This seems like an odd idea in many respects, but for those of us who are classically trained musicians, it’s really precisely what we do when we go to music school, right? Also, all those masterclasses and workshops we take on our principal instrument in addition to those rarer occasions when we study with a master musician on our principal instruments who happen to not be a master in the instrument we’re playing–these all count.
So last night I had the opportunity to perform with the Eastern Caravan Group in Bloomington, Indiana. I was sent a handful of sheet music to work with just a couple days ago, but ironically I ended up using practically none of them. I was initially just invited to perform whatever I was comfortable with from the music sent but as soon as I heard a tune announced that I knew (albeit, in a completely different key) I reached for my cello and looked at Shahyar Daneshgar (the de facto leader of the esnemble) and he just nodded and smiled.
So what was supposed to be a small guest appearance with the group by me ended up with me playing the whole evening (minus the first couple of tunes) with the group. And it was an absolute blast. The two or three tunes the group played that I did know were all in different key areas than I had learned or performed and the arrangements were completely different but that hardly mattered to me, apparently, as I seemed to have no problems transposing the melodies to the new tonal areas without much effort (which actually surprised me, even). And as Shahyar Müellim had, in our initial correspondence, wanted me to play more in the bass range, I was also transposing down two octaves.
The whole evening was like that with the exception of a popular Azeri dance tune we played for one of my partners in Raks Makam who happened to be able to make the show. I was alternating between playing bass function (when chordal harmonies were somewhat implied) and playing the melodies (by ear and in real time) down two or three octaves. The gel holding the two alternating functions together were improvisational transitions or elaboration/ornamentation of the bass or melody line.