Since the arrival of the Western notation method in Iran and its use to write down Iranian music, various stages have been passed until accepting and understanding that notation and its rules are not heavenly and eternal laws, but a system for writin ...
Since the arrival of the Western notation method in Iran and its use to write down Iranian music, various stages have been passed until accepting and understanding that notation and its rules are not heavenly and eternal laws, but a system for writing musical thoughts and techniques. Musicians are the goal of recording and transferring them. This book is written in the educational and analytical notation method, the same method that was used by the author many years ago to write Mirza Abdullah's row. Here are the additions and multiplications and many subtle points in decorations etc., in particular, four sources have been used: 1. The author's learnings from direct instruction from Shahnazi master 2. The tape left over from Shahnazi's performance from this row, 3. Habibullah Salehi's musical score, 4. Notation by Farhad Arzhengi
While Ali Akbar Shahnazi continued his father's tradition of preserving and perpetuating the oral heritage of Iranian music and teaching side by side, he developed his educational repertoire in line with the developments of the day towards modernity and preserving the original characteristics of Iranian music. He called this new repertoire in contrast to his father's row - which he called the classical row - "the row of the great period". In this row, the rabbi pieces - actually a new type of four multiples - have increased and made it more diverse than other rows. Made In the vocal parts of the high level, the main corners or the king corners are selected, and sometimes corners with a specific melodic theme or prosaic weight are mentioned.
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