Daramad for Soprano Saxophone, Tenor Saxophone and Fixmedia, 2020, the University of Oklahoma (the USA), Zen Duo

Daramad means to start music in Persian. Daramad for me, means composing a new piece which has a new experience. Conection between contemporary and classical Persian music is the most important issue in this piece. For composing, I used an old Persian song “CHE SHAVAD BE CHEHREYE ZARDE MAN…”which was writen in Bayat-e-Turk. Bayat-e-Turk is an old Dastgah in Persian music.

Daramad for Tar and Fixmedia

Daramad” means to start music in Persian. Also, “Daramad” means composing a new piece which has a new experience for me. It is the first time that I write a piece for Tar and Fixmedia. It is clear that finding a new perspective of this instrument has a profound importance for me. However, Tar as a classical instrument in Persian music plays a powerful role but a few contemporary composers have worked on this instrument. I tried to find new techniques in Tar that were hidden.

‌ Moreover, “Daramad for Tar and fixmedia” was commissioned by Yarava Electronic Studio (YES). I appreciate having for this opportunity that YES gave me. I wrote this piece in 4 days, as I have forced to recorded it very soon. 

Commissioned by Yarava Electronic Studio (YES)

“Who am I?” for Clarinet in Bb and Fixmedia, 2020, New York (the USA), Kathryn Vetter

“One of the most important questions is “who am I?”, and finding an answer for it is absolutely important for everybody in the world. How we can find an answer for it? Many philosopher tried to find an answer for this question, but I believe that it is not enough as the our world is changing every moment and the existence of individuals are diffrent, so it is crucial for everybody to find it by their own self. 

For recording of this fixmedia, 53 persons participated in quarantine with 21 different languages from China, India, Turkey, Finland, Japan, Germany, Norway, South Korea, Denmark, South Africa, the USA and Iran.”

Daramad for Piano, Violin, Bassoon and Percussion

“Daramad” in Persian means the starting of music, the moment when every performer would be ready to play. This music is made by a member of a traditional group and it describes the mode of concerts in traditional styles; however, nowadays neither traditional musicians nor younger players use this form in their current repertoires. My piece Daramad was composed according to an old Persian music Be Soye To. This song is a famous piece which was written by Majid Vafadar in Dashti mode. Simple structure, melody, harmony, and the profound atmosphere this song creates inspired me to write my piece in a manner different from my usual practices. I believe that form, as an important aspect of music, is truly made during the compositional process. Form is also an abstract concept that should be created from a new perspective in every contemporary piece. Moreover, the use of older and traditional materials is a good way to describe new scenes. Audiences who have some understanding of these aspects of music and composition can follow these new ideas when used in a new piece. Composing for a new ensemble which I do not have enough experience writing for was my biggest challenge. However, Front Porch, as a professional ensemble, helped me to search for new and artistically fulfilling ways of self-expression. All in all, for this piece will be played in the United States, I hope that Daramad will increase its audience’s interest in Persian culture.


Daramad for Piano, Violin, Bassoon and Percussion


Video: George N. Gianopoulos

Šur-e- Baran

Dastgāh-e Šur (Persian: دستگاه شور‎) is one of the seven Dastgāhs of Persian Music (Classically, Persian Music is organized into seven Dastgāhs and five Āvāzes, however from a merely technical point of view, one can consider them as an ensemble of 12 Dastgāhs). Šur is in some respects the most important of the Dastgāhs. It contains a large body of pieces, and in its domain belong four important Āvāzes: Dašti, Abuatā, Bayāt-e Tork and Afšāri. A great many folk tunes, from different parts of Persia, are founded on the modal schemes of Šur or its derivative Dastgāhs and Gušes.


I am falling in love with Csound language which was written for composers who are trying to achieve more experiences about sounds and noises. This language is completely easy and open source. For this reason, I offer everyone to learn this language. Also, this music was composed with csound. You can find this language in this link: https://csound.com


This video was made based on an old video and an old Persian music.
Segah (or Sigah; Persian: سه‌گاه) is the name of a Dastgah (musical mode) in Persian and related systems of music.
Segah (From Persian se-gāh, سه + گاه = سه‌گاه “third place”) is named because the maqam starts on the third degree in relation to the “basic” Turko-Arabic scale found in Rast. Sigah features a half-flat tonic and a half-flat fifth scale degree; as such, it has an unstable sound that tends to favor its own third degree, found on a whole tone.
Middle eastern Sephardic Jews make heavy use of this in their liturgy. For the prayers during Parashas Bo, Beha’alotecha, and Eqeb, parashas that are the “third” in their respective books, maqam Sigah is used. It is also applied on holidays. This maqam is linked to the holiday of Purim due to the abundance of pizmonim related to the holiday in this maqam (no doubt because the maqam is of Persian origin, and the events of the book of Esther take place in Persia). This maqam is also of importance because it is the maqam that is always used for the cantillation of the Torah. Related maqamat are Huzam and Iraq.


Too loud a solitude for Cello and live electronic (Max/MSP)

    • 2019, Vilnius (Lithuania), Twenty Fingers Duo

The birth of tragedy for Santoor and fixmedia

    • 2018, Ghent (Belgium), Puneh Zare’i Sefid Dashti