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.
As I mentioned in my last post, I had a meeting with my partner, Jessica, for Raks Makam. This comes on the tail end of me performing a fully fleshed out version of Kor Arab (otherwise known as Kor Ərəbin Mahnısı). I had performed an excerpt of this within the context of a longer collage piece with one of my other dance/music duets, Secondhand, but had only worked out a version for solo cello and voice for Friday’s Terrabeat Cultural Showcase.
I’ve done a number of tunes from Central Asia with il Troubadore and Ahel El Nagam, but in those cases the tunes were either as an extension of Middle Eastern tunes for bellydancers, or Persian Pop (e.g. Googoosh). Since Raks Makam is a project that focuses specifically on music and dance from Central Asia and the Silk Road, the material will be focusing more specifically on traditional and art music from those regions.
Kor Arab fits in very nicely for a number of reasons. First, it is a song written by Fikret Amirov, an Azerbaijani composer who was trained in the Soviet tradition as well as in the indigenous tradition of Mugham. Second, the tune is, for all intents and purposes, a Mugham song. The most recent recording of it (and the first I had the chance to hear several years ago) was by Yo-Yo Ma and his Silk Road Project. It was sung by Alim Qasimov who is a master within the Mugham tradition in Azerbaijan. The liner notes for the CD, “Silk Road Journeys: Beyond the Horizon,” says:
For the Silk Road Ensemble musicians, hearing the ethereal voice of Azerbaijani mugham singer Alim Qasimov put their years of conservatory training into serious question. As they delved into the mugham, they each wondered, “If this is how music should be played what have I been doing all these years?”
Really, that’s a question I ask of myself when I hear music from anywhere!
The obvious difficulty with working up solo versions of this music is distilling the music into two voices (voice/melody or voice/drum) rather than having at least three (voice/melody/drum). One of the reasons for meeting with Jessica was to talk about our options.