Here's how I composed "Mishwar" (2024), a fanfare for orchestra, commissioned by the California Symphony. My analysis centers around the harmonic structure of the piece, though there are many other ways I could have analyzed the piece. I explain its influences through the framework of the Arab maqamat, the harmonic series, functional harmony, and John Adams' iconic "Short Ride in a Fast Machine." This is a DEMO Recording made through Dorico and NotePerformer. 🌁 If you live in the Bay Area in California, come watch the premiere and say hi: www.californiasymphony.org/shows/brahms-obsessions/ 👂 Listen to "MISHWAR" here: ruclips.net/video/R3CF4wXOIPA/видео.htmlsi=wTw4kr9U1EqqyJCQ 👂 Listen to "SHORT RIDE IN A FAST MACHINE" here: ruclips.net/video/qwa42YhCT2E/видео.htmlsi=GU6Rj9XIPuf4yrHg 📖 PROGRAM NOTE: Throughout my childhood, my family and I made frequent trips up the coast of California, from the San Fernando Valley up to the Bay Area. Awaiting us there was the paternal, Jordanian side of my rambunctious, extended family, who we always looked forward to seeing again. Near the five-hour mark of each trip, like clockwork, a waft of garlic would whisk itself into our car, signaling both the impending arrival to our final destination, San Jose, and the start of what my two younger brothers and I would infamously call “the Arabic game.” Once we made our way through Gilroy, my dad, on cue, liked to see who retained the most out of the Arabic language among the three of us, who were all born in the U.S.: “What color is that car?”; “Who can count to 20?”; “How do you say ‘sky’?”; and so on. None of us were quite good at this game, though the moments when one of us would remember a word or phrase would always bring joy for my dad. This short, energetic piece, Mishwar (مشوار), or “trip” in Arabic, is a marker of those formative memories for me. Musically, the work is centered around the brass section, which plays chords influenced by the maqamat, the melodic framework used in the Middle East that to our Western ears consist of pitches outside the scope of our daily aural consumption. Mishwar is a conversation, albeit quite a loud one, between both my identities: a coastal American trained in Western classical music, and the son of Jordanian and Lebanese immigrants attempting to retain the culture they themselves grew up in.
I always love how open and transparent you are about your influences and what you used to build your own works. It's very refreshing. Keep up the great work!
Very cool. Wish I could attend the premiere. Good luck with it. I'd love to hear about how orchestral players react to being given microtonal music to play. And what the rehearsals are like. So there's a video idea for you :) (or maybe you already have a video about this...?).
The players’ union in the U.S. has very strict guidelines as to filming rehearsals (I.e. I have to shell out a ton of $ to be allowed to post on YT) 🤣 the ironic part of this all is I’m basically providing free marketing to the orchestras I work with that could potentially find an expanded audience through my channel. Oh well! :) but yes, they are mostly apprehensive at the beginning, but by 2nd or 3rd rehearsal it’s always amazing to see them gelling to the new intonation system. They are pros after all!
Your video is very intelligent, and well put together. I have mixed feelings on microtonality, but I am personally of the opinion that it should be given its own "space" outside of western traditions. I think it sounds stifled when influenced by what we consider "common" music, but I am still impressed by your piece.
@@saadhaddadmusic I respect your take very much, I did not intend to come off as confrontational or etc. I just happen to have a soft spot for a specific microtonal organ madrigal.
@@HuffleScrumblo which one? And so do I, I have a video on this channel about Nicola Vicentino you might like. I also happen to be writing a piece for the 36-TET organ soon.
This is such a cool piece! In the commissioning process, do you have to confirm with each ensemble that they can play/are open to playing microtones? I'm curious to see how these can be reliably accomplished (especially in the trumpets)! Also, how did you choose those rhythms? Was there more behind it than just whatever felt like it was driving the pulse? Very cool piece!!
The rhythms can be a whole other 15 minute video so I decided to stick to the harmony for this “tutorial” - there are some Arabic dance rhythms that I based this on, but didn’t want to overload the video 🤣 - the orchestra knows that I work with microtones so I’m going to hope they don’t mind! :)
Here's how I composed "Mishwar" (2024), a fanfare for orchestra, commissioned by the California Symphony. My analysis centers around the harmonic structure of the piece, though there are many other ways I could have analyzed the piece. I explain its influences through the framework of the Arab maqamat, the harmonic series, functional harmony, and John Adams' iconic "Short Ride in a Fast Machine."
This is a DEMO Recording made through Dorico and NotePerformer.
🌁 If you live in the Bay Area in California, come watch the premiere and say hi:
www.californiasymphony.org/shows/brahms-obsessions/
👂 Listen to "MISHWAR" here: ruclips.net/video/R3CF4wXOIPA/видео.htmlsi=wTw4kr9U1EqqyJCQ
👂 Listen to "SHORT RIDE IN A FAST MACHINE" here: ruclips.net/video/qwa42YhCT2E/видео.htmlsi=GU6Rj9XIPuf4yrHg
📖 PROGRAM NOTE:
Throughout my childhood, my family and I made frequent trips up the coast of California, from the San Fernando Valley up to the Bay Area. Awaiting us there was the paternal, Jordanian side of my rambunctious, extended family, who we always looked forward to seeing again. Near the five-hour mark of each trip, like clockwork, a waft of garlic would whisk itself into our car, signaling both the impending arrival to our final destination, San Jose, and the start of what my two younger brothers and I would infamously call “the Arabic game.”
Once we made our way through Gilroy, my dad, on cue, liked to see who retained the most out of the Arabic language among the three of us, who were all born in the U.S.: “What color is that car?”; “Who can count to 20?”; “How do you say ‘sky’?”; and so on. None of us were quite good at this game, though the moments when one of us would remember a word or phrase would always bring joy for my dad.
This short, energetic piece, Mishwar (مشوار), or “trip” in Arabic, is a marker of those formative memories for me. Musically, the work is centered around the brass section, which plays chords influenced by the maqamat, the melodic framework used in the Middle East that to our Western ears consist of pitches outside the scope of our daily aural consumption. Mishwar is a conversation, albeit quite a loud one, between both my identities: a coastal American trained in Western classical music, and the son of Jordanian and Lebanese immigrants attempting to retain the culture they themselves grew up in.
I always love how open and transparent you are about your influences and what you used to build your own works.
It's very refreshing. Keep up the great work!
No use not to share! Thanks for your encouraging comment!
You're quite literally making history.
So good friend.
Good to hear from you 🙏🏽 thank you
These microtonal harmonies make the changes sound fresh and exciting.
glad you think so!
This is great, can’t wait to hear it live, Saad!
Thank you Sasha! Great chatting with you yesterday and looking forward to meeting you in person (!)
Very cool. Wish I could attend the premiere. Good luck with it. I'd love to hear about how orchestral players react to being given microtonal music to play. And what the rehearsals are like. So there's a video idea for you :) (or maybe you already have a video about this...?).
The players’ union in the U.S. has very strict guidelines as to filming rehearsals (I.e. I have to shell out a ton of $ to be allowed to post on YT) 🤣 the ironic part of this all is I’m basically providing free marketing to the orchestras I work with that could potentially find an expanded audience through my channel. Oh well! :) but yes, they are mostly apprehensive at the beginning, but by 2nd or 3rd rehearsal it’s always amazing to see them gelling to the new intonation system. They are pros after all!
@@saadhaddadmusic Sweet!
PS My alarm clock was set on Short Ride in a Fast Machine for a year. I might switch it to your fanfare though...
Oh lord 🤣🤣🤣 that’s how we know we’ve gone off the deep end!
Thanks alot ..
Is the score of this peace available for purchase ?
Not yet, some kinks need to be worked out.
Your video is very intelligent, and well put together. I have mixed feelings on microtonality, but I am personally of the opinion that it should be given its own "space" outside of western traditions. I think it sounds stifled when influenced by what we consider "common" music, but I am still impressed by your piece.
It’s just my take. Your opinion of course is valid in a lot of important ways that should be discussed openly. Thanks for your comment!
Why do you feel this way?
@@saadhaddadmusic I respect your take very much, I did not intend to come off as confrontational or etc. I just happen to have a soft spot for a specific microtonal organ madrigal.
@@HuffleScrumblo which one? And so do I, I have a video on this channel about Nicola Vicentino you might like. I also happen to be writing a piece for the 36-TET organ soon.
@@saadhaddadmusic The Aphoristic Madrigal by Fabio Costa!
This is such a cool piece! In the commissioning process, do you have to confirm with each ensemble that they can play/are open to playing microtones? I'm curious to see how these can be reliably accomplished (especially in the trumpets)!
Also, how did you choose those rhythms? Was there more behind it than just whatever felt like it was driving the pulse?
Very cool piece!!
The rhythms can be a whole other 15 minute video so I decided to stick to the harmony for this “tutorial” - there are some Arabic dance rhythms that I based this on, but didn’t want to overload the video 🤣 - the orchestra knows that I work with microtones so I’m going to hope they don’t mind! :)