goals in this project, as follows:
One of the aspects of aesthetics that I can point out is that I would like to reach new
musical layers to portray Iranian music in a way that could be consumed and performed
globally.
Clearly, when a song is written in the Iranian musical scale and made for other
cultures, they are facing an alien language and cannot capture the aesthetic aspects of the
elements used in this music. The same situation takes place if you want to read
Molana's1poetry to people from other countries or other cultures, however, this does not
happen with an Iranian reader/listener. I would like this connection to take place for all
listeners in the world. How to do this? My approach is to work as a translator of Iranian
music to the world. By translator I mean that any art transferred, combined and fused would
intend to portray the spirit of the art but through a different language, that complements and
1
Wikipedia, s.v. “Rumi,” last modified June 25, 2019, 18:10, https://en.wikipedia.org/wiki/Rumi.
2
highlights the general traits of the music. In fact, it should be in a different language which
will be important for other cultures. Of course, this example is slightly different from music
as a form of art.
Another example I can point out is that when you listen to Indian music, you probably
hear the complex rhythm patterns or melody with strange elements you hear in other cultures
However, the artists, such as Steve Smith from the Rhythmic Perspective or musicians and
students from Berklee College of Music such as the Berklee Indian Ensemble ft Shankar
Mahadevan, have displayed to the world that Indian music can be illustrated in a variety of
ways from the point of view of melody and harmony. As my artistic mission and extensive
experience from my country's music and contemporary music, I can recap the artistic aspect
of Iranian music in a different way from my culture to other cultures which is one of the most
fundamental goals of my project.
Another goal in this project is to show the scales of Iranian music alongside the
harmony of contemporary music based on microtones. Apart from the full and half-full
intervals quarter distances, Iranian music is made from a complete musical distance. Since I
am expanding my motifs and melodies, it is necessary to carefully select the contemporary
harmony and music style for these scales or melodies, such as CHARGAH and
HOMAYOUN.
In other words, these steps are some of the most difficult challenges for me in terms
of incorporating them into contemporary music. Since they represent the common ground
between Iranian music and contemporary harmony, I think positive things can result from
being blended together.
Another point I would like to reach is to add new colors in orchestration and
instrumentation in Iranian Fusion music. In fact, fusing folk melodies or Iranian scales with
contemporary music should not be the end of my mindset in this style. I need to find new
3
materials to show my mindset in terms of orchestration and instrumentation. For instance, I
always think about regular jazz trios or quartets that could be for Iranian music. Having said
that, I want to compose Iranian music for trios or jazz big band in order to reach new colors
in music from my country. In this case, using electronic materials such as synthesizers could
be also useful for showing new sounds of my composition. For instance, when I use
electronic sounds in order to use microtones in electronic music it could be new
instrumentation or a new vision for beginning methods in my compositions for reaching new
colors in Iranian Fusion music.
My other main goal in the project is the commercial and business side of the music
industry. I believe I can introduce my music at world-renowned festivals in order to find
good music producers to get acquainted with. For example, I wanted to start with my career
recording my project collaborating with professional musicians from Berklee to apply to
other producers and festivals. This is because it should represent music that can actually
attract many fans around the world. Fusion music comes with very pure and regular
melodies, especially the music of the country of Iran, but the importance of the introduction
of these elements by the artists has not been accepted. According to my research, in the
genres offered by fusion music, there are important festivals in the world that will be a great
opportunity to show off. Music is made up of modern and creative thinking. From another
angle, I refer to this issue if I want to point out the concerts given by Iranian artists in Europe
and the performance of European musicians in Iran, I can say that the artistic relationships
between Iran and Europe can make it important for me to make my music in Europe. That is
to say that we are able to bring our listening culture closer to each other, and this has created
a very good platform for developing artists' ways of thinking.
4
3
Methodology
Since one of the main focuses in my project is to use jazz language in my composition
and my performance, I tried to get more familiar with harmony, piano, and contemporary
arranging techniques in jazz in order to develop my knowledge in this style. Thus, I studied
some of the most important books at the Berklee library. For instance, I received some
information about arranging for big band from my supervisor, and he also suggested the
study of two books: Arranging 1 and Arranging 2 by Berklee Press, to improve my arranging
techniques. From my time at Berklee, I became acquainted with the very professional and
modern library of this school, so that I could easily find books here that can improve my
performance for my projects like Berklee’s Harmonies. In fact, the most technical and
important aspect of my project is piano playing, which plays a very significant role in
connecting the music of the East and the West. In fact, these books have, in some cases,
affected my playing well.
I should mention that my recording process was full of experiences in order to listen
to my music ideas, voicings, rhythms, and form. In fact, before the main recording sessions, I
tried to make a demo of my songs at Berklee studios so my advisor and I could talk about the
different music layers of my composition. Also, I’ve done my best to incorporate some
suggestions from my professors in my main recording. Additionally, in order to gain new
concepts for new music ideas and my composition, my advisor and other professors
presented to me some songs from famous artists that I needed to listen to, and who become
important role models this year, such as Keith Jarret, Aziza Mustafa Zadeh, and Lalo
Schifrin.
On the other hand, in order to enrichen my performance and composition with new
techniques, I made the decision to improve my Piano technique so I spent more time
practicing this year. I believe that when I want to write for Piano I should have good
5
technique on Piano to show the mindset of my composition. Polo Orti and Perico Sambeat
influenced the improvement of my technique and my finger work. In fact, reaching to jazz
language and learning voicings needs the artist to devote much time to improve. For instance,
Dear Darneh or Boyer Ahmadi Girl is an example of how I display my technique on Piano.
When I wrote Dear Darneh piece as a trio, I couldn’t play some techniques or some voicings
but now, since I have spent more time practicing (about three or four hours every day), it is
possible.
Also, I participated in Perico Sambeat’s classes like Ear Training, his Ensemble and
Jazz Improvisation to gain more knowledge. I would consider Perico Sambeat played a vital
role in my composition and was one of the most important sources for my composition and
performance. In fact, I became familiar with jazz harmony and contemporary ear training
with Perico during this year, and I could find new horizons in my music life in order to take
Iranian Fusion Music into new steps.
Before I arrived at this school, YouTube was one of my best sources of research for
years. It continues to be so in the present because I can use it to study the technique of
various musicians in composing different types of music. It is also a great platform for me to
study other musicians’ work, play along and imitate them. This has continued so far, and now
YouTube is one of my best sources for the greater impact of various artists in my project. For
example, Tom Kennedy's latest playback of bass guitar (add footnote) on YouTube is very
precise in terms of technique, as well as the performances of Fusion Music of Aziza Mustafa
6
Zadeh,2 Chick Corea,3 Herbie Hancock,4 Tom Kennedy,5 and Dave Weckl6, who are wellknown artists in the world. Recently, I could do researches about bass or piano lines from
these artists that were extremely rewarding for me. I could use modern bass lines from Tom
Kennedy in my composition like Dear Darneh or something similar.
Another way I used YouTube as a source directly in my project is to study Iranian
musicians, who are as well-known as Iranian musicians from the perspective of Iranian music
and audience. I investigate them as closely as possible. In fact, because my instrument
(piano) does not commonly create some of the traditional Iranian sounds, other Iranian
musicians and their traditional instruments would need to be incorporated into my project,
maybe in the future. One of them is my brother who is famous TAR player in my country, he
could be my instructor at my side to teach me Iranian scales step by step. So, I’ve managed to
learn about some scales that have microtones for writing about Iranian scales in my
composition. Although I could not use Iranian instrument in my pieces, I selected electronic
music in order to use microtones well.
4
Results
After analyzing my compositions with faculty and playing my pieces during some
events by students and me in this year, I realized that I’ve managed to show my mindset in
2
Wikipedia, s.v. “Aziza Mustafa Zadeh,” last modified June 21, 2019, 21:09,
https://en.wikipedia.org/wiki/Aziza_Mustafa_Zadeh.
3
Wikipedia, s.v. “Chick Corea,” last modified June 22, 2019, 08:25,
https://en.wikipedia.org/wiki/Chick_Corea.
4
Wikipedia, s.v. “Herbie Hancock,” last modified June 25, 2019, 23:26,
https://en.wikipedia.org/wiki/Herbie_Hancock.
5
Wikipedia, s.v. “Tom Kennedy,” last modified May 6, 2018, 20:38,
https://en.wikipedia.org/wiki/Thomas_Kennedy.
6
Wikipedia, s.v. “Dave Weckl,” last modified May 19, 2019, 00:07,
https://en.wikipedia.org/wiki/Dave_Weckl.
7
Iranian fusion music in terms of composition, orchestration, and performance. I received
positive feedback from my professors and audiences after playing my pieces. The first thing I
should mention is that when I listen to my compositions I realize that I have reached global
sounds and I am able to develop short melodies or themes for the piano or big orchestra. For
instance, when I listen to new version of Boyer Ahmadi Girl, Dear Darneh or Gazelle
Hunting that I arranged for a jazz big band, trio and quartet at present I would say that my
repertories of Iranian music are ready to be presented to people around the world. At the
moment, globalizing these melodies has been successful. Now, here are some examples of
these pieces.
4.1 1st Example Song: Dear Darneh
The first example is of Dear Darneh, a short melody from my country. This theme is a
kind of folk theme from the country around the north of Iran, named Zanjan (See Fig. 1.).
Example 1. The Theme of Dear Darneh
Another feature which I should mention is that in terms of harmony I’ve managed to
reharmonize folk melodies in the jazz style, and I could fuse these melodies with jazz music.
In fact, I could introduce Iranian themes in a jazz fusion style of music. For instance,
basically this short melody could be reharmonized based on I-IV-V chord progression as triad
chords, but I tried to used jazz chords like altered, Mixolydian, Lydian, Dorian, Minor
Melodic and sus4/2. In fact, I’ve done my best to reach jazz voicing for this melody in order
to develop the chord progressions.
8
Also, I should mention that I developed this melody line using some intervals like the
third minor up or down. In fact, this melody is 6 bars but I could develop it for many pages.
For example, I wrote an introduction based on the Flamenco rhythm Bulerias and Solea in
terms of the rhythm section and then I made different bridges between some sections by
adding chromatic scales or jazzy voicing.
Additionally, I should say that in order to develop this melody I was inspired by this
short melody and then I wrote a melody for the section B of this song. In fact, the original
melody does not have a fixed structure and, to combine the folk elements and jazz elements, I
created a form for this song. For instance, I made an Introduction based on flamenco rhythms
and I used jazz chords as accompaniment of melody and then introducing main melody as
section A. I composed first bridge to create a new interval of the main melody as section A2
and then a second bridge to make a better connection between some sections. Also, I
introduced a section B or new melody and then developed it with new groves like jazzy
syncopations. In addition, I introduced solo sections for Piano and Bass and then returned
back to coda and I created the ending as final section of this form.
Also, I got inspired by a well-known artist named Aziza Mustafa Zadeh who has
different jazz fusion albums including famous artists in the world. I composed Dear Darneh
based on some trios of Aziza and drew inspiration some music ideas in this song. So, I could
develop Dear Darneh theme for a trio and now it could be a complete piece for piano and
this is an example of developing this theme.
As a conclusion for Dear Darneh song, I should say that now we can listen to an
Iranian melody with jazz language and I used virtuoso Piano techniques to compose the piece
completely for Piano as a jazz trio. In fact, I was able to fuse the Iranian folk theme with
contemporary music and, in this case, jazz music was the main source for this interpretation
of Iranian fusion music.
9
4.2 2nd Example Song: Boyer Ahmadi Girl
The second example, Boyer Ahmadi Girl, is arranged for a jazz style big band:
Example 2. The new example of Boyer Ahmadi Girl short theme
Through this song, I’ve managed to improve my technique on the piano in order to
introduce this project this year. I needed to have a composition that was based on jazz
language and piano. After writing this piece, I had to improve my finger work and my
knowledge to have a perfect performance. As well as, in another of my piece named Boyer
Ahmadi Girl, I had hard challenges for playing this piece because it is a real jazzy piece and I
introduced jazz piano techniques in this piece. Although I had some challenges for playing
my pieces, I think I could overcome them very well. Thus, I can say that after one year I
could almost reach virtuoso techniques on piano.
Also, my vision and my mindset have changed towards my piano performing. Having
said that, I should say that I tried to develop this melody like Dear Darneh but there are
differences between the Boyer piece and Darneh piece in terms of form and composition. For
instance, I wanted to use a jazzy form in this piece in order to develop my composition. This
means that I didn’t want to develop the melody as an addition of new sections like I had done
in Dear Darneh. On the contrary, I wrote a new variation based on the Boyer Ahmadi Girl
melody and then I used the variation of this melody as a jazz head where I introduced solo
10
sections. The other thing I should mention is that I created an introduction for this song with
some bridges, and ending as reaching to a complete the jazz form.
On the other hand, I had some arrangement challenges because composing for Horn
section in jazz style was one of the biggest challenges that I faced. I wanted to gain new
experience and new colors in orchestration, so I selected jazzy instruments for this song. In
fact, the Tenor Sax plays a vital role in this song and I wrote a specific line for it. Also, I’ve
managed to compose some hits for Brass section in order to reach jazz language.
As a result, we can listen to an Iranian melody but with a jazz taste. In fact, I was able
to fuse Iranian music materials with jazz instrumentation, voicing, rhythm and a jazzy form.
In addition, I could show how a folk theme of my country can be fused with a contemporary
music style to reach new colors in Iranian Fusion Music.
4.3 3rd Example Song: A Dancer With Closed Eyes
In addition, I am able to compose my own melodies in minimal music style. In fact,
this following piece is composed in a different contemporary music style called minimal
music.
I should mention that some years ago I composed an album named Minimal For
Noise and Piano and I have a musical background in this genre. I selected this style as an
introduction of my compositions based on Iranian scales. In fact, I wanted to use Iranian
scales in my composition as new materials to develop. In this case, I didn’t want to work with
a preexisting folk melody, this is a new composition. This means, that I had to write a new
song.
In this case, I’ve managed to write my own composition based on an Iranian scale
called CAHRGAH, or Iranian Phrygian. As I mentioned before, I focused on traditional
Iranian themes, but in this part, I wanted to use new materials in my composition without
11
adding elements from folk themes. Therefore, I used another music style to fuse with Iranian
scale. A Dancer with Closed Eyes is my new melody to introduce Iranian scale.
I also wanted to introduce a different instrumentation, mostly in the rhythm section.
That is, the song was written for Piano, Bass and Percussion instead of Drums. I wanted to
use traditional percussions from of around world in order to reach new minimal elements in
my composition. By incorporating percussionist and fellow student Patrick Duke Graney, I
was able to realize this instrumentation, as he helped in creating the mindset I was looking
for.
Additionally, I was inspired by artist Leonardo Blanco and Alon Yavani who has
different music albums in the minimal jazz style. That is to say, when I listen to these albums
from Leonardo and Yavani I could understand that I can create simple melodies or simple
chord progressions in this piece that will have jazz taste but be in minimal style. In fact, he
composed some pieces that incorporate difficult jazzy groves and jazzy syncopation in terms
of rhythm, but when I listen to his music I can realize that his song is very simple but has
complicated layers in the composition.
Thus, A Dancer… is a piece in which I focus on Iranian scales, and rhythm section,
and the simple elements of minimal art in order to fuse Iranian material with a contemporary
music style. As a result, when I analyze this piece, I can understand that I’ve managed to
write my own melody, which is a simple theme and then I introduced an Iranian scale in this
piece based on my melody. Also, I could find new vision about syncopations in jazz and
connect this to folk percussion and modern percussions like Djembe with brooms, Ocean
Drum, Hadjira, Cajon, Shakers and Bells.
Example 3. CHARGAH IN C
12
4.4 4th Example Song: HOMAYOUN
My last piece in Iranian Fusion Music project is Electro HOMAYOUN. I first tried to
use microtones to introduce another Iranian scale in my composition, but I decided to work
on electronic music style for this composition. In fact, I composed a new melody based on
the Iranian scale called HOMOYOUN that has microtones for Iranian instruments. In terms
of instrumentation, however, I used it for digital synthesizers and computer. In this piece, I
used my own melody that I fused with electronic music. I think we can use different music
styles for fusing with other styles but one of the most important facts that I wanted to gain
during this year was reaching new correct ways for future steps in my own composition in
fusion music. Having said that, I’ve done my best to not limit reaching new colors in this
project, since I think we have a wide range of music styles in contemporary music that we
can fuse and HOMAYOUN is the result of this thinking.
I should mention that, in terms of harmony, I didn’t use jazz harmony or any specific
jazz chord progression in this piece. In fact, in this section of my composition I focused on
improvisation based on microtones and creating a melody in the HOMAYOUN scale. I had
the same challenges in this piece in issues such as improvisation and arranging for
synthesizers but I’ve managed to create a good instrumentation and solo section in this song.
For instance, I was inspired by musician Jordan Rudess on improvising on synthesizer. To be
honest, in my opinion, he is the best source on keyboard. On the other hand, I should mention
that the HOMAYOUN scale has some microtones. For example, I decided to compose this
piece in the key of C or HOMAYOUN in C. In fact, it has Bb-E natural-Ab and D microtone
or Persian musicians called KORON.
13
One of the most important parts of my composition is the use of Logic Pro software.
That is to say, in order to make microtones I used the synthesizer on the software of this
program. I have used Logic Pro as a good source of synthesizers that I needed to use in the
theme of my new piece, like some Arpeggiators, Pads or Lead voices. Also, Logic Pro is a
good platform to change tunes. For instance, I could change the tune of D to microtone +50
the in recording setup tuning section pretty easily. In fact, I made a D Koron that is like Flat
but it is ½ of Db.
Example 4.HOMOYOUN piece
In the end, to reach a common music language and new colors in modern
composition, I can say that I have used different materials and music ideas and combined
14
them, but the most important thing is finding the correct ways to show it and present it. I
think I have succeeded to reach good models of my next steps in fusion music.
5
Professional Plan & Next Steps
During this year, I’ve managed to compose five my own composition in order to
introduce Iranian music layers in fusion music style. Each of those tracks offers a new word
to show my mindset in composition, and each of these pieces can be also the beginning of
new ways in my composition in the future and in new albums. Each piece is a role model for
new work in my music life and my future. For instance, I wrote two pieces for a trio with jazz
language based on Iranian Folk themes. According to these compositions, I can make a new
album based on folk melodies in Iranian fusion style for a small ensemble as a jazz fusion
trio. Another piece was composed for a big band based on a traditional melody. This piece
could be my framework in composition for big orchestra in a jazz style and I want to develop
it as a music album. At present, I can say that creating my album based on these tracks is one
of my most important goals and performing those pieces will be another purpose in the
future.
As a composer, I always think about new music ideas and new materials to develop
my ideas in composition. As a result, I can say that Iran, where I came from, can be a good
source for me in terms of inspiring of unapparelled ideas for my composition and I think I
can start to create a new album in Iranian fusion style. In fact, I have specific plans for my
future, which include taking part in different music festivals around the world to introduce
my style and the music from my country. At present, I think I should promote my
composition in a wide range of music styles and countries to present myself as a composer
and performer. On the other hand, my next music album will be one of the best ways to
introduce my mindset and my music style to people. The nature of my new materials opens
the possibility of finding fans all over the world, instead of just my country.
15
6
Conclusions
As a conclusion, I should say through the projects completed this year I gained new
information which will be applied to my composition for my next albums in particular and
my musical life in general. In fact, I found new ways for reaching the new colors in
composition in fusion style in terms of orchestration, instrumentation, harmony, form,
rhythm, and composition. For instance, at present, I can choose my subjects of the new album
to make new compositions including folk melodies, scales or rhythms. I should mention that
Dear Darneh, Gazelle Hunting, Boyer Ahmadi Girl, A Dancer With Closed Eyes and Electro
Homayoun are tracks that I can use as references songs to create my next album that will be
called Melody.
On the one hand, I should say I completed all the musical ideas that I had planned to
this year and, more importantly, I learned to judge my own music. For example, I composed
Gazelle Hunting as my first song at this school based on folk themes but I don’t use it as my
reference track to explain about composition or my purpose of composing this song for
several reasons. For instance, this song was good in terms of arranging but I didn’t like it in
terms of (1) fusing contemporary music with Iranian melody and composition or (2)
developing motifs or structure, because this track was my first experience doing so, and I
didn’t know some important notes or what my main goal was this year. So, I think one of the
professional points that I reached is the ability to analyze my composition.
On the other hand, after one year I have realized how I can extract a musical idea. I
mean that I have learned to understand how I should visualize the different music layers like
Harmony, Scales, Form, Rhythm, and Orchestration. Therefore, I’ve managed to learn which
theme or which music idea to develop in terms of composition.
In addition, each of my compositions this year is new doors for new music ideas. In fact,
I could realize my potential in terms of composition by working on different musical layers.
16
For example, I’ve managed to compose some songs based on details, like scales or rhythms,
therefore, I can work on other music styles like rock music in order to fuse them with Iranian
music materials or perhaps work on Indian scales and then fuse these with Iranian music in
the future. As a result, I should say that I incorporated new musical ideas and I can continue
my composition in Fusion music style based on the results which I gained from projects that I
completed this year.
17
Bibliography
Listening Sources
Corea Chick. Expressions Music Album. 1994, CDs.
Farrokh Tofigh. Ferforge Album. CDs.
Laco Tayfa Band. Laco Tayfa Album. 2009, CDs.
Leonardo Blanco. Roots & Effects. CDs.
Mustafa Zadeh, Aziza. Dance of Fire Music Album. 1997, CDs.
Mustafa Zadeh, Aziza. Always. 1993, CDs.
Schifrin Lalo. Jazz Meets the Symphony album. 1994, CDs.
Schifrin Lalo. Fire Bird. 1995, CDs.
Yavani Alon. Travels Notes. 2008, CDs.
18
Videos
“Berklee Indian Ensemble ft Shankar Mahadevan - 5 Peace Band,” Posted by Berklee
College of Music Jul 5, 2017 YouTube video,
10:46,dhttps://www.youtube.com/watch?v=dn_1O3J56E8
Corea Chick, “Chick Corea - Jazz in MARCIAC.” Posted by Füzuli Məmmədov
Feb 25,2016 YouTube video, 1:01:43,
https://www.youtube.com/watch?v=G2stYKZF-d4
Dave Weckl, Mike Stern, Tom Kennedy, Bob Malach LIVE@MOGORO. Posted by Nic
Deiana, Nov 25, 2016 YouTube video, 19:39,
https://www.youtube.com/watch?v=RPkiWTvhVsE
“Laço Tayfa Band - Hicaz Dolap,” Posted by Kaan yurdakul Jul 31, 2013 YouTube video,
04:49,
https://www.youtube.com/watch?v=h8rITS0Wwk8&list=PLlho5eW2T_MJNDmNUe
b4hoBUTFYDMzhjI
Mike Stern, Didier Lockwood, Dave Weckl & Tom Kennedy, KT – LIVE, Posted by
ycopolis TV, Apr 20, 2012 YouTube, 11:36,
https://www.youtube.com/watch?v=8qIhSQXx3GU
Mustafa Zadeh, Aziza. “Aziza Mustafa Zadeh - Always [full album].” Posted by Nurlan
Babazade, Feb 6, 2016. YouTube video, 1:02:46,
https://www.youtube.com/watch?v=b9uUNW5_lUk&t=34s
Mustafa Zadeh, Aziza. “Aziza Mustafa Zadeh - Dance of Fire [full album].” Posted by
Nurlan Babazade, October 9, 2016. YouTube video, 1:09:46,
https://www.youtube.com/watch?v=pRLIowtn1J0.
Petrucciani Michel, “Michel Petrucciani – Caravan, Posted by Tivadar Varga, Dec 5, 2008
YouTube Video, 05:44, https://www.youtube.com/watch?v=06_uCl_Bovs
Smith Steve, “Steve Smith - Indian Rhythms at NAMM 2015.” Posted by ZAMAR Musick,
Feb 19, 2015 YouTube video, 07:09,
https://www.youtube.com/watch?v=uLBLCBmX0CA
19
Appendix A: Dear Darneh
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23
Appendix B: Boyer Ahmadi Girl
24
25
Appendix C: A Dancer with Eyes Closed
26
27
28
29
30
31
Media of
