Music of Bakhtiari
Bakhtiari music constitutes one of the most extended systems of "Maqam" in Iran. Maqam, here, signifies the relations 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 Bakhtiari music are for the most part influenced by a major Maqam and its related melodies.
1- Maqam-e Gahgeryu
"Gahgeryu" means the time for mourning. Mourning in its mythologic sense is still prevalent in Bakhtiari funeral music, though not in its original form but the overall structure is deducible. Gahgeryu is one of the vehicles of this mythologic manifestation.
Aldad No-Dalkosh, the celebrated epic hero of Bakhtiari people, who could kill nine vultures (Dal) with only one arrow, was envied by his brother and is murdered by him. The tragic story of Alidad has become the source of many inspirations for Bakhtiari musicians to compose lamentations in Gahgeryu. Maqam-e Tipumey is related to mental and physical characteristics of the hero. Singers of this Maqam improvise and the audience accompany them and this results in rare moments of deep sadness.
2- a) Shir-Ali Mardan
The head of Haft-Lang tribe who is captured and condemned to death.
b) Golom Golom
A lyric tune with diverse versions.
Means "on top of the mountain" and is a Maqam that the shepherds sing and play it with their flutes (Neys). Today this Maqam is also played by other instruments.
4- a) Lachak Riali
The name of this musical composition is related to a common tradition among women of Bakhiari tribes. They decorate their scarves with coins. Rich women use silver coins. This tune usually is heard in joyous moments and is the favorite of many Bakhtiari people.
A kind of work-music, Barzegari is usually heard during ploughing and sowing, sung by farmers originally a lyric poem.
c) Lachak Riali
5- a) Pishnavazi
Pishnavazi 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 mountain of Bakhtiari region.
A lyric piece describing the beauty of Saharnaz, the celebrated symbol of love among Bakhtiari people.
7- a) Chub-Bazi
The music of Chub-Bazi is restricted to Korna and Dohol. All its tunes and melodies follow a certain rhythm. Chub-Bazi is played outdoors and is an imitation of war scenes.
b) Ney-e Chupani
8- a) Pishnavazi
b) Golomi, Hay Gol
A recent song composed after the general characteristics of Bakhtiari music. Basically it is unrelated to folk instruments.
10- Jashne-e Noruzi
A tune played in New Year festival and also in other ceremonies. Probably it is not originally a Bakhtiari tune.
11- a) Maqam-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 Khorasani music.
b) Golnaz-e Jahrom'
It is performed in Hajiuni, another Maqam in Bakhtiari music.
Link other types of Iranian music, there are several cadences in Bakhtiari music. Foruds are of the most important features of this music. The more ancient tunes have more common patterns of Forud.
Some Bakhtiari Music