From The Desert’s Shepherds to Atabai: Hossein Alizadeh’s Melodic Structure in Film Music

Hossein Alizadeh’s film music is deeply rooted in melody, where motifs and thematic expansion play a central role. A defining characteristic of his style is the recurring use of the minor second and other members of interval class 1, which appear in both melodic and harmonic structures. By understanding the emotional and auditory effects of the semitone, he manipulates its directional movement, using its various manifestations as a key expressive element. The semitone appears in multiple forms, particularly within motifs, harmonic textures, and melodic lines. Horizontally, beyond contributing to timbre and tone color, it occurs between successive notes in different lines or systematically between non-adjacent notes, forming a recurring motif. Among these variations, a descending melodic motion—especially at the conclusion of musical phrases and periods—is a recurring feature in his works. Vertically, the semitone functions within a single instrument or instrumental group and across different timbral layers. In modal contexts, the presence of the semitone often leads to an ambiguous modal identity or a sense of modulation, frequently achieved through the omission or chromatic alteration of the third scale degree in relation to the tonic. Unconventional resolutions further enhance this effect.
Alizadeh’s approach to modal transformation and intervallic structure plays a crucial role in shaping his melodic language in film music. One notable technique is his emphasis on the minor second as derived from the Phrygian mode, combined with modal alterations that highlight interval class 1. Additionally, the augmented fourth or diminished fifth appears frequently in both horizontal and vertical structures. This interval, often formed by chromatically lowering a perfect fourth or fifth within a modal framework, shifts the tendencies of pitches toward new tonal centers. For instance, in a mode centered on {C}, the introduction of {G-flat} alters the gravitational pull of the perfect fourth and fifth, potentially directing the tonal center toward {E-flat} or {B-natural}. These transformations arise through internal modal relationships, scale degree alterations, and deliberate modal fusion, either to facilitate modulation or to create non-modulatory expressive effects. The resolution or tendency of the minor second toward the tonic, particularly in cadential moments, establishes a sense of dramatic unity across scenes with similar thematic content. Furthermore, the augmented fourth or diminished fifth frequently appears not only in consecutive melodic lines but also in non-adjacent crossing lines, contributing to the expressive depth of his compositions. Through systematic alterations of the second and third scale degrees and the fusion of different modes, Alizadeh has developed a distinctive compositional voice. His use of these techniques contributes not only to the structural depth of his melodies but also to their dramatic function in film music. This article, using an analytical-descriptive approach, is structured into two main sections: (1) intervallic and modal structures in melody-centric compositions and (2) the dramatic function of music. Focusing on works from Choopanane-Kavir to Atabai, it examines the role of intervallic structures in melody (both horizontally and vertically), modal alterations, and mode mixtures. Furthermore, it explores the expressive commonalities that emerge from these structures, shedding light on key aspects of Alizadeh’s compositional approach in film music.