Homophony and repetition: Saz va Avaz: Part 7

Alizadeh’s work can be heard using the homophonic texture as well.*

* (Note: Due to no sheet music, time passages are used in replacement of measures)

Section 1:

• For Alizadeh’s piece, in section 1, from the time of 0:00 to 1:10, begins with

the tenor singing proudly and with such fortissimo, though the homophonic texture is

unfolded with the chord played by the tar, with no specific rhythm, though

the harmony is obvious, since the tar does not play monophonically. though

it may sound possibly polyphonic once the tenor stops singing the melody

for a moment before continuing to sing.

• From 0:53-1:04, like Handel’s piece, the tenor sings out a melismatic phrase with accompaniment of detached quavers.

• Repetition is heard of the beginning phrases, where 0:13-0:25 and 0:38-0:44, where even the accompaniment of the tar is the same, though the Kamancheh plays louder and chordally with the tar and tenor.

• From 1:11-1:44, the orchestral accompaniment plays among each other, though they play the same melody, repetitively, such as 0:16-26 and 0:33-44 (though the second time has a few different harmonic phrases removed, the melody is still the same and recognized).

Section 2:

• In section 2, from 1:45 to 4:15,

the piece begins, like Handel’s piece, in adagio, slowly playing, though

the harmony of the tar starts to slow down along with the piece, staying

piano as the voice remains in its adagio tempo. However, the tempo, for

a brief moment, increases allegro, as the melody increases in pitch with

sixteenth notes. But for the allegro tempo, the tar builds its tempo around

the melody, keeping the texture shaped homophonically.

At 2:49-3:05, another melismatic phrase is added, but with an immediate crescendo  from piano to forte, or it could be considered a terraced dynamic by its quick change. But the accompaniment still dwells among detached quavers, in order to fulfill the homophonic texture of the voice and chordal instruments.

Then at 3:45, the tempo returns to adagio, with the lyrics ending with the repeated phrase “Without You, Life can’t go on.”

Section 3:

• In section 3, from 4:54-7:00,  the tenor returns again with the main theme of the first

(Oh Beloved), but then forms out into the new lyrics with the tar, tying the

harmony to the melody, giving its familiar homophonic texture. The piece

ends with instrumentation.

• At the end, around 6:45, the tenor, adagio and piano, for the final time, restates the theme of the entire religious piece of “Without You, Life Can’t Go On.”