Special characteristics of Persian Radif music
 

Solo performance

Persian music is similar to many Asian and non-western cultures where the performances are based on solo playing. Unfortunately, nowadays this style of playing is considered unimportant and not regarded highly.

But with a little attention to cultural heritage, we can regain the special characteristics of solo playing.

Without these characteristics, something is lost in our music.

This does not mean that we can not listen and find pleasure in the music of these cultures where the focus is ensemble playing and accompaniment, but that the vitality and subtlety of the solo music is lost in the accompanied sounds. (22)

Because of the subtlety and nuances of the music, an orchestra could never perform what a master of solo performer could perform.  Part of this is due to the fact that the orchestra is a European structural form and not of Persian origin.  If players do come together to establish an ensemble, it is akin to forcing one structural language upon the form of another.

In our country - especially in Radif - the musical language is more direct.  Throughout our musical history and research, we have found that the true masters were great solo performers.  They may have played in ensembles, but their preference was solo performance.   There are ensembles that have a place in performing other forms of music.  Some of the ensembles were: "Mo'men,"  "Koorha,"  "Gol rashti,"  "Tavous," "Masha Allah," and many others.

Unfortunately, today we forgotten our history, we think the pinnacle of Persian music, is establishing an ensemble and being the leader of the ensemble.  This same attitude has come into out teaching system and has a devastating effect.

Improvisation

A performance of the Radif is based on solo improvisation, which is taught orally (24).  We should define improvisation as "playing music in the moment (25). In solo improvisation, the performer draws upon the vast body of musical melodies of Radif, following precise rules and concepts to create a unique performance.  The performer plays melodies that are learnt as well as create melodies based upon the structures of what is learned.  Like nature, this music is always changing and growing.  No two performances are ever alike.  When a musician performs, the time, the place, and the relationship between the performer and the audience all have an effect on the music that is improvised.

The more the listener is familiar with the music, the greater the appreciation.  By using the melodies of the Radif, the performer uses melodies that are familiar, yet new variants and settings can be improvised and created at the moment, giving the music a spirit and freshness.

The structures and melodies of the Radif contain many cultural and spiritual values.   It is important to have deep knowledge and understanding in order to create and improvise music that embodies these values.  On the surface these structures may seem simple, but in the hands of a master, beauty is created.  It is similar in many ways to geometric patterns found in Iranian mosaics: with a few simple geometric forms a complex multi-layered pattern is created.

Method of performing (playing and singing)

In the Radif there are only a few special techniques to be learned.  These techniques are easy to learn and can be played on any instrument.  The meanings are derived from the Radif.  The techniques are "Tak,"  "Riz," and "Eshareh." 
 

Tak

What makes the performance of every Naghmeh clear and strong is the Tak.  There are many forms of Tak and no two are ever played alike.  It is the execution of each Tak that creates color and beauty within the Radif and it gives the melodies accent, rhythm and form.  It is the Tak that is the first sound that our ears give attention to.  Symbolically the Tak is the beginning of creation and unity (with the divine).

In many ways the Tak is like language.   Emphasis is placed on different words, at different times, and different contexts.  The stresses we place on certain words create rhythm, form, and meaning.  If we look closely we pronounce the same word differently in each situation. 

Riz

Riz can be described as the rapid repetition of one note, or a tremolo.   It is an echo or tremolo after every Tak.  The Riz is divided into many small, but important parts.  The mixing of Taks and Riz create musical textures, and without it the music will not be normal.  Riz is creation itself and symbolizes adventure. Adventures without creation and unity are meaningless.   But to reach unity won't be but reaching the more (adventures). With this rule, Tak and Riz each have a significant role within the music, and emphasizing one and forgetting the other would diminish the effect of the Radif.  We can play Taks with no Riz, but the Riz will always begin with a Tak.  This point is in symmetry with the vitality of creation, lack of creation (or adventure) is not a weakness for God, but lack of God means no creation (and no adventure).

Eshareh

When the Tak or Riz is finished, there is an Eshareh. Eshareh is an allusion or hint to the note above or to the note below.  It is an ornament that is created with very delicate and weak mezrab (stroke), and it is an ornament that gives shadow or color.  Lack of Eshareh will change the music completely.  The Eshareh is the symbol of God's inspirations, which are not always clear and evident, but they have a secret effect on human's soul.

Esharehs are connectors of Taks.  These connections are dependent upon the relation between Tak and Eshareh, and they are divided into two parts: " Tekkiye (emphasis), " and " Tahrir."

Tekkiye

When an Eshareh is played before a Tak, it is called Tekkiye (emphasis).

Tahrir 

When Tekkiyes are connected together, you have is a Tahrir. Tahrir is similar to a yodel, and there are many varieties within the Radif, creating great beauty.  The Tahrir is an imitation the sound of birds.

Teaching

We mentioned earlier that the Farabi's book (Al Moosighi Al Kabir) is the most important book about music after the coming of Islam. In this book Farabi explain the way of teaching as:

" First, the student should pay attention to the movements and methods of master and copy the master.  It is important that student choose a master that has perfected the music.  The student should copy him continuously and memorize the lessons the master has to give, in this way the student can continue learning when the master is not present.  (26)

As we can see this paragraph is an explanation of the Oral method teaching music.  Another way of stating it is "Chest to chest," where the student receives the knowledge and meaning of the music from attentiveness and closeness to the master.

The Farabi method of oral teaching continues. Through this method, musicians continually discover new ways to express their musical taste and understanding.

"A person who doesn’t have an spiritual soul and an artistic taste, can not attain this art, and one also can not attain this music by copying it. But it is attainable for those who are honest and tasteful."(27)

"Indeed, this art can is not a commodity which can be purchased, but it is learned and attained through hard work and suffering." (28)

 In other words, "the learning of this art can not be learned just by copying the minor and major structures of it, but it has to be learned orally by the student from his master."  (29)

The main method of teaching of Persian music, today or in ancient times is oral or chest to chest.  In the transmission from chest to chest, we can also say heart to heart.  In this method more is learned than just music from the master.  There is a connection between the entire beings of the master and student.  Lessons are learned with depth and cultural meaning. 

At the early stages of studying, the student learns how to be humble and surrender to the teaching of the master and to follow him. In order to be free one has to accept, in order to learn, one must follow first. This is the hardest lesson.

Generally, in the cultures like Iran, the Oral tradition is important for the transmission of knowledge and experience.  By learning in this way the student not only learns music, but also learns a thinking and feeling process, proper morality, faith, and many other cultural values.

Today, unfortunately the oral tradition is being replaced by the Western tradition of notation.  Of course there is nothing wrong with notation as a way for the transmission of music for scientific analysis. It is important to state that the focus of the oral tradition is on seeing, hearing, and experiencing. Over thousands of years the oral tradition has developed to transmit not only music but also cultural and spiritual values, and by replacing this with the Western system we lose valuable knowledge and relationships.  To restore our cultural heritage it is important that we look not to the West, but deeply into our past. (30)

The Oral method is the best way for reaching both techniques and form in Persian music (Radif).  If we pay close attention we can transmit the elements of this music in this way.