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Complied and Arranged by Hossein Hamidi
Volals: Fereydoun Pourreza

Apparently, the music of mountainous regions in Gilan is different from that of plateau regions from the viewpoints of form and content. With respect to form, in the first style the guide (Shâhed) 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 naive ness of mountain-dwelling ones (Gâlesh); in fact, here, two general occupations of rice and tea planting and framing and livestock raising and herdsman ship are distinguished from one another.
To better illustrate the mountainous and pastoral atmosphere, use have here been made of such examples: Shul and Gore (Calling and shouting to scatter wolves), wind sound and small bell’s sound along with the sound of instruments as Karna, Laleh (Shepherd Ney) and Labak. For representation of a more accurate account of the plateau music such a variety of techniques, among others, as Vâgooye-Khâni (Collective response by a group to a solo singer), Ei Ei (a type of singing based on contra tempo) Estekan-Navâzi (playing by/on a little glasses), Dast-Senj (cymbal playing) and Tasht-Navâzi (playing by/on a round tub) are applied here. “Nar Âbkhor” and “Jân-e Leyli” are from Gâleshi pastoral vocals and “Nil Beza Dasmâl” and “Ohoy Zâkon” are instances of the plateau songs. Among one of the most authentic songs of the whole region is “Gusa Dokhân (Introduction)” masterfully played along Laleh in this set. Lyrics of “Gile-Lo” and “Huhu” are by Mohammadvali Mozaffari (passed away) and “Ye Qol Do Qol” by Morteza Karimi; other songs of the collection at hand are created by Ardeshir Mehregan, Mohammad Reza Kheirkhah, Gholamreza Moaradi and Mohsen Ariapad.
At last, it goes without saying that if not aided greatly by Fereydoun Pur-Reza who thanks to his mastery and brilliancy despite his age, sixty five, has rendered vocals and melodies with the melisma typical of Gil and Deylam music, this collection has not ever been prepared and complied. The author, hereby, feels the urge to express his gratitude to Naser Vahdati, Abdollah Ale-bouyeh, Ghobad Rezaei for their assistance and Naser Farhoudi, a prominent figure in sound recording, for his technical cooperation.  

Hossein Hamidi

Sorna, Labak and Karna: Hossein Hamidi
Kamancheh: Saeed Farajpouri
Oud, Setar and Bass Tar: Mohammad Firouzi
Laleh: Hosseinali Aminchorteh, Hossein Babaei  
Gilan Naghareh: Gilankhan Khoshnavaz, Ghobad Rezaei
Diareh (Dayereh): Keivan Pahlavan
Vagir: Gilan Chorus

Recorded by Naser Farhoodi  
at Pop Studio  
Cover Designed by Mohammad Hamzeh
Graphic Designed by Arlin Vartanian

Record Label: Mahoor Institute of Culture and Art
Record Date: 1997
Release Date: 1998

The Music of Gil and Deylam

Track list

  1.    Nil Beza Dasmâl  
  2.    Introduction to Gusan Dokhân
[Laleh: Hosseinali Aminchorteh]
  3.    Nar Âbkhor
[According to Hosseinali Aminchorteh] and Hiloy [Laleh:           Hassan Babaei]
  4.    Ye Ghal Do Ghal
: with introduction of Kormesi and Dance Magham,           a version of Sia Abrar]
  5.    Gile-Lo
  6.    Jân-e Gilan
  7.    Leyli Mâri  
[a version of Hosseinali Aminchorteh]
  8.    Gare Sari
(Gol Pesâr)
  9.    Huhu
10.    Ohoy Zâkon
11.    Valgrizi  
[Laleh Solo]
12.    Sia Abrân
13.    Jân-e Leyli

| © 2017 Hossein Hamidi | Created by Entr"acte Studio |

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