Persian Suite: This composition represents Behdad's personal feelings about Iran's ethnic music, blending Iran's diverse cultures and ethnicities. His goal was to compose pieces that specifically addressed the guitar's potential and capability. He wanted to create music that was not only personal, but also reflected the diverse elements of Azari, Turkman, and Baluchi styles.

He has incorporated various techniques to closely reflect the rhythm and melody of Persian music. No attempt has been made to combine eastern and western music. Instead, Behdad has attempted to combine the unique capabilities of the guitar with the different tempos and movements found in dance music. Similar to the design of a contemporary ballet, he has deliberately chosen not to name the movements of the Suite. This allows the listener to focus on the internal structure and dynamics of the piece without bias.

This Suite, which took five years to complete, is written in the *Chahar Gah framework, and requires a new tuning for guitar. The movements of Persian Suite contain hints of Azari music (from Azarbaijan, in the northwest of Iran), Turkmen and Khorasani music (from the north and northeast), and Baluchi Music (from the soutteast of Iran). The main theme is composed in Charar Gah, and the final movement is a transcription of a well-known piece by Abolhassan Sabah. He is a famous Iranian composer, familiar to Persian listeners. This piece is transcribed in Mahoor (major tonality) similar to the main theme.

Trilogy for Guitar was composed about the three goddesses: Love, Rain, and Glamour.

Initially, the first piece was published as Serenade, and the other pieces were composed consecutively. Behdad's focus in this piece was to imagine a story combining love, rain and glamour. The tuning is similar to that of the Persian Suite, but the final part of the trilogy (Afsoon, or Enchantment) contains some of the unique aspects of the Chahar Mezrab style in traditional Persian music. The dissimilar passages used in the second movement (Rain) are meant to convey a sense of instability.

The two pieces of Dena and Koochlar are based on two folk themes.

Dena is a theme and variations on a Lori melody (from Lorestan, a province in the southwest/Central Iran). The piece is named after Mount Dena in the Zagros Mountains located in the same region.

Koochlar is an Azari piece (from Azarbaijan, in the northwest of Iran) about love, the pain of separation and the hope of reuniting.

Mahtab (Moonlight) is a piece composed by Siamak Valaie, Behdad’s first guitar teacher. It is a lovely composition and a tribute to his teacher.

Arezoohaye Door (Far Wishes) is one of three consecutive pieces that were written in the early 1980's. Behdad’s love of 1970's rock music and classical guitar is the inspiration for this work. Of the three pieces, Far Wishes is perhaps the closest to Persian music.

- Mims Datskow

*Chahar Gah is one of twelve musical modes which comprise the Persian Dastgah system. This modal system is the basis of Persian classical music, and differs from western music in its use of a seventeen note scale.

Buy Persian Suite now at