Music of Bakhtiâri (Nomads of Western Iran)

Music of Bakhtiâri

Bakhtiâri music constitutes one of the most extended systems of maqâm in Iran. Maqâm, here, signifies the relation of each tune with a subject, an occasion or the reason of its making and also denotes a particular ceremony or a traditional rite of the nomadic people. During recent times and due to expansion of communicative technology, the traditional tunes have become more unknown (unfamiliar) to the ears which are used to hear the other abstract and sometimes eclectic types of music.

Nowadays, the examples of Bakthiâri music are for the most part influenced by a major maqâm and its related melodies.

Unfortunately, by the overproduction of new melodies, mythologic features of Bakhtiâri music become more and more obscure.

1. Maqâm-e Gâhgeryu

"Gâhgeryu" means the time for mourning. Mourning in its mythologic sense is still prevalent in Bakhtiâri funeral music, though not in its original form but the overall structure is deducible. Gâhgeryu is one of the vehicles of this mythologic manifestation.

Alidâd No-Dâlkosh, the celebrated epic hero of Bakhtiâri people, who could kill nine (no-) vultures (dâl-) with only one arrow, was envied by his brother and is murdered by him. The tragic story of Alidâd has become the source of many inspirations for Bakhtiâri musicians to compose lamentations in Gâhgeryu. Mâqâm-e Tipumey is related to mental and physical characteristics of the hero. Singers of this maqâm improvise and the audience accompany them and this results in rare moments of deep sadness.

2. a) Shir-Ali Mardân

The head of Haft-Lang tribe who is captured and condemned to death.

b) Golom Golom

A lyric tune with diverse versions.

3. Sarkuhi

Means "on top of the mountain" and is a maqâm that the shepherds sing and play it with their neys (flutes). Today this maqâm is also played by other instruments.

4. a) Lachak Riâli

The name of this tasnif is related to a common tradition among women of Bakhtiâri tribes; They decorate their scarves with coins. Rich women use silver coins. This tune usually is heard in joyous moments and is the favourite of many Bakhtiâri people.

b) Barzegari

A kind of work-music, Barzegari is usually heard during ploughing and sowing, sung by farmers originally a lyric poem.

c) Lachak Riâli

5. a) Pishnavâzi

Pishnavâzi is an instrumental introduction at the beginning of a piece.

b) Huri Huri

It is the name of a woman, the heroine of a love epic composed for her.

6. a) Cheshme-ye Kuhrang (Kuhrang Fountain)

One of the oldest natural fountains in the mountains of Bakhtiâri region.

b) Saharnâz

A lyric piece describing the beauty of Saharnâz, the celebrated symbol of love among Bakhtiâri people.

7. a) Chub-Bâzi

The music of Chub-Bâzi is restricted to karnâ and dohol. All its tunes and melodies follow a certain rhythm. Chub-Bâzi is played outdoors and is an imitation of war scenes.

b) Ney-e Chupâni

Another name for Sarkuhi.

c) Chub-Bâzi

8. a) Pishnavâzi

b) Golomi, Hây Gol

A recent song composed after the general characteristics of Bakhtiâri music. Basically it is unrelated to folk instruments.

9. Gâhgeryu

10. Jashn-e Noruzi

A tune played in New Year festivals and also in other ceremonies. Probably it is not originally a Bakhtiâri tune.

11. a) Maqâm-e Bidguni

A general term which refers to a class of tunes with Bidguni origin. Of these tunes Golom Golom is best known, and one of its versions actually has been composed under the influence of Khorâsâni music.

b) Golnâz-e Jahrom

c) Forud

Like other types of Iranian music, there are several foruds (cadences) in Bakhtiâri music. Foruds are of the most important features of this music. The more ancient tunes have more common patterns of Forud.