Unification of Emotion and knowledge

Profile: Contemporary musician and composer Tar1 and Setar2 instrumentalist and author

Introduction to Method of Playing and Innovations: 1 - Technique of Playing

We are all familiar with the classical debate between musicians on the matter of technique and passion.

Who's the greater musician? The technical one capable of playing the most difficult pieces with extra ordinary speed or the one whose passionate play always amuses the audience yet he is neither the master of technique nor speed.

Among these musicians, Keyvan Saket is known as a genius in technique. While his vast musical knowledge and brilliance helped him achieve a distinctive sentiment in his works, his is originally famous for his speed, and is celebrated as the “Fastest Tar and Setar” player in Iran. He invented a new method of finger placement which revolutionized the speed and way of playing Tar and Setar. With this new methodology a Tar player can perform considerably faster and presto pieces.

What is the highlight of Keyvan Saket’s achievements? He is known as the “Cultural h eir of Colonel Alinaghi Vaziri 3, a true follower of his Style and the expander of his discipline. Colonel Vaziri was the first Tar player who used left hand’s small finger to hold Tar frets. Prior to his time Tar players would only use their pointing, middle and ring fingers to perform. Also Vaziri was the first person who used the 3rd and 4th

strings alon g with 5th and 6th strings in his Melodies. Theses strings were previously used only for creating the desired rhythm and keeping the beat up.

1 Tar- a long-necked, waisted lute with six stings- is one of the most important Iranian Instruments 2 Setar is a four stringed lute 3 Alinaghi Vaziri (1887-1979)

Keyvan Saket has expanded Colonel Vaziri’s style. As a Tar instrumentalist, he makes the most of all of Tar potentials . For instance, he puts a great emphasis on the second and third string’s finger placement, and that’s what makes him capable of playing fast tempo songs. In addition to his finger placement techniques, he uses extraordinary hand movements and jumps which is unique to his style. In sum, it is his exceptional technique that brings out the entire sounding capabilities of Tar which was not discovered before.

Many believe that his concentration on technique takes away the emotion and passion in his performances, however, Saket’s last two albums revealed to be amazing sensations . Besides, no one has ever been able to play Colonel Vaziri’s Dok h tarak e Joulideh like him except Saket.

2 - Performance of World Classical Pieces

Keyvan Saket has always believed in introducing Iranian traditional music to the world. One of his ways of doing so was to show the world what Iranian instruments were capable of playing.

To demonstrate this, he tried to perform well-known pieces from composers like Beethoven, Mozart, Paganini, Vivaldi, Strauss, and more. This mission seemed impossible at first; Tar was played with plectrum and most of western classical pieces with Violin- a bowed string instrument. This meant that a Tar player had to have a very quick plectrum to keep a rapid repetition of one note, or a tremolo. And yet, Saket was the only one with an impossibly blistering speed.

The other problem was converting Violin’s music notations, finger placements, and tuning to suit Tar. Even after the alteration, the Tar player had to move his hand up and down the fret board extremely quick in order to be able to perform these pieces. All and all this seemed to be a complicated and impractical transition.

Finally, a fter 8 years of hard work and research, Keyvan Saket released his astonishing album “East meets West” in 2001. For the first time in history, he performed Turkish March by Mozart, Four Seasons by Vivaldi , Caprice 24 by Paganini, Czardac by Monti, Hungarian dance No. 1, 4, and 5 by Brahms, and themes from Symphony No. 40 by Mozart with Tar (and Piano).

This was how Keyvan Saket introduced Iranian Tar to the world. In fact it was because of his amazing finger placement and outstanding technical execution (where he could jump up and down the fret board thousand times without missing or misplaying a note) that he could play world renowned music pieces with Tar. Later on, Keyvan Saket published an educational book with the same name containing the notations of his album which was arranged for Tar.

Saket’s successful attempt to raise awareness about Tar worldwide resulted in an instantaneous demand from international musicians to learn more about this Iranian Instrument. His work was also embraced by foreign audiences who have never heard an eastern ethnic instrument marvelously p lay the western melodies. One time an Italian traveler asked one of Keyvan Saket’s students whether Tar was of any use and if it was more than a piece of wood and skin. To his response, the young Iranian

musician plays one of world well-known musical pieces with Tar, and makes him amazed and respectful towards the instrument.

Keyvan Saket’s novel methodology had various reactions inside Iran. Traditionalists started attacking on him for misleading Tar and Setar from their original path and destroying the old ways. They believed no foreign melody should have been played with traditional instruments like Tar and Setar. But Keyvan Saket disagrees and believes that playing western music with Iranian instruments would only reveal their capabilities. Never the less, Saket is a Persian music master and a phenomenal Tar player in the first place, and it is his educational books for Tar and Setar that are being taught to the young Iranian musical generation.

In the last few years, along with his traditional albums Keyvan Saket released two modern albums that once again stunned everyone. This time he performed extremely fast and complex pieces like The Flight of the Bumblebee. Despite of all the critics on him and what he stood for, his astonishing performance at the International Music Exposition in France in 2006, signified Tar and Setar globally.

Saket, a ground-breaking musician, finds unquestionably following tradition in the sense of nothing but Radif 4 vain, and believes music to be the language of world’s peace. In the brochure of East Meet West album he writes: Art is the com m on langu age be tw een na tion s , and m us ic as an in s eparable part of art and cu lture is a tru e exam ple of this fact. My m is s ion in th is album is to create a connection be tw een the eas t and w es t n a tions .

3 - Practice Books

In addition to his educational publications, he published two books with useful practices for Tar and Setar. These books were geared towards familiarizing young musicians with a Saket’s technique and style.

4 - Musical Compositions

Keyvan Saket is an exceptional, talented and knowledgeable composer. His most famous compositions are his Chaharmezrabs- they are distinctive in technique, style, and composition. Saket has brought a new era to Chaharmezrab5 composition in Iran, and revolutionized their monotonous style and stagnancy. Each of his Chaharmezrabs repeatedly change rhythm and shift from high keyed to low keyed notes and visa versa, and it takes an experienced Tar player to play his Chaharmezrabs.

4 Collection of many old Persian melodic figures preserved through many generations by oral tradition which are organized into 7 tonal spaces

5 Fast rhythmic piece lasting between 3 to 5 minutes and melodically following the general mood of the performance

5 - Persona and Artistic perspective

Keyvan Saket has been an active musician in recent years. Even his critics can’t deny it. According to Saket himself when critics are busy criticizing this work, he is recording his next album. He has always kept the smaller provinces in mind and has held many concerts and educational classes in places like Esfahan, Shiraz and Hamedan. He perused his goal and ignored the destructive critic by expanding this methodology, and only if the opponents could do the same.

Saket has used various channels to reach the people and educate them about his style. He has published more than dozen books and albums in the past few years, traveled to many cities, established a music institution and created a strong bond with the young musicians in Iran to encourage them to learn and expand his style. His other major act was establishing Vaziri Orchestra which is led by him and performs excellent concerts all over Iran.

Saket has an open and free spirited vision; He believes in liberation in music styles and methodologies. Without supporting a particular style or musician, he encourages instrumentalists towards peacefully spreading their styles and thinking together rather than destroying one another.

Keyvan Saket, much like his contender Hossien Alizadeh, sees music as a discipline and science; unlike other Tar masters like MohammdReza Lotfi who believes in traditional ways of passing music to the new generation and disagrees with academic music classes. Saket has taken a new and academic approach toward Iranian music, and it is his extensive knowledge of western music (like his master Colonel Vaziri) that has formed his open-minded principles.

In conclusion, I would say that I have never seen Mr. Keyvan Saket destroying or disapproving of a person or his style, or criticizing them in his interviews. What he really wants is for everyone to peruse their musical endeavors peacefully.

Musical Records (Albums):

The Sorrow East

6 Each different

usical Records (Albums):

The Sorrow East

Each different

tonal space in Iranian

usical Records (Albums):

East MeetSide A: Morghe Sahar

Side B: Turkish March by Mozart, Four Seasons by Vivaldi ,

Dance NoNo. 40 - Mozart

IlluminationsThis album is one of Keyvan Saket’s which is based on Iranian polyphonic compositions one stunning reco

Side A: Sorrow & Delight, Regard, Solo Shour, Breeze & Leaflets, Voyage in the Leaflets of waterTar & Piano Dashti

Side B: Great ExpDance, Rhapsody ChaResurrection

The Sorrow East

The Sorrow East technique and emotionBumbleSome of this album’s songs likehave become very popular in Iran, by the

Side A: Sougname

Side B: Minor, Ettude

tonal space in Iranian Radif

usical Records (Albums):East Meets West

Morghe Sahar

Turkish March by Mozart, Four Seasons by

Caprice 24 by

ance No. 1, 4, and 5 by Mozart

Illuminations

is album is one of Keyvan Saket’s which is based on Iranian polyphonic compositions one stunning record

Sorrow & Delight, Regard, Solo r, Breeze & Leaflets, Voyage in the Leaflets of water

Tar & Piano Dashti

Great Expectation, Solo Tar & Violin ShouRhapsody Cha

Resurrection

The Sorrow East nique and emotion

umblebee being examples ofSome of this album’s songs likehave become very popular in Iran,

the

Iranian TV

Side A: Afsous, Tar Solo, Mowdje, KhatereSougname

Side B: Adagio, Menuete, Badinerie, AstMinor, Ettude F.Minor, Inve

Radif

music which are seven in total.

usical Records (Albums):

West

Morghe Sahar

arranged for orchestra by Keyvan Saket

Turkish March by Mozart, Four Seasons by Caprice 24 by

Paganini,

1, 4, and 5 by Brahms, and

is album is one of Keyvan Saket’s which is based on Iranian Dastgahpolyphonic compositions for Tar and Piano

rd.

Sorrow & Delight, Regard, Solo r, Breeze & Leaflets, Voyage in the Leaflets of water

ectation, Solo Tar & Violin ShouRhapsody Chahargah, Solo Tar &

The Sorrow East is a clear illustration of Keyvan Saketnique and emotion; with

being examples ofSome of this album’s songs likehave become very popular in Iran,

Iranian TV

and Radio

Tar Solo, Mowdje, Khatere

Adagio, Menuete, Badinerie, AstF.Minor, Inve

which are seven in total.

arranged for orchestra by Keyvan Saket

Turkish March by Mozart, Four Seasons by Paganini,

Czardac by

ahms, and Them

is album is one of Keyvan Saket’s most beautiful creationsDastgah6 . Saket’s

for Tar and Piano

Sorrow & Delight, Regard, Solo Tar & Piano Esfahanr, Breeze & Leaflets, Voyage in the Leaflets of water

ectation, Solo Tar & Violin Shourgah, Solo Tar &

is a clear illustration of Keyvan Saket; with Asturias

being examples of

very difficult yet pleasant piecesSome of this album’s songs like

Afsous, Tar Solo,have become very popular in Iran, and are broadcasted widely

and Radio.

Tar Solo, Mowdje, Khatere

Adagio, Menuete, Badinerie, AstF.Minor, Invention, The Flight of the B

which are seven in total.

arranged for orchestra by Keyvan Saket

Turkish March by Mozart, Four Seasons by Czardac by Monti, H

Themes from Symphony

most beautiful creationsSaket’s mesmerizing

for Tar and Piano

made Illuminations

Tar & Piano Esfahanr, Breeze & Leaflets, Voyage in the Leaflets of water

ectation, Solo Tar & Violin Shoushtrgah, Solo Tar & Piano Cha

is a clear illustration of Keyvan Saket

and The Flight of the y difficult yet pleasant pieces

Afsous, Tar Solo,and are broadcasted widely

Tar Solo, Mowdje, Khatereh , Karane

Adagio, Menuete, Badinerie, Asturias, Sonata D. ntion, The Flight of the B

arranged for orchestra by Keyvan Saket

Turkish March by Mozart, Four Seasons by Monti, Hungarian s from Symphony

most beautiful creations

mesmerizing

and made Illuminations

Tar & Piano Esfahan-r, Breeze & Leaflets, Voyage in the Leaflets of water-lily, Solo

shtari, Persian Piano Chahargah,

is a clear illustration of Keyvan Saket’s light of the

y difficult yet pleasant piecesAfsous, Tar Solo,

and Mowdje and are broadcasted widely

Karane,

s, Sonata D. ntion, The Flight of the Bumble

arranged for orchestra by Keyvan Saket

ungarian

s from Symphony

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lily, Solo

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y difficult yet pleasant pieces. dje

and are broadcasted widely

umblebee

Ghasedak (Dandelion)

This album is one of Keyvan Saket’s phenomenal Setar playing records. In a beautiful duet with Mrs. Jale Sadeghiyan, they perform poets from Iran contemporary poets like: Simin Behbahani, Fereydoon Mou shiri, Mehdi Akhavan-Saless , Ahmad Shamlou, Hushang Ebtehaj, and Sohrab Sepehri.

Ghasedak demonstrate Saket’s unique Setar playing style and a blend of Iranian music with novel melodies.

Jameh Daran

Jameh Daran is the proof to Keyvan Saket’s novel compositions and technique. He plays a few of his own Chaharmezrabs such as Esfahan, Oshag, Baharan, Raghs Parvane, and Pishdaramad Esfahan. He also marvelously performs Dok h tarake Joulideh one of Colonel Vaziri’s most complex creations.

Side A: Pishdaramad Esfahan, Moghadame Esfahan, Chaharmezrab Esfahan, Bayat Rajeh & Chaharmezrab, Oshagh & Chaharm ezrab, and Baharan

Side B: Shour, Moghadameh & Pish Zangouleh, Zangouleh & Avaz Chahargah, Raghs Parvaneh, Zarbi Mokhalef, Dokhtarake Joulideh

Fasaneh

Fasaneh is the result of a successful collaboration between Keyvan Saket and noted Iranian Singer Iraj Bastami which was tremendously embraced by Iranian population.

Side A – Abuata: Fasaneh by Nima Youshij, Vay Bar Dele Man by Parviz Iranpour, Chaharmezrab Abuata, Chaharmezrab Hejaz, Hezar Jahd by Saadi

Side B – RastPanjgah: Charkhe Niloufari by Naser Khousro, Raak by Dr. Vahid Movahed, Dani Kodam Dolat by Saadi, Chaharmezrab RastPanjgah

Bi Carevan Koli (Itinerant Gypsy)

Another work by Keyvan Saket and Iraj Bastami which was completed just before Bastami’s tragic death in Bam earthquake.

Side A: Darya, Vocal & Tar, Chaharmezrab Shoushtari, Vocal & Tar & Oud and Ney, Baharan

Side B: Bi Carevan Koli, Darya, Narenjestan, Deylaman, Bahar Digar

Sabokbaal

Saket performances many of his famous Chaharmezrabs, and pieces from his book named Eigh teen Pieces for Tar and S e tar.

Side A: Chaharmezrab Segah, Mokhalef Segah, Segah, Ghamgename, Sabokbaal, Chaharmezrab Afshari & Bayat Zand, Delangiz, Chaharmezrab Chahargah

Side B: Raghs Golha, Chaharmezrab Rastganjgah, Homayoun, Bidad, Shour, Nava, Esfahan, Bayat Raje, Baharan

Introduction to Avaz Dashti

An educational album by Keyvan Saket focused towards familiarizing young Iranian musicians with Avaz e Das h ti. Most of his second book pieces were performed by Tar and Tonbak7 along with vocals to help with the learning process.

And other Albums such as:

7Persian goblet drum

Published Work: A Modern System of Playing Tar & Setar:

A collection of five academic books published by Keyvan Saket , and used by the majority of music institutes in Iran.

Perpetual Movement

Perpetual Movement and Charkhe Niloufari are collections of practices and etudes for Tar and Setar players to help strengthening their technique, speed and foundations. These pieces could be too complex for any new player.

The Wave (Ba Mowj Ta Karaneh)

Along with duet pieces for Piano and Tar, few of the songs from the umination Illuminations album were published in this book as well.

Charkh- e Niloufari The Solace of the Willow

Autobiography (Quoted from Jameh Daran Album): Keyvan Saket was born in Mashhad, Iran in 1960. As a teenager he studied Persian classical music along with the works of world famous musicians. In 1986, he was invited to Aref Ensemble8 and his collaboration with the Ensemble continued till 1996. In early 1995, he established Vaz iri Orches tra, and they performed for the first time in Talar Vahdat Theater in the memory of great Iranian master Colonel Alinaghi Vaziri.

In 1998, Saket shocked the musical community by a series of revolutionary concerts; critical acclaimed pieces from all across the classical repertoire spectrum performed in unconventional duet of Tar and Piano. Once again his brilliant technique and speed in performing the classical pieces that seemed impossible for Tar, proved capabilities of Tar. He sought to elevate the Persian music with his contemporary style from its repetition.

During 1996 and 1997, Keyvan Saket recorded ten (25-30 minutes) sessions in Golhaye Javidan style for Iranian Television and Radio.

He is currently teaching music at Tehran’s Islamic Azad University and is the resident of University of Hawaii.

8 One of the leading ensembles in Persian classical music of 20th century directed by Mr. Parviz Meshkatian

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