Searching for possibilities - Exploring the potentials of my Qanun performance

Shafeeq Alsadi

Over the course of many years of playing the qanun; a trapezoidal middle eastern zither-like stringed instrument, I have noticed how often the instrument has been played within its modal traditional framework, leading me to a perception that the qanun and myself are prevented from discovering more techniques and new potentials. I, hence, have been attempting to explore the traditional manners of treating the instrument with regard to timbre, playing techniques, and different harmonic orientations - while trying to maintain its true qualities and not losing sight of its traditional soul. My aspiration, as well as my method, is to be open to what one can do with the instrument rather than to take a specific approach. The qanun had shown an untapped capacity for expanded techniques and a broader range of sounds that enrich and revitalize the instrument's sounds library. This research has enabled me to stretch my boundaries and explore unknown possibilities, which has helped in the expansion of my own self-expression as a composer. It also paved the way for me to investigate further unexplored potentials of the instrument as this research emphasizes to show the qanun’s enormous capabilities that have yet to be realized.

Rearranged for a trio (Farshad Saremi on the kamancheh, Dominika Alkhodari on the oud, and me on the qanun):

Lamma Kan

Original improvised recording:

Rearranged for a trio (Farshad Saremi on the kamancheh, Dominika Alkhodari on the oud, and me on the qanun):

Original improvised recording:

To transform my explorations into musical compositions, I decided to use my spontaneously recorded improvisations as a starting point for further structured musical compositions. This method of composition starts without having any preconceived ideas of what to compose or perform but rather as an exploratory experiment to allow the flow of thoughts, emotions, and techniques to manifest themselves in free improvisations.

To start the composing process, I choose a recording and listen to it many times in order to analyze and transcribe what I have improvised. I then apply subtle changes and constraints to it with the intention of transforming it into a composition that can be performed solo or in an ensemble.

The purpose of this approach is to be open and eager to discover what one can do with the instrument rather than apply a certain set of techniques or structures. It has served to stretch my boundaries and explore previously undiscovered possibilities, which has helped to expand my own self-expression as a composer.

The sound of us

Self-transcription

“The sound of us” music score (PDF)

“Lamma Kan” music score (PDF)

Lamma Kan - live concert - Gothenburg, 2020

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