This project could be seen as a reflection of my path through cultures, as well as an expression of my understanding of the complexity of the world. New dimensions are being explored and experimented with, with a focus on attempting different theories and combinations of sound manipulations, percussing accompaniment, and most essentially, presenting the qanun in a world music context.
For most of my musical life, I have been a self-learner, and therefore it has sometimes been a challenge to find my way in the world of music with its vast ocean of concepts, theories, and musical styles. On the other hand, I have found it to be a significant asset to not be limited by specific theories and practices, which has led me to deal with music outside of a particular genre.
Over the last 20 years of playing the qanun, I have noted that most qanun players and composers have practiced and observed the instrument through the traditional approach of playing and composing for the instrument. In this context, I realized that I wanted to develop my own personal way of approaching the qanun, and that is exactly what I have been seeking with this project. For that reason, I have been exploring new ways of treating the instrument.
The qanun instrument has tremendous potential, and I feel that it has largely been limited in its traditional mold. This mold involves the instrument being played in a monophonic style. This musical study gives me the chance to dig further into various theories and techniques and challenges me to improve my skills as a musician, composer, and arranger. I want to let my music take an adventurous direction using the improvisation aspect as an open space for exploration.
In this musical journey, my ambition is to explore my own truth in life and in music. This is what encouraged me to leave my country, with the hope of discovering my inner voice, musical identity, personal sound, and spiritually satisfying my thirst for a deeper connection with the world.