Ahlan Wa Sahlan
Ahlan Wa Sahlan (Welcome)
Kyle Pederson (2024)
Voicing: SATB
Accompaniment: piano and drum, and optional flute/violin/oud/guitar
Music and Text: Kyle Pederson
ahlan wa sahlan (welcome)
and you and me and we
are family
where I’m for you
and I know
you’re for me.
COMPOSER NOTE:
Ahlan Wa Sahlan (Arabic)
This piece was created as part of a collaborative effort for an AMIS (Association for Music in International Schools) high school choral festival in Oman. In English, ahlan wa sahlan is translated to mean welcome, but the phrase means a lot more than that.
Ahlan wa sahlan is a warm reception--a genuine spirit of hospitality that is deeply valued in Oman. The literal derivation is quite lovely; ahl means "family" - as my visitor, consider yourself to be part of my family. Sahl means "easy" - while you are here, may your stay feel relaxed, as you would feel in your own home.
This collaboratively crafted piece intentionally integrates/blends influences from both Western and Middle Eastern harmony, melody, rhythm, and language. In the context in which this piece came to life (International Omani festival with students, musicians, and audience members representing a variety of cultural backgrounds), it seemed very fitting to craft a piece honoring those various backgrounds and influences, giving tangible meaning to the theme of welcome—which is central to the piece, and a beautiful concept to live into in our turmoil-filled world. May your singers and audience members feel this same sense of welcome when this piece is performed in your context.
Special thanks to Reem Al Yafaey at TAISM (The American International School of Muscat, Oman) for the melodic inspiration of the opening solo.
PROGRAM NOTES:
Pronunciation: Ahlan Wa Sahlan = AHLAHN WAH SAHLAHN
Vocal Percussion:
Shu-kah: "shu" as in shook
Tuk-kah: "tuk" as in took
These are both intended to be whispered throughout.
Opening vocal solo line: work to deliver this in an Arabesque-inspired style, with a bright and resonant tone.
Rhythm:
Singers should relax into the rhythms throughout, to keep the piece "loose" and not rigid.
The "yeah" throughout should be neither chopped short nor hung on to...let it flow naturally out with a slight drop in pitch. It may help to think of "yeah" as being gently tossed out and away.
Microtones:* The vocal soloist at the beginning and end of the piece should feel free to use microtones.
This rhythm is known as the Khaleegy rhythm, and is one of the predominant rhythms on the Arabian peninsula. The drummer is encouraged to elaborate on this basic rhythm as the piece progresses. Instrument of choice: doumbek, but djembe or something similar will also work well.
Oud Notes:
In measures 11-18, the oud player should use the contours of the open 5th chord provided as the guideline for what to play. This is intended to be a relatively relaxed section of the music, with the oud providing the harmonic contours at that point. In measures 31-42, the oud provides a similar function--primarily harmonic contours. A little improvisation here is appropriate, but wait until later in the piece to "let loose." In measure 47-56, the oud player is free to taksim (improv). Let 'er rip. If playing oud, play the part an octave lower than what’s written.
Pianist Notes:
Throughout the piece, the pianist may use the notated part as a guide; feel free to elaborate as you are comfortable.
Other instrument:
You may substitute clarinet or violin for guitar if preferred. Those parts are modified slightly to account for the different capabilities (for example, no opening tremolo on clarinet), but either instrument adds a nice texture to the mix.