JAVS Summer 2021

him of his instrument, the kamancheh. Their similarities, including a somber and deep sound, nasal quality, range of colors from brilliant to dark, and capability of producing rough edges in the sound inspired him to choose viola for this piece. By writing the piece with scordatura tuning (D–A–D–A, a common tuning for kamancheh ), he made the two instruments’ registers even closer, while also experimenting with a non-traditional range and color for viola. Kamalto is also based on two Iranian modes, but Tavakol approaches them differently than how they are commonly used within Iranian classical music. In a more traditional setting, the use of dastgahs follows specific rules: only certain modes can be used or combined together, and any modulation follows strict directions. Tavakol intentionally breaks these rules by using the modes of chahargah and dashti together; these two modes are completely contrasting, with distinct energies, qualities, and modal centers (ex. 4). The mode of dashti is often described as sad and mournful, while chahargah is known for its heroic, strong, and energetic mood. With this break from Iranian conventions,

Kamalto by Showan Tavakol

Whereas the voice in Veiled was a part of the pre-recorded electronics, the next work under consideration is for viola and voice: Kamalto, by Showan Tavakol (b. 1979). 11 It has two movements , the first for viola and voice and the second for solo viola. 12 Kamalto is a fine combination of Iranian musical characteristics and contemporary compositional techniques, as Tavakol explains: I have been experimenting with ideas of bringing my roots into my new works. As a kamancheh player, I can easily perform Iranian melodies, modes, and motives on my instrument, but how can I write a piece that makes this available and accessible to more than just me? Hence the creation of Kamalto ; kamancheh and Alto (French for viola). 13 A kamancheh player and a specialist of Iranian classical music, Tavakol has expansive knowledge about the mode systems of Middle Eastern music and the dastgah system of Iran. He explains that the viola in many ways reminds

Example 4. Showan Tavakol, Kamalto, mvt 2, mm. 27–42. The mode of chahargah is evident in the dotted rhythms, quick sense of pulse, and accents; the mode of dashti is relayed through the cantabile expressive marking, vibrato, and shifting dynamics. All examples from this piece use scordatura notation. © 2017. Used with permission.

Journal of the American Viola Society / Vol. 37, 2021 Online Issue

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