Another big part of my exploration of the qanun has been through collaborations with other artists, with different styles and artistic backgrounds, as a way to discover my instrument and my performance. (See collaborations)
Besides, I have also been exploring four different methods for composing, which are:
· “Self-transcription” – One method, which I call self-transcription, is a method that is based on recordings of my solo qanun improvisations that I later arrange and then transform into structured compositions. (See compositions by self-transcription)
· Qanun solo improvisation – This method has mainly centered on my qanun solo improvisations in which I create a space for myself to play freely in different improvisational approaches, separately or combined. (See Qanun solo improvisations and Taqsim)
· Experimental – Experimental compositions is a method I use to compose by fusing Maqam with contemporary rhythmic textures, including the ambiance and vocal element that features layering techniques and incorporates elements of harmonic sounds using repetitive sound patterns to evoke an "atmospheric" quality. (See experimental composition)
· Composing using constraints/limitations – Composing using one of the classical compositional forms, called ‘the samai’. Sama’i is a form that is based on the rhythmical cycle of Sama‘i Thaqil (10/8). It usually consists of four-verse sand a refrain. The first three verses are based on the rhythm of the Sama‘i Thaqil while the fourth is usually composed in a short odd rhythmic cycle for example 3/4, 7/8, or 10/16. (See Sama'i form)
In this project, I have adopted an experimental approach that involves the element of unpredictability with regard to both the compositions and my Qanun improvisational performance. As an attempt to push the boundaries of my Qanun playing searching for new sounds, I have been attempting to apply extended techniques using various objects such as; the plectrum, the violin bow hair, and the tuning key to create different texture, dynamics, and timbers.
Here are some examples:
The qanun has the potential of creating more sounds if we approach it as a harmonic, rhythmic, and melodramatic instrument, applying a range of different sound-production techniques. The technical approach that I have used and developed is playing with all ten fingers, rather than the traditional two index finger strumming.
I have also explored new harmonic and rhythmical possibilities for my instrument by practicing new playing and fingering techniques and by exploring musical concepts that are not traditionally part of my musical background or the tradition of my instrument. Concepts such as polyrhythms, western harmonies, and voicings and have tried alternative techniques for percussive/harmonic accompaniment, in order to potentially expand the role of the qanun performance in an ensemble, which has often been limited only to play the melody or to accompany the vocalist in vocal improvisation.