Hal - Homayun (2016)

Solo tuba

Hāl Homāyūn

Daniel Sabzghabaei (2016) Cover art by Ahmadreza Mirmoghtadai

Performance Notes -

Many of the Persian dastgāhs contain microtones; these are preserved throughout the piece. For this piece, I have used a collection that only calls for quarter-tone flats. o

Here an F is shown stepping up a neutral second to a Gw (quarter-tone flate): in between En and Eb .

The player should also be wary of what each accidental specifically is. § In this dastgāh, the microtonal inflections change depending on octave and place within the dastgāh.

Glisses begin immediately on the note they adhere to and continue through the duration of the note.

There are various instances of feathered beaming. o

-

These show a gradual change in the speed of the given gesture. § Here, going from eighth notes to 32nd notes in the space of four quarter notes.

The player will need will need a silent-brass or a mute of similar quietness level for the second half of the work.

Timbral and dynamic crescendi are notated as such. o These markings indicate an increase in volume and timbral complexity of the tone, going from one tone that is more “pure” and “regular” to one that is more rough/harsh/complex/rich.

Stomps are shown with X-note heads below the staff. o Tremolo markings indicate rolling both feet. o If hall does not lend itself to these stomps being heard, player should consider using amplification if possible.

Fall offs are indicated with falling arrows at the end of notes. o Fall off the pitch gradually.

Grace notes occur on beat. o Always as fast as possible.

Phrase Markings/Breath Marks are shown with vertical lines intersecting the staff.

Playing and Singing is shown in this way. o Stems up = regular playing. o Stems down = singing. o A contact microphone may be utilized to make sure the sung part carries through the hall.

Lip glisses should be a gradual teetering between the two given pitches freely, using only over/under-blowing.

LIGHTS OUT here at circle 17, with the slap tongue pop and stomp. o Performer should work with someone off stage to make sure both sync up. o Performer will also need a stand light (unless able to memorize the work which is preferable). o As little light should be emitted from circle 17 to the end. o

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-

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-

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c.a. 10 minutes

Program Notes Hāl is described by the great Persian music master Dr. Daryush Safvat: “In traditional Iranian music, the manner of playing is much more important than what one plays.

And the manner of playing is conditioned by Hāl. How to translate this word which escapes definition? Hāl is an intense state of the soul, it is the interior fire which must animate the artist like the mystic. . .When he attains the high point of this state, the artist plays with an extraordinary facility of execution. His sound changes. The musical phrase liberates its secret. The creativity gushes forth. It seems that the very essence of the music manifests itself delivered from the usual interferences of the human personality. The world becomes transfigured, unveiling its marvelous visages, and across an ineffable transparency which abolishes the actual barriers between the musician and his auditor, offers itself to the direct comprehension of every being capable of sensing. Hāl is the fruit of authenticity. The authentic musician is he who plays or sings under the force of an irresistible interior impulse.”

Homāyūn is one of the principle twelve Persian dastgāhs (melodic modes). Persian dastgāhs have many extra-musical connotations. Homāyūn is stately, dignified, mobile, ecstatic, and at times joyous, while in others melancholic. Its time is evening, from sunset till dark. Its color is dark green, and its element is flame.

Homāyūn creates a royal atmosphere and expresses the complaints and crying of love, ending in sorrow, as well as the greatness of love in its higher form. While other modes portray one’s own feelings of love, Homāyūn can express others’ feelings of love. The description of The Beloved reaches the divine in Homāyūn, making this mode one of the most passionate and intense of the twelve.i i

From Music and Song in Persia by Lloyd Clifton Miller.

HAL - Homayun 1 C - Tuba

2

With weight q = 45 - 50 ? j b œ w˙ w˙ P

Daniel Sabzghabaei

j bœ

w˙

w˙

delicately

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3

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3

bœ wœ œ b˙

bœ wœ œ w˙

wœ œ bœ wœ ˙

œ bœ wœ œ ˙

b œ- w œ œ w ˙

3

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j w œ- b ˙

j œ- b ˙

j w œ- b œ

j œ- b œ

w

bœ

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bœ wœ bœ œ bœ Ÿ~~~~~~~~~~~~~~~~~

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Driving ahead q = 55 - 58

(stomp)

12

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(freely alternating, mazy)

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11

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a tempo

becoming dirty, reedy, out of control, flz.

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13

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3

3

3

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18

> j œ

sp œ¿ -

m> w œ ˙( )

3

molto > j œ (stomps also follow given dynamics)

3

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molto > j œ

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sF

molto

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> j œ

sfffz

spp ˙¿ -

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∑ Y-

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(keep a slow half note stomp-pulse, somberly)

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21

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LIGHTS OFF WITH POP

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w ˙˙ -

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-∏ b ˙˙ ∏

p

wœ -

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p (quick breath) ˙œ p

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Stems Up: SUNG

(in no hurry to continue)

w ˙œ -

Stems Down: PLAYED

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p Ÿ~~~~~~~~~~~~~~~~~~ b œœ .. b b ˙˙ ( œ ) p

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19

20

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With lights off, switch to silent-brass mute and F-Tuba. Once reed is in place, turn on stand-light (if not memorized) and begin.

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P Y-

F - Tuba

3

3

3

3

3

Ÿ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ > w œ (w œ ) œ œ ˙ ? œ bœ nœ bœ nœ œ nœ œ œ ?

˙ ( œ) > œÏ

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16

17

Ÿ

slowly, heavily

œ o

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4

P Ÿ~~~~~~~~~~~ 22 ˙ ( œ ) œ œ wœ. w˙ œ ? -.

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π like a sweet yet fleeting memory

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b˙. œ. nœ bœ nœ

b˙ lunga ? ˙ ∏

23

24

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π

wœœ

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b˙ œ œ œ ˙ nœ œ œ œ ‰ wœ p π

F ? w œœ œ œ

25

œœw œ œ F

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- 3bœ wœ œ œ

π œ w œ œ œ œ œ .. n œ w œ œ œœ R3

˙ ? œ

27

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28

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P ˙ œ . œœ .. w œ n w œœ w œœ œœ œœ œ œ œ w œ .n œ . . wœ J - - - P ∏ π U w ˙˙ w œ˙ . b œ w œ w ˙œ œœ . p π

P œ .. œ œ . w œjœœ .. b œjœ . œ œœ .. w œ œ . b œj œœ .. w œj œ . wœ œ J J J J

Ø a long, barely audible murmur wU › › ..

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P

j œœ J œœ œ

∏ . œ . b œj œ . œœ .. wœ œ J œ . œJ œ . œ . j wœ

π

(in no hurry to continue)

∏

Warmly q = 55 - 60 U

œ bœ œ œ wœ œ Fwarmly

29

b ˙˙ -

p œœ . w œ œ b œœ œœ .w œ œ b œœ œœ p

dying away

26

w œœ.

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b˙

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w

wœ ˙.

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wœ œ bœ œ wœ œ bœ œ œ J

? œ

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˙œFpowerfully

j wœ

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&

5 30

& w˙. ∏wandering

b œ w œ b œ w œ b œ w œ b œ w œ b œ w œ œ w œ b œ œm m m m m m m m m m m

with motion

31

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w œ- . œ œ œ œ- . fregally

j œ

b œ .. n œ œ ˙

j œ

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.

bœ

nœ

j œ

b œ. œ. w œ. œ. œ. œ. b œ. œ. œ. œ. w œ. œ. œ. œ. w œ b œ œ œ w œ œ b œ œ

∏dancing

. œ. b œ. œ. . . . . . . œ w œ œ œ œ œ œ n œ. œ. w œ. œ. œ. œ. œ œ œ œ œ œ œ ? . . . . . . b œ œ- . œ œ p F fl

32

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œ . (œ) œ . > faggressively

&

˙

sp

?b œ w œ œ œ œ œ œ œ œ b œ w œ w œ w œ & œ œ œ œ œ œ nœ wœ nœ œ œ œ œ wœ œ œ wœ œ wœ œ bœ bœ wœ œ wœ bœ wœ 3 F

33

3

3

3

Ÿ~~~~~~~~~~~~~~~ ? œ œ œ w œ œ w œ œ b œ ˙ (w œ ) œ. >

3

34

∏ U . as long as possible w & › ›. ∏ (turn stand light off)

35

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f

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U lunga

w > Ï

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j œœ J