Music of Gil & Deylam
Arranged by: Hossein Hamidi
Vocals: Fereydun Pour Reza
Apprantly, the music of mountainous regions in Gilan is different from that of the plateau regions from the viewpoints of form and content. With respect to form, in the first style the guide (Shahed) note falls on the fourth tone of the Shur mode (Deylaman), while the stop note, there, lies on the third tone of that mode, marking the end. But, in case of the second style, plateau music, the stop note stands on the tonic in Shur and the guide note on the fifth tone of the same mode. Concerning content and theme, here, delicacy, fine taste and humorous temper of the plateau-dwelling people (Gile-mard's) could well be contrasted with nimbleness, violence, and naiveness of mountain-dwelling ones (Galesh); in fact, here, two general occupations of rice and tea planting and farming, and livestock raising and herdsmanship are distinguished from one another.
To better illustrate the mountainous and pastoral atmosphere, use have here been made of such examples: Shul and Gure (Calling and shouting to scatter wolves), wind sound, and small bell's sound along with the sound of instruments as Karney, Lala (Shepherd Ney) and Labak. For representation of a more accurate account of the plateau music such a variety of techniques, among others, as Vaguye-khani (Collective response by a group to a solo singer), I-I (a type of singing based on contratempo), Estekan-navazi (playing by/ on a round tub) are applies here. "Nar Abkor" and "Jan-e Leyli" are from Galeshi pastoral vocals and "Nil Beza Dasmal" and "Ohoy Zakon" are instances of the plateau songs. Among one of the most authentic songs of the whole region is "Gusan Dokhan (Introduction)" masterfully played along Lala in this set. Lyrics of "Gilelo" and "Huhu" are by Mohammad-vali Mozaffari (passed away) and "Ye Qal Do Qal" by Morteza Karimi; other songs of the collection at hand are created by Ardeshir Mehregan, Mohammad Reza Kheyrkhah, Qola-reza Moradi, and Mohsen Ariyapad. ...