A Study of Alireza Mashayekhi’s “In Search of Lost Time” with Focus on Complementary Theory

This research examines the use of the "complementary theory" developed by Alireza Mashayekhi in the first movement of his piano piece "In Search of Lost Time" from the collection "Gardens of Iran". Mashayekhi’s theory primarily relates to melody and harmony. According to this theory, all intervals that contribute to the formation of a tonal chord are omitted. Therefore consonant intervals (minor and major third and minor and major sixth) are considered to be “foreign” intervals. On the other hand, the intervals designated as dissonant in classical music are regarded as “related” intervals. Accordingly, the second and its complementary interval, the seventh, are often used. The “half octave” (augmented fourth) also plays an important role. However, the composer mentions that the use of its complementary interval (diminished fifth) should be considered well, because of its relationship to tonal harmony. However, if an augmented fifth is created in the melody by two consecutive major thirds, this is not seen as a problem. For Mashayekhi, the development of melody and chords are the two most important techniques in the composition of the work. This study also shows how the composer selects intervals to form the melody and complements them with “added notes”. Mashayekhi emphasizes that the melody is a movement between two points. He fills this gap with the help of complementary notes. These can have chromatic or diatonic distances to the beginning and end notes. For example, the space between G and A can be filled with F and F# as the complementary note for G and G# and Bb as the complementary note for A. In the "complementary theory" the formation of chords is based on fifths. Mainly three and four-part chords and their inversions are used. These can also be supplemented by added notes. Another aim of this research, besides the examination of the "complementary theory" with regard to interval structure, harmony and melody, is to observe how elements of Iranian music are merged with elements of classical western music. The atmosphere of Iranian modal music is clearly noticeable in Mashayekhi’s melodies. To evoke the character of Iranian music, the composer uses for example intervals of descending seconds and the simultaneous minor second to create the impression of a quarter tone. Also in this context Mashayekhi uses the alteration of tones as well as added notes. This allows him to switch between different modes of Iranian music.