Iranian Chord Progression?
Dariush Anooshfa
Many Iranian, so called, pop songs are based upon these chord
progressions: Am, G, F, E, or alternatively and slightly
different: G6, D, C, B7. Very similar to spanish songs of
course - and I mean Spain, not America del Sud.:)
To my understanding melodies in Abu-ataa, Dashtee and
perhaps Bakhtiaree etc., if forced into the ET tuning, go well
with these progressions.
I should point out that the folk melodies may not really
get this complicated and simply are rather based on a minor/major
chord alternation. But still if you push those melodies a bit,
you may find yourself in the trailing major and at times the
7th. chords very easily.
Now my questions are:
Is this because of guitar's introduction into Iranian ensembles
in this century and the fact that guitars make these progressions
easy or even rule them?
Is it because Spanish music is pleasant to the Iranian ears since
the arabs spread these familiar modes and moods in Spain during
the Moorish rule, and now we hear something homey and yet a bit
transformed and improved?
Or perhaps a combination of these two and other reasons?
Any opinions?
TIA,
Dariush.
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Djeer, djeer, djeer, ...., djeer, djeer, djeer, ...., djeer ........
Ramin Sepehr
Dariush Anooshfa <dari...@netcom.com> wrote:
>To my understanding melodies in Abu-ataa, Dashtee and
>perhaps Bakhtiaree etc., if forced into the ET tuning, go well
>with these progressions.
Pardon my ignorance, but what is ET? I am not very good with Iranian
Dastgahs, butI am learning.
>Now my questions are:
>
>Is this because of guitar's introduction into Iranian ensembles
>in this century and the fact that guitars make these progressions
>easy or even rule them?
I don't think so, there are a lot of other easy (very easy) progressions
on guitar for beginners, than the enfamous Am G F E (or E7)
For example: Am C Dm E
I have heard variations of Am G F E, have you tried
Am (Am G#) G (G F#) F E7
Where the ones in parenthesis are played at quarter strikes right before the
measure is over. Here is my attempt to explain using the musical notations:
(with limitations enforced by the ASCII characters)
------------------- || ---------------------
* * * *
---------------#*-- || -*-------------------
* * * * *
------------------- || -*-------------------
* * * *
|---|---|---|- #*-- || -*-------------------
| | | |-_ | |
----------------|-- || -|-------------------
^ ^ ^
Am Chord G# Chord G chord
>
>Is it because Spanish music is pleasant to the Iranian ears since
>the arabs spread these familiar modes and moods in Spain during
>the Moorish rule, and now we hear something homey and yet a bit
>transformed and improved?
I think I agree with this. Spanish music was very influenced by the arabic
melodies after the arab invasion. And us persians, just love the sounds of
strumming on nylon strings for some unusual reason!!!
Ramin Sepehr
Dariush Anooshfa
: In article <dariushaD...@netcom.com>,
: Dariush Anooshfa <dari...@netcom.com> wrote:
: >To my understanding melodies in Abu-ataa, Dashtee and
: >perhaps Bakhtiaree etc., if forced into the ET tuning, go well
: >with these progressions.
: Pardon my ignorance, but what is ET? I am not very good with Iranian
: Dastgahs, butI am learning.
Sorry Ramin, perhaps ET is not that of a jargon acronym and, I
should have been more specific. By ET I meant Equal Temprament
or the very tunning/intervals we hear from keyboards and guitars
these days. ET brings transposability of melodies at the cost
of compromising some interval diviations from just and natural
frequency ratios. I will not get into details as I am sure you
can easily find them - or in fact you already know them. If not
so, please boot me up :).
: >Now my questions are:
: >
: >Is this because of guitar's introduction into Iranian ensembles
: >in this century and the fact that guitars make these progressions
: >easy or even rule them?
: I don't think so, there are a lot of other easy (very easy) progressions
: on guitar for beginners, than the enfamous Am G F E (or E7)
: For example: Am C Dm E
You must have a point here. Allow me to think a bit more about it.
Yes. The transition from Am to C is very powerful [I do Am and C on the
neck fret of course]. And actually I think I mentioned about this m/M
transition and the Iranian folk tunes. For the rest; I tried your chords
and yes again. They work nicely. But on the Dm I kept thinking I should
go F instead. I am not sure but somehow, I guess, it brings a flavor
of G7 in the progression! If you are romanic :) as I am, you may like more
mystery than clear harmony :). The journy from Dm to E is somehow
a long one but from F to E continuity is preserved. My opinion only
of course.
: I have heard variations of Am G F E, have you tried
: Am (Am G#) G (G F#) F E7
: Where the ones in parenthesis are played at quarter strikes right before the
: measure is over. Here is my attempt to explain using the musical
notations: : (with limitations enforced by the ASCII characters)
: ------------------- || ---------------------
: * * * *
: ---------------#*-- || -*-------------------
: * * * * *
: ------------------- || -*-------------------
: * * * *
: |---|---|---|- #*-- || -*-------------------
: | | | |-_ | |
: ----------------|-- || -|-------------------
: ^ ^ ^
: Am Chord G# Chord G chord
I tried it now. It make it more sophisticated and chromatic.
It is a good idea I think. The G# completely changes the character
of the trailing G. Gloomy I think is the word :).
: >
: >Is it because Spanish music is pleasant to the Iranian ears since
: >the arabs spread these familiar modes and moods in Spain during
: >the Moorish rule, and now we hear something homey and yet a bit
: >transformed and improved?
: I think I agree with this. Spanish music was very influenced by the arabic
: melodies after the arab invasion. And us persians, just love the sounds of
: strumming on nylon strings for some unusual reason!!!
Thanks Ramin.
You, son of a gun, made me play guitar at am hours!
: Ramin Sepehr
Take care,