Shadbash (for Orchestra) in Three Movements

 

Shadbash is an orchestral work in three movements titled “Mojdeh” (Proclamation), “Tarab” (Joy), and “Khoshdeli” (Delight). The piece is shaped through a conscious engagement with fundamental elements of Iranian music, combined with a contemporary musical language. It seeks to reinterpret the cultural and ritual concept of shadbash—a term historically associated in Iran with the announcement of good news, often accompanied by music, drums, and the formation of festive communal gatherings. In such traditions, music was not merely a vehicle for conveying the message, but became the embodiment of joy and collective unity itself.

 

From a modal perspective, the work is primarily rooted in the Mahur mode, one of the principal modal systems in Iranian classical music, known for its bright, majestic, and relatively joyful character. Although Mahur bears a superficial resemblance to the major scale in Western music, it encompasses distinct modal subtleties, including flexible scale degrees—particularly the sixth degree—and characteristic patterns of melodic emphasis and cadential motion. In this work, subtle intervallic shifts and modal inflections, especially around the sixth degree, are employed to enrich the harmonic color and deepen expressive nuance.

 

Texturally, Shadbash draws inspiration from the monophonic characteristics of Iranian music, particularly the use of melodic lines performed in parallel octaves and the emphasis on a single primary line. This approach, while seemingly simple, allows for heightened focus on timbral color and the expressive quality of melodic gesture. At the same time, this texture is expanded through a holistic orchestral perspective informed by Western practices, and shaped by contemporary aesthetics—especially those associated with neo-romantic tendencies—resulting in a layered and dynamically evolving sonic space.

The influence of minimal composition techniques has also inevitably contributed to the formation of the work, supporting the emergence of a narrative flow across the three movements. Gradual repetition, subtle micro-variations, and the step-by-step development of musical ideas interact with Iranian melodic inspirations to create a structure that is both personal and intercultural. As a result, the work transcends mere representation of tradition, offering instead a contemporary interpretation of the composer’s lived experience in dialogue with it.

 

From a rhythmic standpoint, the presence of a 6/8 meter plays a crucial role in establishing cohesion throughout the piece. This rhythmic pattern, evocative of many ritualistic and dance-like expressions in Iranian music, is gradually introduced and solidified within the orchestral fabric. The use of the triangle, as a clear and luminous timbral element, contributes to reinforcing the rhythmic pulse, while also recalling the function of percussion instruments in traditional ceremonial contexts. This gradual process of rhythmic introduction and expansion aligns with the narrative structure of the work, supporting the conceptual progression from Mojdeh to Tarab, and ultimately to Khoshdeli.

 

Ultimately, Shadbash may be understood as an attempt to bridge the cultural memory of Iranian music with a personal expressive voice in a contemporary orchestral form. In this work, joy is not treated as a superficial emotion, but rather as a profound, reflective, and collective state of being. This composition was written as the final graduate project in composition in May 2026 at San Francisco State University, under the supervision of Professor Ben Sabey.