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Bach meets a persian setar and Middle eastern scalesآکورد سه گاه

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  • سپاس! با دوستان خود به اشتراك بگذاريد!

    شما اين ويدئو را نپسنديديد! از بازخوردتان سپاسگزاريم

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Please read before commenting:This is partly technical and partly humorous.Due to its thin neck and drone strings, it is difficult to play chords on a setar, it is also considered too foreign and non-lyrical.

Bach popularized key changes to all 12 keys by writing sets of fugues and preludes for people to get attached to the idea. Middle eastern music, however, is similar to early music in being diatonic, modal and limited to a few keys, but it overcomes this by having an extra interval of 3/4 tone (140 cents to be exact) in addition to the whole and semi-tones and having a variety of scales. Since having too many frets or keys is not possible on any instrument (one would need 43 per octave for complete modulation freedom), the music has kept its medieval form. There was also probably no sense of need for polyphony in the middle eastern and most other musical cultures. Instead of proposing a need to changing keys (C major to D major etc), I propose open and free modulation between various scales. I also propose the use of the 140 cent interval as a third without any shame for breaking cultural taboos. Such triads have met cultural resistance mostly from conservative musicians. That said, I do see solo monophonic Persian music as utterly beautifulon its own and do not necessarily favor the use of polyphony or chords as a better method. I see Functional Harmony as an interesting "effect" that should have been kept as just an effect and not something to preoccupy western musical heritage for centuries. It is a relief to see it abandoned inmuch of 20th and 21st century's more innovative works. I am also against melodies, rhythm, lyrics and poetry, as the infantilize music and make it too simplistic, but that is another story ;^)
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