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Dastgâh-e Mâhour Gusheh-ye Chahârpâreh According to Hossein Omoumi Composer unknown Poem of Hâtef-e Esfahâni -râ ye kho -za -ri ba 4 7 -dâ ko -ni be cheh -reh Che = 100 Darâmad sha -vad man na ye zard e a -gar -ni dard -me Ke ko -ni ha 3 ye -ki e man be da -vâ ko na -zâ -reh molk e ja ma -hi yo -hân to -râ 5 yo kesh -var To Khâvarân sha -hi -râ to e " jân to hâl e ge -zar be -dâ ko -ni 7 ka -ram che Ze rah e ke na zi -ân to -râ ti -ram o za -ni be man gha -min 9 ke -shi -deh To Erâq ka -mân ke vo dar ka -min -kar -deh kha kho -dâ na -tâh ko -ni 11 gha -mam bo Ha -me -ye -min ke -vad " az ha

Sheet music - Persian Classical Music, Dastgah-e Mahour: Gusheh Chaharpareh

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The source for this transcription is a recording of one of Mr. Omoumi's Radif lessons. The notation is very simple, without any ornaments; all grace notes, slurs, etc. have been ommited in order to leave nothing but the main melody. This is not an exact transcription of Hossein Omoumi's performance, although he always insists on keeping the melodies as nude as one can, until one really knows Persian Classical Music ornaments rules. That's the work that's been done here, so that any musician can refer to it and add its proper ornaments at will, even though this version requires very few of them.

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Page 1: Sheet music - Persian Classical Music, Dastgah-e Mahour: Gusheh Chaharpareh

Dastgâh-e MâhourGusheh-ye Chahârpâreh

According to Hossein Omoumi

Composer unknownPoem of Hâtef-e Esfahâni

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Page 2: Sheet music - Persian Classical Music, Dastgah-e Mahour: Gusheh Chaharpareh

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DASTGÂH-E MÂHOURGusheh-ye ChahârpârehClosed gusheh of Chahârpâreh (made of three open gushes: Darâmad, Khâvarân, Erâq)She'r-e Hâtef-e Esfahâni Âhang-e ?Poem of Hâtef-e Esfahâni, Music of unknown author The following text includes:1. The phonetic transcription of the persian words,2. Their literal translation,3. Their semantic translation.(all made by Ostâd Hossein Omoumi, his website is http://www.omoumi.com) DARÂMADChe shavad be chehreh-ye zard -e man nazari barâ-ye khodâ koniWhat becomes toward face of yellow of me look a sake of God you doIf, for God's sake, you looked at my love-sick/sickly face, what would happen? Ke agar koni hame dard-e man be yeki nazâreh davâ konithat if you do all pain of me with one glance healing you doIf you looked, in a single glance you'd heal all my pain KHÂVARÂNTo shahi -yo keshvar-e jân torâ to mahi -yo molk -e jahân torâYou king a and country of soul yours you moon a and domain/estate of world yoursYou are a king, and yours the country of the/my soul You are the moon, and yours the world's demesne Ze rah-e karam che ziân torâ ke nazar be hâl -e gedâ koniFrom way of generosity what harm you that look toward condition of beggar you doWhat would it hurt you to look generously on a beggar's state ERÂQTo kamân keshideh vo dar kamin ke zani be tiram o man ghaminYou bow drawn and in ambush that strike/shoot you to arrow me and I sad/ grievedYour *bow is drawn and your *arrow in ambush waits to strike me and I am grieved hame ye ghamam bovad az hamin ke khodâ nakardeh khatâh koniall of sorrow/anguish/worry my is from this that God not act mistake you makeAll my anguish stems from this: God forbid that you should miss Ke khodâ nakardeh khatâh konithat God not act mistake you makeGod forbid that you should miss

Page 3: Sheet music - Persian Classical Music, Dastgah-e Mahour: Gusheh Chaharpareh

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POEM TRANSLATION: Iffor God's sakeyou looked at my love-sick face,what would happen? If you lookedin a single glance you'd healall my pain. You are a kingand yours the country of the soul.You are the moon and yours the world's demesne.What would it hurt youto look generously on a beggar's state? Your *bow is drawn andyour *arrow in ambush waits to strike meand I am grieved. All my anguish stems from this:God forbid that you should miss.God forbid that you should miss. * Bow and arrow are metaphors here for eyebrow and eyelashes.

The source for this transcription is a recording of one of Mr. Omoumi's Radif lessons.The notation is very simple, without any ornaments; all grace notes, slurs, etc.have been ommited in order to leave nothing but the main melody.This is not an exact transcription of Hossein Omoumi's performance,although he always insists on keeping the melodies as nude as one can,until one really knows Persian Classical Music ornaments rules.That's the work that's been done here, so that any musician can refer to it and add its proper ornaments at will,even though this version requires very few of them. Transcription made by P. Duka with the open source musical notation software 'Lilypond' version 2.12.2(http://lilypond.org/web/).

Music engraving by LilyPond 2.12.2—www.lilypond.org