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Gholam Reza Darvishi performs in an orderly, logical and precise way. The different parts of Pardekhani (picture storytelling) are performed one after the other from the main or subsidiary text. <ref>Pardekhani has different sections named Zekre esm a'zam, Moghadameh, Khotbeh, Mosibat, Sokhanvari, Do'a... Generally the Pardekhans choose each section based on the texts of the curtain. </ref> These parts are joined by the Pardekhan saluting the prophet and his lineage. | Gholam Reza Darvishi performs in an orderly, logical and precise way. The different parts of Pardekhani (picture storytelling) are performed one after the other from the main or subsidiary text. <ref>Pardekhani has different sections named Zekre esm a'zam, Moghadameh, Khotbeh, Mosibat, Sokhanvari, Do'a... Generally the Pardekhans choose each section based on the texts of the curtain. </ref> These parts are joined by the Pardekhan saluting the prophet and his lineage. | ||
In his method, variety, gaining the attention of the audience or showing off technique play no role, but are expressed through the meanings of the text performed with prayer-like allegorical expression. His singing expression take place in Chahargah [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode). The singing begins in the Pishdong intervals ([http://www.oxfordislamicstudies.com/article/opr/t125/e49 Azan] or call to prayer is in these intervals and Hayy o Alla Al Salat in the climax of this section which the Pardekhan repeats several times in the first tetrachord) <ref>At noon on Ashura the call to prayer is made by the Pardekhans and this call is part of the Pardekhani performance, therefore it is usual for it to be performed once in the year. If the Pardekhani is performed during the time of the call of prayers during other times of the year, in certain cases the Pardekhan may say the call to prayer but in this case it is not part ofthe Pardekhani by part of his religious duty.</ref> gradually moves to the octave of the Shahed and most words and phrases emphasize the first note (fourth note of the Pishdong) and second note of the Pishdong. The higher notes are rarely referred to and the end of his phrases based on the nature of this Dastgah is on the Shahed, He sometimes lets his voice be thrown onto unclear notes of the Pishdong at the end of his phrases, creating a kind of emphasis by this method. | In his method, variety, gaining the attention of the audience or showing off technique play no role, but are expressed through the meanings of the text performed with prayer-like allegorical expression. His singing expression take place in Chahargah [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode). The singing begins in the Pishdong intervals ([http://www.oxfordislamicstudies.com/article/opr/t125/e49 Azan] or call to prayer is in these intervals and Hayy o Alla Al Salat in the climax of this section which the Pardekhan repeats several times in the first tetrachord) <ref>At noon on Ashura the call to prayer is made by the Pardekhans and this call is part of the Pardekhani performance, therefore it is usual for it to be performed once in the year. If the Pardekhani is performed during the time of the call of prayers during other times of the year, in certain cases the Pardekhan may say the call to prayer but in this case it is not part ofthe Pardekhani by part of his religious duty.</ref> gradually moves to the octave of the Shahed and most words and phrases emphasize the first note (fourth note of the Pishdong) and second note of the Pishdong. The higher notes are rarely referred to and the end of his phrases based on the nature of this Dastgah is on the Shahed, He sometimes lets his voice be thrown onto unclear notes of the Pishdong at the end of his phrases, creating a kind of emphasis by this method. | ||
This method continues until the prayer and during the prayer and then Gholam Reza Darvishi only moves onto the pitches of the main tetrachords for one hemistich with emphasis on the third note which creates an atmosphere similar to Zabol [[Gushe]]. This is transitory and the singer quickly moves back to the previous acoustic space. After performing Moqadame (the introduction) which ends with the [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/salawat-DUM_3121 Salawat] prayer the singing of the curtain begins but the musical space does not change. The curtain-storyteller emphasizes on the same mentioned notes and describes the day of Resurrection and then describes the character of [[Hussain]] and [[Zaynab]] but in this section the Chahargah Dastgah does not reach its previous clarity of expression. | This method continues until the prayer and during the prayer and then Gholam Reza Darvishi only moves onto the pitches of the main tetrachords for one hemistich with emphasis on the third note which creates an atmosphere similar to Zabol [[Gushe]]. This is transitory and the singer quickly moves back to the previous acoustic space. After performing Moqadame (the introduction) which ends with the [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/salawat-DUM_3121 Salawat] prayer the singing of the curtain begins but the musical space does not change. The curtain-storyteller emphasizes on the same mentioned notes and describes the day of Resurrection and then describes the character of [[Hussain ibn Ali|Hussain]] and [[Zaynab]] but in this section the Chahargah Dastgah does not reach its previous clarity of expression. | ||
Curtain-storytelling has reached higher pitches even up to the second tetrachord without corresponding exactly to the intervals of Chahargah or any equivalent Persian modes. The melody modulation and final notes are also performed in this way. However, on returning to the previous intervals, they are performed without any changes. It seems that Pardekhan uses intervals which are specific to his own art, and some of them can be similar to the Dastgah music. For the sermon ([https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/khutba-SIM_4352 Khutba]) the Pardekhan returns to the first space using the notes of Pishdong, even when singing Rajaz is performed. <ref>In Chahargah dastgah there is a gushe named Rajaz. Its main notes are in the first tetrachord and its ending is on the notes of Pishdong (according to usual Chahargah dastgah performance) and the rhythm is that of the Shahnameh: Fa'ulan Fa'ulan Fa'ulan Fa'ul. Gholam reza Darvishi uses only the rhythmic aspect of Rajaz.</ref> | Curtain-storytelling has reached higher pitches even up to the second tetrachord without corresponding exactly to the intervals of Chahargah or any equivalent Persian modes. The melody modulation and final notes are also performed in this way. However, on returning to the previous intervals, they are performed without any changes. It seems that Pardekhan uses intervals which are specific to his own art, and some of them can be similar to the Dastgah music. For the sermon ([https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/khutba-SIM_4352 Khutba]) the Pardekhan returns to the first space using the notes of Pishdong, even when singing Rajaz is performed. <ref>In Chahargah dastgah there is a gushe named Rajaz. Its main notes are in the first tetrachord and its ending is on the notes of Pishdong (according to usual Chahargah dastgah performance) and the rhythm is that of the Shahnameh: Fa'ulan Fa'ulan Fa'ulan Fa'ul. Gholam reza Darvishi uses only the rhythmic aspect of Rajaz.</ref> | ||
==Narration== | ==Narration== | ||