6. The 'naghma-ye kashal' repertory

Six examples of naghma-ye kashal are presented here. The notations are skeletal; they give the bare outlines of the composition. In actual performance one would go well beyond the basic notated structure in a number of ways, especially by making rhythmic variations, see Chapter 7.

In the notations I have used the numeral 1 as a super-script to indicate notes in the octave above the fretted range of the rubab, and 2 for a note two octaves above the fretted range. This is usually Sa1.The numeral 1 is used as a subscript to indicate the octave below the main octave. The note Ni1 has a prominent role in several compositions. For each naghma I provide first a short but complete performance in video format, without percussion, and then each part is presented in video format as teaching material, played very simply, using downstrokes only. The symbol K, which stands for karj (the tonal centre) is usually the note Sa, but in Pari it is Ma and in Kesturi it is Pe.

In the complete pieces each naghma is prefaced by an introductory shakl, but in the notations different shakl phrases are given and these not played as teaching material. In the notations the symbol – indicates a one matra rest. While – followed by a note name indicates a half-matra rest before the names note, for example: –Sa, or –Ni.