رویکرد هارمونیک مرتضی حنانه با نگاهی بر قطعه بزرگداشت فردوسی

بی‌گمان رویکرد هارمونیک مرتضی حنانه در استفاده از مدهای موسیقی دستگاهی و پدیدآوردن زبانی نو درخور تامل است. هدف این پژوهش بررسی رویکرد هارمونیک حنانه در اثر بزرگداشت فردوسی بوده و فرض بر آن است که هارمونی اثر یا به تعبیر آهنگساز هارمونی زوج، برگرفته از موسیقی دستگاهی ایران باشد. این نوشته در ابتدا به روش توصیفی ‌تحلیلی به مدهای مورد استفاده و رابطه‌ی آن با رویکرد هارمونیک می‌پردازد. رویکرد هارمونیک حنانه نوعی پلی‌مدالیته در جهت تقویت فواصل ساختاری و شاخص دستگاه است که آهنگساز ریشه آن را در اهمیت فواصل چهارم درست در موسیقی ایران می‌داند. برای نمونه در این اثر با بکارگیری همزمان شور می و دشتی متعلق به آن (دشتی سی)، نتهای می و سی اساس بیشتر آکوردهای قطعه را تشکیل می‌دهند و آهنگساز نتهایی به عنوان متبدلات به این فاصله می‌افزاید. گزینش فاصله متغیر مذکور (متبدل) به‌گونه‌ای است که تاثیر مد مورد نظر را و نیز تاثیر میکروتن را بصورت همزمان تداعی کند. برای مثال، آکورد مورد استفاده در ابتدای قطعه متشکل از میسی (ثوابت) و فا است که همزمانی می و فا تداعی‌کننده فا سری است. پس از بررسی نمونه‌ها می‌توان نتیجه گرفت در رویکرد حنانه، هارمونی‌ها، غالبا غیرتیرس و مبتنی بر مدهای ایرانی است و در پلی مدالیته در درون یک دستگاه ریشه دارد.

An Introduction to Hannaneh’s Harmonic Approach (Even Harmony)The Case Study: Omaggio a Ferdowci

The purpose of the current study is to investigate Morteza Hannaneh’s harmonic approach rooted in Iranian traditional music. The Term Even Harmony which associates with Hannaneh’s pieces defined as a type of nonfictional harmony based on chords with second, fourth, and sometimes sixth intervals from the root. For instance from the root C, the even harmony’s chord would be C,D,G,A. Studying Omaggio e Ferdowsci piece, the current paper tries to explore the main features of Even Harmony and its relationship with Iranian traditional music. One may argue that such harmonies can be analyzed as tertian chords (third inversion of a 7th chord with omitted fifth), but it should be considered that choosing these harmonies are different form common tertian harmonies. First, the main focus is on minor second and the fourth intervals instead of thirds; many passages include minor second with omission of other notes. Second, the concept of Even Harmony is related to intervallic structure of Iranian traditional modes, and the harmonic progression will be determined by Iranian modal system. In other words, by choosing the main tones in the mode and its intervallic structure in which the sub modes are formed (Dastgah), the main features of the mode are emphasized. Let us consider (Shure E) including E,F,G,A, B,C,D, and E. Although, Shure and Dashti in traditional music in equalwell tempered system results in similarities between Shure and Phrygian mode, in Shure, function of tones is different and some special alterations in ascending and descending motions occur in Dashti. Moreover, some variable tones are used in order to ornamentation and modulation. In the mentioned mode, by considering the differences with Phrygian, first degree and fourth degree are prominent tones, so as a pedal element, they can be used in the most of the chords. It should be mentioned that perfect fourth interval is of high importance in Iranian traditional music. Thus, the pedal notes of first and fourth degree can be found in the most of the chords. The Second degree which forms a microtone with the first degree, in Iranian traditional music, is a prominent tone and functions a descending leading tone. Thus, in harmonies this degree can be emphasized in an even chord based on first degree. It should be noted that the composer believe that using this minor second can be related to the microtone which exists in the original mode. On the other hand, according to composer’s interviews, it can be concluded that, Even Harmony is the result of poly modal approach such as in Bartok’s and Ravel’s pieces. Nevertheless, in Hannaneh’s pieces poly modality occurs in relation to Iranian modal system (Dastgah).To be more specific, a group of melodies and also modes with variable tones are grouped based on a tradition, and they form a Dastgah. In the current studied piece, which is basically in Shure and Dashti, the relationship between the modes, grouped in Dastgah e Shure, is illustrated by means of poly modality. This approach toward poly modality and Dastgah also results in Evan Harmony, because of intervallic structure of Dastgah.