hossein omoumi

8/13/2019 Hossein Omoumi

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HosseinOmoumiNey

MadjidKhaladjTombak

Iran : Musique classique persane /Iran : Persian Classical Music


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MUSIQUE CLASSIQUE PERSANEHOSSEIN OMOUMI : NEY

MADJID KHALADJ : TOMBAK

Musique savante, la musique classique persane est fonde sur les rgles du rpertoiretraditionnel (Radif) class lui aussi en diffrents systmes modaux .

LE RADIFAu cours du temps, les mlodies et airs musicaux, appels gusheh-s (litt : coin ou angle)sesont multiplis et rpartis en diffrents ensembles appels dastgh-s(litt: systme modal). Lasuccession des gusheh-s lintrieur des systmes modaux est dtermine avec prcision parchacun des matres de la musique persane. Le systme qui en rsulte, le Radif, est transmisoralement de gnration en gnration, de matre lve.

Les sept dastghh-s principaux sont : Shur, mhur, sgah , tchhrgah, homyun, nav,rstpanjgh.On distingue galement cinq modes drivs ou avaz-s, quatre tant drivs deshur savoir : bayt- tork, abuata, afshriet dashti, un seul avaz, esfahn, est driv dehomayun.Le rpertoire mlodique ou Radif se prsente sous deux formes, vocale et instrumentale.On pourrait faire remonter lorigine du Radif vocal un pass aussi lointain que celui de la

naissance de la posie persane, la structure de certains gusheh-s tant calque exactementsur certaines mesures potiques. Ce lien troit existe aussi dans le domaine du rythme : laplupart des rythmes iraniens sont ns de la posie, donc soumis la mtrique. De plus, laprosodie et la signification des pomes chants prennent une importance considrable lorsde linterprtation.Le Radif instrumental diffre du Radif vocal par les techniques quil dploie : il est composde certains morceaux propres un instrument particulier ne sadaptant pas au chant.

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Les gusheh-set les dastgh-s puisent leur appellation dans des sources trs diverses : ainsiTchakvak et Srang sont deux oiseaux au chant mlodieux etLeyli-o Majnun reprend letitre dun pome clbre de Nezmi (XIIe sicle).

LENSEIGNEMENTLe rpertoire mlodique : le matre slectionne un dastgh pour chaque priodedenseignement et interprte un certain nombre de gusheh-sau cours des leons, llve doitensuite les rpter et ce, jusqu la perfection. Il faut souligner que le Radif nest pas constitudun nombre invariable et immuable de gusheh-s , au bout de longues annes de travail et derecherche, chaque matre arrive recomposer un Radif selon sa sensibilit, son interprtation

et sa manire personnelle de relier les gusheh-sentre eux. Bien quil ne soit pas interdit decrer de nouveaux gusheh-s , lexistence mme dune certaine libert dans linterprtationdu Radif ne suscite pas forcment chez lartiste lenvie den crer de nouveaux. Si un matrevient crer un nouvau gusheh, celui-ci sera prsent aux lves au cours de son excutionou lors dune leon et se perptuera ainsi dans luvre de la gnration suivante.Le nombre degusheh-sdans un Radif peut varier dun matre lautre. On en compte prs de

186 dans le Radif instrumental prliminaire de Matre Shanzi et 145 dans le Radif vocal deMatre Mahmud Karimi.

Le soliste outaknavzDepuis toujours le soliste(taknavz) occupe une place privilgie dans le monde musicalpersan. Il jouissait jadis dun prestige particulier tant dans le domaine politique que religieux.

Dans la littrature persane, le terme khonygar dsignait un musicien jouant dun instrumenttout en interprtant un texte, et moghani faisait rfrence un pote chantant ses proprestextes. Au cours des transformations successives de la socit, ces termes ont progressi-vement perdu leur signification, la fonction tant tombe en dsutude, exception faite decertains types de musique folklorique.De nos jours le terme taknavzdsigne le musicien capable dimproviser des mlodies oudes rythmes nouveaux, tout en respectant les rgles du rpertoire, ainsi est-il capable dereproduire invariablement le mme thme sous une forme nanmoins nouvelle et revtue denuances originales.

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Dans le domaine de la musique savante, le vritable taknavz doit pouvoir mmoriser etutiliser un matriel musical riche et abondant, partir de lapprentissage des diffrentsrpertoires. Il doit faire preuve de capacits cratrices, de discernement, de got et fairenatre lmotion tout en matrisant son instrument. Toutes ces qualits ne sacquirent que parlexercice et la frquentation assidue des matres.

LES INSTRUMENTS

Le neyLe mot ney (ou encore ny) signifie en persan la fois roseau et linstrument

taill partir de cette plante, les histo-riens le reconnaisent comme le plus ancieninstrument de musique du monde.Des documents remontant 5000ans en Egypte, 1400 ans en Iran(poque Sassanide) attestent dj de sonexistence. A partir du XIe sicle, les miniatu-

res persanes reprsentent des joueurs de neyaccompagns par des joueurs dedafau sein descrmonies officielles de danse ou de clbration du sam des derviches. Au dbut deson recueil de pomes, Masnavi, MowlnaJalleddin Rumi, grand pote persan du

XIIIe sicle clbre le ney en ces termes : Ecoute le ney qui conte son histoireDes sparations il se plaint en disant :Depuis que de la roselire on ma retranch

Lhomme et la femme ont panchleur plainte

A travers mes sons.

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Le ney constitue un leitmotiv dans luvre potique de Rumi. Dautres potes lvoquenten tant quinstrument expressif et mystique. Lenregistrement le plus ancien, sur cire, deney persan, est compos de courtes pices joues en 1899 par Nyeb Assadollh, clbremusicien dIspahan (poque Ghjr). A la fin des annes 50, un jeune musicien dIspahan,Hassan Kassi interprta au ney, avec un talent exceptionnel, les mlodies authentiques de lamusique savante persane. Grce lui, le jeu de linstrument a atteint la perfection.Le ney, un des principaux instruments de la musique savante, est enseign dans plusieursconservatoires ainsi qu la facult des Beaux-Arts de Thran, nanmoins, on ne comptequun trs petit nombre de solistes , les difficults techniques que prsente lapprentissage de

cet instrument ne doivent pas tre trangres ce phnomne.De nos jours le ney est jou de diffrentes manires : la plus courante est uneexcution en solo, accompagn par le tombakpour les pices rythmiques, une autre fonctiontraditionnelle et trs rpandue est laccompagnement dun chanteur. Le ney peut aussi trejou avec dautres instruments, le plus souvent le tr et le tombak, un chanteur pouvantcomplter la formation. Enfin, nombreux sont les compositeurs iraniens qui lui rservent une

place importante dans leurs travaux dorchestre, donnant ainsi une expression dauthenticit leurs uvres.

Le ney provient dun roseau qui pousse dans les rgions chaudes et arides proches du dsertiranien, choisi avec soin il sera ensuite perc de cinq trous sur la face avant et dun trou larrire. Un seul ney permet linterprtation de toutes les mlodies de la musique persane.

Lorsquil accompagne un autre soliste ou un chanteur, le joueur de ney saccorde au plusjuste

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A) Selon la mlodie joue, on choisit une seule des trois notes optionnelles et aprs ce choix,on neutralise les deux autres laide de deux tubes mtalliques tournant lun dans lautre etdune cl en corne (pour les neys de petite taille, cest lauriculaire qui est utilis).A) Les neys traditionnels possdent selon la volont du musicien, lune ou lautre des

deux notes.B) Pour certains modes on utilise la position indique en pointill.

Pouce

1rem

ain

2mem

ain

DOIGTS

PouceIndex

MdiumAnnulaire

:soridemi dise

: korondemi bmol

: le trou est ouvert

: le trou est obtur

IndexMdium Annulaire

Auriculaire Cl

Tableau montrant ltendue sonore du ney persan et le doit utilis


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avec lui, et choisit parmi tous ses instruments celui dont la taille est la plus approprie.Ltendue du ney est de deux octaves et demi, mais il manque une note entre les deux octaves.Si le Do3 est la note la plus grave, le Si3 ne pourra tre soutenu, moins de modifier avecla bouche, les lvres et la pression de lair, la note prcdente ou la suivante. Cette limitationproduit un timbre spcial dans le registre infrieur et oblige le musicien adopter des effetsspciaux.Afin de produire aisment la note manquante ainsi que son demi-ton et son quart de ton,Hossein Omoumi a rajout des orifices supplmentaires lextrmit des neys quil emploie.On peut altrer une note, soit en obturant partiellement un trou, soit en modifiant la forme deslvres et de la bouche, ou encore en faisant varier la pression de la colonne dair.

On distingue aujourdhui en Iran deux techniques dinterprtation du ney. La premireconsiste poser le ney contre les lvres, elle est frquente dans la plupart des pays (enTurquie et dans les Pays Arabes notamment) ou dans la musique folklorique et chez lesbergers. La deuxime technique correspondant un mode dinterprtation laide des dentset de la langue est la plus utilise dans la musique classique savante persane. Elle pourrait tre

baptise du nom dIspahan, puisque les quatre dernires gnrations de matres incontestsdu ney persan, dont nous avons gard la trace, sont originaires de cette ville. Les miniaturesconserves la Bibliothque Nationale de Paris permettent de supposer que lorigine de cettetechnique remonte au XVI sicle, lorsque les Safavides avaient choisi Ispahan pour capitaleet runissaient la cour les artistes renomms de leur temps.La technique Ispahan : Le son est normalement produit partir de lorifice suprieur dontles parois ont t dlicatement tailles et afftes par lintrieur. Dhabitude les joueurs deney recouvrent cette partie de leur instrument dun tube de laiton afin de la protger contrelusure, dans cet enregistrement, les embouts de protection sont en corne, ce qui rend leson plus chaud et permet un contact plus agrable avec les dents. La technique dinterpr-tation entre les dents consiste placer linstrument dans la bouche, inclin de 10 20 parrapport au menton, en immobilisant le rebord de lextrmit du ney dans lespace entre lesincisives suprieures. Le son est obtenu au moment o la langue dirige le filet dair vers

lorifice du ney, et produit juste derrire les dents, lintrieur de la cavit buccale, il diffreconsidrablement de celui produit quand le ney est plac contre les lvres, lextrieur de

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la bouche.Avec cette technique, le joueurpeut, plus facilement quavec uninstrument semblable, et sans laidedes doigts, modifier trs sensible-ment la hauteur du son ou lui donnerun timbre diffrent, en faisant varierle dbit de lair, le volume de lacavit buccale ou la position de lalangue.

Hossein OmoumiTraduction du persan en franais :Anouch Krvar

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La langue

Naissance du son

Position du Ney pour la technique dIsfahan


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LE TOMBAKLe tombakest le principal instrument percussion de la musique savante persane. Tambour une peau, il est taill dans un tronc de noyer ou de mrier et recouvert dune peau de ch-vre ou dagneau.Daspect massif, il comporte trois parties :

- La grande ouverture(dahneh bzorgh) surlaquelle on fixe la peau avecune colle naturelle (sirish).- Le corps (taneh) qui com-

porte des rainures horizon-tales.- Le pied (nafir) lgrementconique, largi la basepermettant ainsi de le posersur le sol.

Linstrument est tenu hori-zontalement, lavant-brasgauche repose sur le corps,la forme du pied permet debien positionner linstru-ment sur la cuisse et das-surer un meilleur quilibrependant le jeu. De fabrica-tion artisanale, le tombak a

des dimensions variables dun instrument lautre, nanmoins on peut distinguer deuxcatgories :- Le tombak densemble (tombak- ghrouhnavzi), destin tre jou dans un ensemble deplusieurs musiciens.

- Le tombak solo (tombak- taknavzi), destin excuter des solos ou accompagner unseul instrument.

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chanteurs azerbadjanais, le nombre de frappes tait donc trs limit.

Au cours de ce sicle le tombaka suivi une volution spectaculaire grce au travail acharnde grands matres comme le gnial Hossein Thrni (1912-1973) dont tous les plus grandsjoueurs suivent la voie. On lui doit vritablement la renaissance du tombak.De nombreux roulements et ornements, une large palette de timbres sous un volume rduit, desinnombrables possibilits de frappes, qui demandent une extrme souplesse des poignets ontfait du tombakun instrument expressif dune grande virtuosit. Linstrument est jou soit assispar terre sur les talons, soit sur une chaise, le pied gauche sur un repose-pied.

Le rle du tombak reste dterminant lors de laccompagnement dun instrument mlodi-que, cest le seul instrument percussion de la musique savante persane, et ceci en raisonde la finesse technique de son jeu trs labor. Le joueur de tombak (tombak navz ) doitrunir des qualits particulires : en apportant un vritable contre point la partie mlodiquequil accompagne, il doit faire preuve dun instinct sr et dune intuition fine qui le rendentcapable de pressentir les moindres intentions de son partenaire et de suivre linstrument dans

ses moindres et imprvisibles fluctuations.

LENSEIGNEMENTLe rpertoire rythmique : Lenseignement dbute par lapprentissage dun ensemble demotifs simples (2/4, 3/4, 4/4) qui permet llve de se familiariser avec linstrument ainsiquavec les techniques de base. Le matre propose alors une srie de suites traditionnelles

que llve travaille durant une longue priode, elles seront ensuite reprises sous des formesde plus en plus labores, augmentes dornements et dautres rythmes plus complexes quirespectent la structure de base. Les rythmes employs aujourdhui dans la musique savantepersane sont ceux dits simples (2/4, 3/4, 4/4), les rythmes composs (6/8, 12/8...) et enfinles rythmes lang(litt : boiteux) mesure impaire composs dlments binaires et ternaires(5/4, 7/4, 7/16, 9/4...). Toutefois la mthode denseignement et la faon daborder le rper-toire varient selon la personnalit de chaque matre.

1996 Madjid Khaladj

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CLASSICAL PERSIAN MUSIC

HOSSEIN OMOUMI: NEY

MADJID KHALADJ: TOMBAK

Classical Persian music is based on the rules of the traditional repertory (Radif) which itself

follows a modal system.

THE RADIFOver time, the melodies and musical airs called gusheh (literally corner or angle) multiplied

and separated into different sub-groups called dastgh (literally: modal system). The order

of the gusheh within the modal system is determined precisely by each of the Persian masters.

The resulting system, the Radif is passed down orally from generation to generation, from

master to student.

The seven main dastgh are: shur, mhur, sgah, tchhrgah, homyun, nav, rstpangh.There are also five modes called avaz which are derivatives of these main modes. Four of

these came from the shur: bayt- tork, abuata, afshri and dashti. The fifth avaz came from

the homoayun mode: esfahn.

The Radif can be either vocal or instrumental. The vocal Radif is ancient and its history is

parallel to the birth of Persian poetry. This is seen in the structure of certain gusheh which

follow the same metrics and rhythm of poetry. In addition, the words and meaning of the

poems that are sung take on considerable importance.

The instrumental Radif differs from the vocal versions by the techniques that are used. The

instrumental Radif is made up of certain pieces composed for a single instrument which are

not adapted to song.

The gusheh and the dasgh take their names from a variety of sources: for example,

Tchakvak and Srang are two birds which sing beautifully and Leyli-o Majnun is the title of

a famous poem by Nezmi (twelfth century).

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TEACHING THE RADIF

The master chooses a dastgh for each period of the learning process and plays a number of

gusheh during the lessons. The student repeats these until he reaches perfection. Note that

thire is not a fixed number of gusheh in the Radif. After a number years of work and research

a master can recompose a Radif with his own interpretation and personal style of organi-

sing the gusheh among themselves. Although it is not forbidden to create new gusheh, the

musicians are not necessarily tempted to create new ones since there is such great liberty

possible in their interpretation. If a master creates a new gusheh he will present it to his

students in a lesson, thus ensuring that it be passed on to future generations.

The number of gusheh in a Radif can vary from one musician to another. There are some 186in Master Shanzis preliminary instrumental Radif and 145 in Master Mahmud Karimis

vocal Radif.

The soloist or taknavz

The soloist has always been important in Persian music. He used to be a prestigious political

and religious personality. In Persian literature, the musician who plays an instrument whilesinging is called a khonyga and the poet who sings his own lyrics is called a moghani. With

the transformations of this society, the terms have lost their meaning as the practice fell out

of fashion, except for certain types of folk music.

Today, taknavz is the name given to the musician who is capable of improvising melodies as

well as new rhythms while respecting the rules of the traditional repertory. In other words, he

repeatedly presents the same theme but in a new form and with subtle changes.

In classical music, the true taknavz must be able to memorise and use his rich musical

background made up of the different repertories he has learned over time. He must be crea-

tive and bring out emotion while mastering his instrument. These qualities are only acquired

by practice and by constantly listening to the masters.

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THE INSTRUMENTS

The ney

The word ney designates both the reed

itself and the flute which is made from

the reed. Historians agree that this is

the oldest musical instrument. There aredocuments as old as 5000 years from

Egypt and 1400 years which mention the

ney. There are Persian miniatures in Iran

representing ney players accompanied

by daf players in official dervish dance

ceremonies or sam celebrations. At thebeginning of his book of poetry, Masnavi,

Mowlna Jalleddin Rumi, the great

Persian poet of the eighteenth century

pays a tribute to the ney :

Listen to the ney that tells the story

He complains of separation in this way:

From the time when I was cut from the reed bed

Man and woman have poured out their sorrows with my sound.

The ney is found throughout Rumis poetry. Other poets talk of the ney as an expressive and

mystical instrument. The oldest recording of the Persian ney are on wax, dating back to 1899,

with short pieces played by Nyeb Assadollh, the famous musician from Ispahan (Ghjrperiod). At the end of the 1950s, a young musician from Ispahan, Hassan Kassi played the

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authentic classical melodies with exceptional talent, bringing ney playing to perfection.

The ney is one of the key instruments in classical Persian music and is taught in several

conservatories as well as at the Beaux Arts school in Tehran. There are very few soloists, a

fact probably explained by the difficulty in mastering this instrument.

Today, the ney is played in several different ways: the most common is solo, accompanied

by a tombak for rhythmic pieces. The ney also traditionally accompanies a singer. The ney

can be played with other instruments, most often the tr and the tombak, and a singer can

complete the group. Many Iranian composers give a major role to the ney in their orchestral

works thus giving a degree of authenticity.

They ney is made from a reed which grows in the hot arid regions near the Iranian desert.

After careful selection, five holes are carved in the front of the reed and one in the back. AllPersian melodies can be played with this one ney. When accompanying a soloist or a singer,

the ney player selects the ney that is suitable in size for that purpose. The ney has a range

of two and a half octaves, but it is missing a note between the two octaves. If the C3 is the

lowest note, the B3 is missing, unless the player modifies the note, just above or just below,

by altering his lip position and air pressure. This particularity produces a special tone in the

lower register and the musician must adopt special techniques.In order to produce the missing note as well as its half and quarter tone, Hossein Omoumi

added holes to his ney flutes.

A note can be altered by either partially covering the hole, or by changing the position of lips

and mouth, or by changing the degree of air pressure.

A) Depending on the melody being played, one of the three optional notes is chosen. Then the

other two notes are neutralised by closing them off with two metal tubes that connect with a

horn key (for the smaller neys the holes will be closed with the fingers).

B) Traditional neys have one or the other of the two notes, according to the musicians

preference.

C) For certain modes, the musician will opt for the position indicated by the dotted line.

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Pouce

1rem

ain

2mem

ain

DOIGTS

PouceIndexMdium

Annulaire

:soridemi dise

: korondemi bmol

: le trou est ouvert

: le trou est obtur

IndexMdium Annulaire

Auriculaire Cl

Tableau montrant ltendue sonore du ney persan et le doit utilis

Today, there are two ney playing techniques used in Iran. In the first, the player rests the

ney against his lips. This technique is widely used in most countries (Turkey and Arab

countries in particular) as well as in folk music and by shepherds. The second technique

makes use of the teeth and the tongue and is more common to classical Persian music.

This technique could be called after Ispahan since the last four generations of the greatestmasters of the Persian ney have all come from that city. The miniatures which are kept at


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the National Library in Paris suggest

that the origin of this technique dates

back to the sixteenth century when

the Safavies chose Ispahan as their

capital and gathered at court the bestof musicians of the time.

The Ispahan technique: The sound

is generally produced from the top

hole, the sides of which are sli-

ghtly carved and sharpened from the

inside. Usually ney players protectthis part of the instrument with a

brass tube to prevent wearing down.

In this recording the protective cove-

ring is horn, which produces a war-

mer sound. The contact is also more

pleasant for the players teeth. Theplayer holds the mouthpiece between

his teeth at a 10 to 20 degree angle

with his chin. He produces sound by

directing air with his tongue. This

technique produces a very different

sound from that produced by the

other technique with the ney placed

on the lips, outside the mouth.

The musician can thus greatly modify the sound and tone, without the use of his fingers, by

changing the air pressure and space in his mouth or the position of his tongue.

Hossein Omoumi

Translation of Persian into French: Anouch Krvar

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La langue

Naissance du son

Position du Ney pour la technique dIsfahan


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THE TOMBAKThe tombak is the main percussion instrument played in Persian classical music. The tombakis a drum made of a hollowed-out walnut or mulberry bush trunk with a goat or kid skinstretched across the top. This massive looking instrument has three parts :

- the large opening (dahaneh bozorgh) to which the skin is attached with a natural gluecalled sirish.

- The body (taneft) whichhas horizontal grooves onit.

- The foot (nafir), which

is slightly tapered, beingwider at the base so it canrest on the floor.The instrument is heldhorizontally with the leftforearm. The shape of thefoot is such that the instru-

ment can be held againstthe thigh for better balancewhile playing. The tombakis made by craftsmen andcomes in various sizes,but we can distinguish twomain categories :

- the ensemble tombak(tombak ghrouhnavzi)which is played in a groupwith other instruments.

- the solo tombak (tombak taknavzi) which is played solo or to accompany oneinstrument.

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Origin of the word tombak

Tombak comes from several roots; the first is related to the playing technique, the twosyllables tom and bak being the onomatopea of the two main sounds made by the instru-

ment - the low note when the center of the skin is struck and the high note when the edge of theinstrument is struck. The word appears in ancient Persian poetry, in the Nezami poems of thetwelfth century. Two terms are used at this time, tombak and khombak :

The tombak was beating so sharpThat the percussion cut through the celestial vault.

The word khombak means the little khom, a clay pot or jar used to collect grape juice formaking wine or vinegar. The instrument looks like a khom covered with a skin and this ishow it came to be called khombak. Clay tombaks are still being made in Zoukhaneh. Later,the word khombak became tombak, the kh changing to t as is often the case in the Persianlanguage.The instrument is also called zarb, from the Arab meaning to strike, to which the Iranianmusicians give the meaning rhythm.

Today, both tombak and zarb are commonly used, although the Persian term, tombak is moreauthentic. It is the term used by the uncontested master of the instrument, Hossein Teherani inhis famous method Amouzeshe tombak (Learning the Tombak) published in 1971.

The techniqueThe tombak was originally played only to accompany others and the term zarb-ghir (litterallythat which keeps the rhythm) is specific to this period when when the musician acted as ametronome. Most tombak players were originally singers who would accompany themselvesin the tasnif (poems sung to a well-defined rhythm). The role of the instrument was practicallythe same as the daf, which is played by Azerbaijani singers today. Hence, there was littlevariation possible in the playing technique.The tombak has evolved spectacularly in this century thanks to the work of master playerssuch as Hossein Teherani (1912-1973) who led the way for all the great players. The tombakenjoyed a revival thanks to him.The tombak has become an expressive instrument with which musicians can make a show of

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technical virtuosity thanks to the development of rolls and ornamentations, a wide paletteof tones in a reduced volume, and inumerable possibilities in striking techniques which callfor incredible flexibility of the wrist. The musicians plays the instrument while sitting on hisheals.

The role of the tombak remains essential to other instruments. This is the only percussion

instrument in classical Persian music, which is explained by the very elaborate and fine

playing techniques that are possible with it. The tombak player (tombak navz) must have a

combination of qualities: he must instinctively be able to anticipate the slightest intentions of

his partner and follow the instrument he accompanies in its unpredictable fluctuations.

Teaching the tombak

The rhythmic repertory: The first step in learning the tombak is the simpler beats (2/4, 3/4,

4/4) and basic techniques. The teacher presents a series of traditional suites that are studied

over a long period and are then elaborated upon, adding ornamentations and other more

complex rhythms that still follow the basic structure. The rhythms that are used today in clas-

sical Persian music are the so-called simple beats (2/4, 3/4, 4/4), composed (6/8, 12/8...)

and lang beats (literally limping) with odd measures made up of binary and tertiary elements

(5/4, 7/4, 7/16, 9/4...). However, the teaching method and introduction to the repertory vary

with each master.

1996 Madjid Khaladj

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PICES INTERPRTES

Improvisation dans le modeMahour (modulations :Nav, Shur,Avz- Esfahn )1) Toussi *

Pice compose dune squence mlodique du Radif : le goushy Toussi sur un rythme5/4. Les interruptions caractristiques de cette pice appeles Modjassamneh (litt : inertecomme une statue), correspondent une forme musicale destine la danse (comme dans lesreng-s) o le danseur et les musiciens sarrtent brusquement avant de recommencer aprsun court silence.2) Darmad

Pice dintroduction voquant lambiance gnrale du mode, inspire deDarmad du clbreNyeb Assadollah.3) Tchhr mezrb*Improvisations sur les diffrents gusheh-s du mode Mahour sur un rythme 6/8.4) Dd et Ghoshyesh5) Zarbi- Ghoshyesh* , sur un rythme 7/4.

6) Hessr.7) Zarbi- Hessr * , sur un rythme 2/4.8) Feyli, Shekasteh9) Zarbi- Shkasteh * (modulation au mode Nav)10) Delkash, Hazin, Khosravni11) Ergh12) Zarbi- Ergh * (modulation lavz- Esfahn)13) Rk- Hendi, Rak- Keshmir, Safir- Rk14) Bayat- Radjeh et Odj15) Tasnif * (Hossein Omoumi : ney et chant, Madjid Khaladj : daf, pome : Esmal Kh)16) Reng *: pice rythmique (6/8) destine en gnral la danse.

*Hossein Omoumi

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BIOGRAPHIES

Hossein Omoumiest n en 1944 Ispahan, il reoit ses premires leons de Radif vocalde son pre puis fascin par le caractre magique du ney de matre Kassi, il commence

ltude de cet instrument lge de quatorze ans. A partir de 1968, il travaille dans lintimitdu matre pour connatre les secrets de son jeu, paralllement il tudie le Radif vocal sousla direction de matre Mahmud Karimi. Hossein Omoumi a donn des concerts et effectudes enregistrements pour la Radio et le Tlvision iranienne, il a galement enseign leney au Centre Iranien de Conservation et de Diffusion de la Musique, au ConservatoireNational et la Facult des Beaux-Arts de Thran. Aprs avoir quitt son pays en 1984, il

poursuit son activit musicale dans toute lEurope et aux Etats-Unis par des concerts et desmissions radiophoniques. A son arrive en France, il a t invit par le Centre dEtudes deMusique orientale, rattach lUniversit de Paris-Sorbonne enseigner la musique persane,aujourdhui ses cours se droulent toujours dans cette universit.Hossein Omoumi a collabor avec les plus grands interprtes de la musique savante persane.il est considr comme lun des meilleurs reprsentants du ney. Sa connaissance approfondie

du Radif et lemploi de nouvelles techniques le distinguent particulirement. Ses recherchessur la fabrication et la constitution du ney ont permis douvrir de nouvelles possibilits latechnique dinterprtation, qui ont t approuves et encourages par Matre Hassan Kassai.

Hossein Omoumiwas born in 1944 in Ispahan. He took his first lessons in Radif from his

father. He was captured by the magic of master Kassis ney playing and began to learn

the instrument when he was fourteen. From 1968 he studied with the master, learning the

secrets of his technique. At the same time he studied the vocal Radif with master Mahmud

Karimi. Hossein Omoumi has given concerts and made recordings for the Iranian Radio and

Television. He also taught the ney at the Iranian Centre for Conservation and Diffusion of

Music, at the National Conservatory and the Beaux Arts of Tehran. He left Iran in 1984 and

pursued his musical career throughout Europe and in the United States with concerts and

radio. In France he was invited by the Center for Oriental Music Studies, a branch of theSorbonne University of Paris, to teach Persian music, where he continues to teach today.

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Hossein Omoumi has played with all the great classical Persian musicians. He is considered

as one of the greatest talents in ney playing. His extensive knowledge of the Radif and the

use of new techniques sets him apart. His research on the making of the ney opened new

possibilities in playing techniques which have been both approved and encouraged by Master

Hassan Kassi.

Madjid Khaladjest n Ghazvin (Iran) en 1962. Ds lge de sept ans il tudie le tombak(Zarb) avec les Matres Maleki et Badjalan, hritant travers eux de lenseignement deMatre Hossein Tehrni qui lon doit la renaissance du tombak en Iran. Unanimement

reconnu comme lun des meilleurs reprsentants actuels du Tombak, il mne de nombreusesactivits sur la scne internationale : festivals, concerts, disques et enseignement musical.Parmi ses prestations rcentes Paris, on peut noter celles qui se sont droules la Maisonde Radio France et au Thtre de la Ville, aux cts des plus grands matres de la musiquepersane. Il a galement t invit travailler avec des compositeurs occidentaux, notammentavec le guitariste et compositeur amricain Ry Cooder pour la musique du film Gronimo.Install Paris depuis 1984, il enseigne le tombak au Centre dEtudes de Musiques Orientales

de lInstitut de Musicologie de Paris-Sorbonne. Il a ainsi permis un grand nombre depercussionistes occidentaux de sinitier cet instrument.Madjid Khaladj possde un rpertoire tendu dans le domaine de limprovisation en solo,on lapprcie galement pour ses choix daccompagnement dune grand vitalit rythmique,marie la plus rigoureuse fidlit la tradition.

Madjid Khaladjwas born in Ghazvin, Iran in 1962. At age seven he began studying the tom-bak with the masters Maleki and Badjalan, inheriting through them the teachings of Master

Hossein Tehrni who revived the tombak in Iran. Madjid Khaladj is currently recognised as

one of the best representatives of the tombak and has been heard internationally in festivals,

concerts, records and teaching.

Among his more recent concerts in Paris were those at the Maison de Radio France and

the Thtre de la Ville, alongside the greatest Persian musicians. He has also worked with

western composers, notably the American guitarist Ry Cooder for the film score for

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Geronimo. He has lived in Paris since 1984 and teaches tombak at the Centre dEtudes de

Musiques Orientales de lInstitute de Musicologie de Paris Sorbonne. He has thus initiated

a number of western percussionists to the tombak.

Madjid Khaladj has an extensive repertory in solo improvisation. He is appreciated for his

choices of accompaniment and great rhythmic energy which is combined with his fidelity totradition.

DISCOGRAPHIE:

Persian Classical MusicHossein Omoumi : ney - Madjid Khaladj : tombak et daf. (Nimbus Records).

Persian Classical MusicSima Bina : vocal - Hossein Omoumi : ney - Madjid Derakhshani : tarMadjid Khaladj : tombak (Nimbus Records).

Iran : lart du tombak (zarb)Madjid Khaladj. solo (Buda Records)

Les rythmes de la musique classique iranienneMadjid Khaladj solo (al sur)

Enregistr en Septembre 1995 lglise Saint Barthlmy Torcy.- France

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hossein omoumi

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