Daydream
for Flute and Piano
Tehran, Fall 2013
Duration: ca 2:45 min
Daydream, for Flute and Piano, opens with a lively introduction by piano. The three sections of A, B, and C, connected with a fast descending passage, suggest the composer’s thoughts and emotions as daydreams. Daydreaming is defined as a short-term detachment from one's immediate surroundings, during which a person's contact with reality is blurred and partially substituted by a visionary fantasy.
Deep Sea
for String Sextet
Baton Rouge, Spring 2016
Duration: ca 9 mi
1. Aqua
2. Tide
3. Pacific
4. Wave
Dee Sea, for String Sextet, has four movements of Aqua, Tide, Pacific, and Wave. Musical ideas, instrumental techniques, and repetitive themes which gradually develop through the movements were thoughtfully chosen to illustrate the deep sea. Deep sea is the lowest layer of ocean exciting below the seabed where life is sparse yet abundant. First prize winner of Southeastern Composers League Philip Slates Memorial Competition, the work has been inspired by and is dedicated to patients who struggle for life. It attempts to encourage patients to stay strong and feel hopeful in the deep sea of their lives.
Deep Sea
for Wind Ensemble
Baton Rouge, Spring 2016
Duration: ca 9 min
1. Aqua
2. Tide
3. Pacific
4. Wave
Dee Sea, for Wind Ensemble, has four movements of Aqua, Tide, Pacific, and Wave. Musical ideas, instrumental techniques, and repetitive themes which gradually develop through the movements were thoughtfully chosen to illustrate the deep sea. Deep sea is the lowest layer of ocean exciting below the seabed where life is sparse yet abundant. First prize winner of Southeastern Composers League Philip Slates Memorial Competition, the work has been inspired by and is dedicated to patients who struggle for life. It attempts to encourage patients to stay strong and feel hopeful in the deep sea of their lives.
Departure
for Flute and Harp
Tehran, Summer 2015
Duration: ca 5:30 min
Departure, for Flute and Harp, is in Sonata form. In this work, the composer is loyal to the pivotal tone and tonal relationships while is innovative in using rhythmic and melodic materials. The title refers to the time when the composer had to leave her family and home country to continue her studies abroad.
Departure
for Flute and Piano
Tehran, Summer 2015
Duration: ca 5:30 min
Departure, for Flute and Piano, is in Sonata form. In this work, the composer is loyal to the pivotal tone and tonal relationships while is innovative in using rhythmic and melodic materials. The title refers to the time when the composer had to leave her family and home country to continue her studies abroad.
Dilemma
for Solo Harp
Tehran, Winter 2014
Duration: ca 5:30 min
Dilemma, for Solo Harp, is a one-movement work referring to the doubts and fears that the composer faced in making some of the most important decisions in her life. The recurrence of contrasting melodic ideas and frequent alterations in dynamic, register, and texture represent the concept of dilemma as a situation in which a difficult choice has to be made between two or more alternatives. An ascending sequence of two-measure phrases following by static chords and eventually a descending passage to whole notes mark the end of the piece, supposedly either the failure or success to make a good decision!
Dream, Illusion, Reality
for Solo Violin
Baton Rouge, Fall 2017
Duration: ca 4:30 min
1. Dream
2. Illusion
3. Reality
Dream, Illusion, Reality, for solo violin, portrays the composer’s perception of three words of dream, illusion, and reality in three short movements to be performed attacca. Musical ideas, instrumental techniques, and continuous changes of tempo were all thoughtfully chosen to represent the concept of each word as much as possible. Dream starts with a repetitive theme gradually developing through the movement in a descending motion. Illusion is presented through the dynamic themes following each other swiftly and illusorily. Reality slows down the tempo, brings the triads, and works on the ideas from the previous movements. The title is inspired by an excerpt from a poetry by the Greek poet, Klonaris: not in dream, not in illusion, I want you in reality!
Disputation
for Solo Oboe
Baton Rouge, Fall 2015
Duration: ca 4:30 min
Disputation, for Solo Oboe, demonstrates the concept of disputation as a formalized method of debate designed to uncover and establish truths. Constancy in presenting certain intervals and rhythms opposing alterations in the register and dynamic reflects the concept of disputation. The piece is in ABCA form with minor second and augmented fourth as the main intervallic materials showing tension and instability.
Dizzy City
Audio Fixed Media
Tehran, Summer 2014
Duration: 3 min
Dizzy City, Audio Fixed Media, illustrates a day in a crowded crazy city like Tehran, composer’s city of residence at the time. The work is designated to be projected through two channels. All the sounds used in the work (percussion sounds, instruments, voices, noises, etc), were recorded by the composer at the University of Tehran studio. In this work, the composer tries to have a complex combination of layers to create the sense of dizziness while she uses the repetition and development of specific ideas to bring unity to the whole work. It also makes the audience feel like he/she travels through the city! The sound of a train, frequently heard during the piece each time with a different pitch level, intensifies this feeling.
Fantasy
for Orchestra
Tehran, Summer 2015
Duration: ca 9:30 min
Fantasy, for orchestra, has been composed as part of the composer’s thesis to receive a master's degree in Music Composition from the University of Tehran. This work demonstrates the innovate and personal approach of the composer to the concept of fantasy as a musical genre. It presents the meaningful imitation and development of the thematic ideas as well as the dynamic use of rhythm, register, and texture. The second and fourth intervals, as the main intervallic materials, are smoothly combined with larger intervals to provide a distinct impression of unity and diversity throughout the work. This work has been selected in American Composers Orchestra (ACO) EarShot 2018 Readings by the Charlotte Symphony Orchestra.
Fusion
for Solo Flute
Baton Rouge, Fall 2016
Duration: ca 3:45 min
Fusion, for solo flute, initiates with a lyrical theme of fourth and fifth intervals. These intervals, as well as seconds, dominate through the whole work. The frequent transformations of the register and the occurrence of local climaxes bring variety and diversity while the fusion of the initial theme with various rhythmic and thematic materials provides unity.
Gift
for Soprano and Piano
Baron Rouge, Spring 2018
Duration: ca 2:30 min
Poem by Forough Farrokhzad
Translated by Ahmad Karimi-Hakkak
Gift, for Soprano and Piano, is composed on a poem by Iranian poet and film director Forugh Farrokhzād (1934-1967). She was one of Iran's most influential female poets of the twentieth century and an iconoclast, writing from a female point of view. This poem, translated by Dr. Ahmad Karimi-Hakkak, is chosen from her book “Another Birth”. The prelude and postlude by piano are very depictive with descending motion to the low register while the interlude between the two sections and immediately after the line “and out of the deep of night I speak”, has an extremely passionate ascending motion to the high register. Texture, dynamic, and use of the dissonance intervals are all thoughtfully chosen to illustrate the poem and present meaningful word painting.
Homage to Messiaen
for Two Guitars
Tehran, Spring 2014
Duration: ca 5:30 min
Homage to Messiaen, for Two Guitars, is composed based on the compositional techniques of the French composer Olivier Messiaen. The beginning chords, each containing six pitches of the chromatic scale, are followed by the melodic presentation of a twelve-tone row through a brief dialogue between the two guitars. The modes of limited transition, the chord in fourth, the chord of resonance as well as rhythmic tools and techniques including retrogradation, added value, diminished value, Greek meters, and Hindu rhythms are all used to refer to Messiaen’s unique compositional style. Following the repetition of the beginning chords in measure 55, the last part is an experiment in total serialism as a means of respect to Messiaen’s inclination to total serialism in the last period of his musical career.
Insomnia
for Solo Cello
Tehran, Winter 2013
Duration: ca 3:45 min
Insomnia, for Solo Cello, was premiered by the virtuoso cellist Basir Khamoushy in 2014 in Tehran, Iran, and is dedicated to him and his family. Although the piece is carefully written out, it has an intentionally “improvisatory” quality to create the effect that the performer improvisatory breathes musical life into the notes. The dark and gloomy opening section with steady whole notes is replaced by flowing triplets and delightful contrasts of articulation and dynamic. The music seems to rush ahead at twice its opening speed in the middle section where more rhythmic patterns emerge and double-stopping tremolos and open-string notes establish a dialogue. The work makes full use of the resonant sound of the cello’s open strings that underlies so much of the work. The concept of Insomnia, as a rapidly-evolving biological and psychological disorder of the 21st-century, is addressed by the constant presentation of tension and release through musical elements.
Paradigm
for Viola, Marimba, and Piano
Baton Rouge, Fall 2016
Duration: ca 3:15 min
Paradigm, for String Orchestra, is an experiment in Pandiatonic music, using the diatonic modes without the limitations of functional tonality. The adventurous use of certain intervals (mainly seconds, fourths, and sevenths) and ostinato patterns highlights the attempt to represent Pandiatonism as a musical technique. The work presents major modes of A, C, G, D with a return to A at the end. This evokes the idea to define the formal structure as ABCDA.
Paradigm
for String Orchestra
Baton Rouge, Fall 2016
Duration: ca 3:15 min
Paradigm, for String Orchestra, is an experiment in Pandiatonic music, using the diatonic modes without the limitations of functional tonality. The adventurous use of certain intervals (mainly seconds, fourths, and sevenths) and ostinato patterns highlights the attempt to represent Pandiatonism as a musical technique. The work presents major modes of A, C, G, D with a return to A at the end. This evokes the idea to define the formal structure as ABCDA.
Seven
Audio Fixed Media
Baton Rouge, Spring 2017
Duration: 7:00 min
Seven was composed based on the idea of multiculturalism in music using seven modes of Iranian classical music; Shur, Mahur, Esfahan, Bayat-e-tork, Dashti, Afshari, and Chahargah. Short representative melodies of each mode performed by Setar, Iranian instrument, as well as excerpts from the composer’s work for solo flute, Fusion, were used as the source materials. The data from both sources were processed with Studio One and Pd-extended to create new sounds, designs, and characters. Iranian modes provide diversity with modal and rhythmic variations while the flute excerpts, with no significant modal transitions, create unity. The work presents a unique fusion of tradition and technology by the integration of Iranian traditional music and Western music and the synthesis of acoustic and electronic sounds. The focus on number seven (seven minutes, seven modes, and seven channels), makes it clear that a numerical approach was considered in this work. This work has been presented in many festivals and conferences including Society for Electro-Acoustic Music in the United States (SEAMUS) 2018 National Conference.
Shadows in Chase
for String Quartet
Tehran, Summer 2014
Duration: ca 4:45 min
Shadows in Chase, for String Quartet, presents a wide range of thematic interactions between the instruments. How the instruments follow each other, prompted the composer to select the title of “Shadows in Chase” for the work. The piece is in Sonata form which provides the audience a pleasant sense of familiarity. However, the composer’s distinct insight into the thematic ideas and their developments and repetitions, makes the work sound different from the standard Sonata repertoire. The recapitulation part repeats the first theme a step lower which brings the piece to an end!
Shadows in Chase
for String Orchestra
Tehran, Summer 2014
Duration: ca 4:45 min
Shadows in Chase, for String Orchestra, presents a wide range of thematic interactions between the instruments. How the instruments follow each other, prompted the composer to select the title of “Shadows in Chase” for the work. The piece is in Sonata form which provides the audience a pleasant sense of familiarity. However, the composer’s distinct insight into the thematic ideas and their developments and repetitions, makes the work sound different from the standard Sonata repertoire. The recapitulation part repeats the first theme a step lower which brings the piece to an end!
The Machinery World
for Chamber Ensemble
Tehran, Spring 2014
Duration: ca 6 min
The Machinery World, for Chamber Ensemble, is an experiment in graphic notation. Short melodic ideas, figures, and guidelines are provided in the score. The work was premiered by Improvisation Ensemble of University of Tehran, conducted by the composer, at the University of Tehran in Spring 2014.
The Maze
for Clarinet Quartet
Baton Rouge, Fall 2017
Duration: ca 9:15 min
1. Energetic
2. Lyrical
3. Mysterious
The Maze, for Woodwind Quartet, is composed in three movements of Energetic, Lyrical, and Mysterious. Conceptually, the movements depict passing through a maze by presenting various moods and characters: Energetic represents enthusiasm and cheerfulness when entering the maze and feeling excited to discover around, Lyrical shows exhaustion and misery when feeling desperate to face the dead-end ways, and Mysterious displays fearfulness and stress when finding out that there may be no way to get out of the Maze! Musically, all three movements present meaningful imitation and development of the thematic ideas as well as dynamic use of rhythm, register, and texture. Energetic consists of nine distinctive yet related sections all inspired by the Phrygian mode, Lyrical is composed based on three collections of the Octatonic scale, and Mysterious is a homage to Charles Ives' "Unanswered Question".
The Maze
for String Quartet
Baton Rouge, Fall 2017
Duration: ca 9:15 min
1. Energetic
2. Lyrical
3. Mysterious
The Maze, for Woodwind Quartet, is composed in three movements of Energetic, Lyrical, and Mysterious. Conceptually, the movements depict passing through a maze by presenting various moods and characters: Energetic represents enthusiasm and cheerfulness when entering the maze and feeling excited to discover around, Lyrical shows exhaustion and misery when feeling desperate to face the dead-end ways, and Mysterious displays fearfulness and stress when finding out that there may be no way to get out of the Maze! Musically, all three movements present meaningful imitation and development of the thematic ideas as well as dynamic use of rhythm, register, and texture. Energetic consists of nine distinctive yet related sections all inspired by the Phrygian mode, Lyrical is composed based on three collections of the Octatonic scale, and Mysterious is a homage to Charles Ives' "Unanswered Question".
The Maze
for Woodwind Quartet
Baton Rouge, Fall 2017
Duration: ca 9:15 min
1. Energetic
2. Lyrical
3. Mysterious
The Maze, for Woodwind Quartet, is composed in three movements of Energetic, Lyrical, and Mysterious. Conceptually, the movements depict passing through a maze by presenting various moods and characters: Energetic represents enthusiasm and cheerfulness when entering the maze and feeling excited to discover around, Lyrical shows exhaustion and misery when feeling desperate to face the dead-end ways, and Mysterious displays fearfulness and stress when finding out that there may be no way to get out of the Maze! Musically, all three movements present meaningful imitation and development of the thematic ideas as well as dynamic use of rhythm, register, and texture. Energetic consists of nine distinctive yet related sections all inspired by the Phrygian mode, Lyrical is composed based on three collections of the Octatonic scale, and Mysterious is a homage to Charles Ives' "Unanswered Question".
The Midnight Train
for Violin, Alto Saxophone, and Piano
Baton Rouge, Spring 2017
Duration: ca 4:15 min
The Midnight Train, for violin, alto saxophone, and piano, has ABA form. Part A starts with a lyrical theme in saxophone with the piano presenting figurative patterns. The theme is imitated by violin before splitting into fragments performed by both violin and saxophone. A short introduction by piano begins part B where the saxophone and violin establish a dialogue. This part has a wide variety of registral areas, rhythmic patterns, and imitative figurations. The piece ends with the repetition of part A where the initial theme is presented by the violin this time. This section is followed by a coda based on the elements of parts A and B. This work was composed upon a commission by Prof. Athanasios Zervas and is dedicated to him.
The Midnight
for Solo Piano
Tehran, Summer 2013
Duration: ca 6 min
1. Energetic
2. Emotional
3. Passionate
The Midnight, for Solo Piano, is in three movements of Energetic, Emotional, and Passionate. It is composed based on elements of Atonal music including the absence of center tone, frequent use of dissonant intervals, and rhythmic complexity. Elements of Atonal music are progressively presented throughout the movements, reaching its maximum at the twelve-tone final section.
Vision
for Solo Alto Saxophone
Baton Rouge, Winter 2016
Duration: ca 5 min
Vision, for Solo Alto Saxophone, creates a multilayered yet unified manifestation of the tone and techniques of saxophone. Essentially lyrical in character, the work features continuous rise and fall of the melodic lines, meaningful sequences of the thematic ideas, constant variations in dynamic and tempo, and balanced use of the consonant and dissonant intervals. The beginning section, Expressive, presents dramatic phrases ending in either descending or ascending motions. Section Lyrical, followed by a shortened version of Expressive section, presents constant alterations in the registral areas. Finally, the coda section Peaceful, with material originated from the beginning section, ends the work a half step lower than where it begins.
Vision
for Solo Flute
Baton Rouge, Winter 2016
Duration: ca 5 min
Vision, for Solo Alto Saxophone, creates a multilayered yet unified manifestation of the tone and techniques of saxophone. Essentially lyrical in character, the work features continuous rise and fall of the melodic lines, meaningful sequences of the thematic ideas, constant variations in dynamic and tempo, and balanced use of the consonant and dissonant intervals. The beginning section, Expressive, presents dramatic phrases ending in either descending or ascending motions. Section Lyrical, followed by a shortened version of Expressive section, presents constant alterations in the registral areas. Finally, the coda section Peaceful, with material originated from the beginning section, ends the work a half step lower than where it begins.
for Flute and Piano
Tehran, Fall 2013
Duration: ca 2:45 min
Daydream, for Flute and Piano, opens with a lively introduction by piano. The three sections of A, B, and C, connected with a fast descending passage, suggest the composer’s thoughts and emotions as daydreams. Daydreaming is defined as a short-term detachment from one's immediate surroundings, during which a person's contact with reality is blurred and partially substituted by a visionary fantasy.
Deep Sea
for String Sextet
Baton Rouge, Spring 2016
Duration: ca 9 mi
1. Aqua
2. Tide
3. Pacific
4. Wave
Dee Sea, for String Sextet, has four movements of Aqua, Tide, Pacific, and Wave. Musical ideas, instrumental techniques, and repetitive themes which gradually develop through the movements were thoughtfully chosen to illustrate the deep sea. Deep sea is the lowest layer of ocean exciting below the seabed where life is sparse yet abundant. First prize winner of Southeastern Composers League Philip Slates Memorial Competition, the work has been inspired by and is dedicated to patients who struggle for life. It attempts to encourage patients to stay strong and feel hopeful in the deep sea of their lives.
Deep Sea
for Wind Ensemble
Baton Rouge, Spring 2016
Duration: ca 9 min
1. Aqua
2. Tide
3. Pacific
4. Wave
Dee Sea, for Wind Ensemble, has four movements of Aqua, Tide, Pacific, and Wave. Musical ideas, instrumental techniques, and repetitive themes which gradually develop through the movements were thoughtfully chosen to illustrate the deep sea. Deep sea is the lowest layer of ocean exciting below the seabed where life is sparse yet abundant. First prize winner of Southeastern Composers League Philip Slates Memorial Competition, the work has been inspired by and is dedicated to patients who struggle for life. It attempts to encourage patients to stay strong and feel hopeful in the deep sea of their lives.
Departure
for Flute and Harp
Tehran, Summer 2015
Duration: ca 5:30 min
Departure, for Flute and Harp, is in Sonata form. In this work, the composer is loyal to the pivotal tone and tonal relationships while is innovative in using rhythmic and melodic materials. The title refers to the time when the composer had to leave her family and home country to continue her studies abroad.
Departure
for Flute and Piano
Tehran, Summer 2015
Duration: ca 5:30 min
Departure, for Flute and Piano, is in Sonata form. In this work, the composer is loyal to the pivotal tone and tonal relationships while is innovative in using rhythmic and melodic materials. The title refers to the time when the composer had to leave her family and home country to continue her studies abroad.
Dilemma
for Solo Harp
Tehran, Winter 2014
Duration: ca 5:30 min
Dilemma, for Solo Harp, is a one-movement work referring to the doubts and fears that the composer faced in making some of the most important decisions in her life. The recurrence of contrasting melodic ideas and frequent alterations in dynamic, register, and texture represent the concept of dilemma as a situation in which a difficult choice has to be made between two or more alternatives. An ascending sequence of two-measure phrases following by static chords and eventually a descending passage to whole notes mark the end of the piece, supposedly either the failure or success to make a good decision!
Dream, Illusion, Reality
for Solo Violin
Baton Rouge, Fall 2017
Duration: ca 4:30 min
1. Dream
2. Illusion
3. Reality
Dream, Illusion, Reality, for solo violin, portrays the composer’s perception of three words of dream, illusion, and reality in three short movements to be performed attacca. Musical ideas, instrumental techniques, and continuous changes of tempo were all thoughtfully chosen to represent the concept of each word as much as possible. Dream starts with a repetitive theme gradually developing through the movement in a descending motion. Illusion is presented through the dynamic themes following each other swiftly and illusorily. Reality slows down the tempo, brings the triads, and works on the ideas from the previous movements. The title is inspired by an excerpt from a poetry by the Greek poet, Klonaris: not in dream, not in illusion, I want you in reality!
Disputation
for Solo Oboe
Baton Rouge, Fall 2015
Duration: ca 4:30 min
Disputation, for Solo Oboe, demonstrates the concept of disputation as a formalized method of debate designed to uncover and establish truths. Constancy in presenting certain intervals and rhythms opposing alterations in the register and dynamic reflects the concept of disputation. The piece is in ABCA form with minor second and augmented fourth as the main intervallic materials showing tension and instability.
Dizzy City
Audio Fixed Media
Tehran, Summer 2014
Duration: 3 min
Dizzy City, Audio Fixed Media, illustrates a day in a crowded crazy city like Tehran, composer’s city of residence at the time. The work is designated to be projected through two channels. All the sounds used in the work (percussion sounds, instruments, voices, noises, etc), were recorded by the composer at the University of Tehran studio. In this work, the composer tries to have a complex combination of layers to create the sense of dizziness while she uses the repetition and development of specific ideas to bring unity to the whole work. It also makes the audience feel like he/she travels through the city! The sound of a train, frequently heard during the piece each time with a different pitch level, intensifies this feeling.
Fantasy
for Orchestra
Tehran, Summer 2015
Duration: ca 9:30 min
Fantasy, for orchestra, has been composed as part of the composer’s thesis to receive a master's degree in Music Composition from the University of Tehran. This work demonstrates the innovate and personal approach of the composer to the concept of fantasy as a musical genre. It presents the meaningful imitation and development of the thematic ideas as well as the dynamic use of rhythm, register, and texture. The second and fourth intervals, as the main intervallic materials, are smoothly combined with larger intervals to provide a distinct impression of unity and diversity throughout the work. This work has been selected in American Composers Orchestra (ACO) EarShot 2018 Readings by the Charlotte Symphony Orchestra.
Fusion
for Solo Flute
Baton Rouge, Fall 2016
Duration: ca 3:45 min
Fusion, for solo flute, initiates with a lyrical theme of fourth and fifth intervals. These intervals, as well as seconds, dominate through the whole work. The frequent transformations of the register and the occurrence of local climaxes bring variety and diversity while the fusion of the initial theme with various rhythmic and thematic materials provides unity.
Gift
for Soprano and Piano
Baron Rouge, Spring 2018
Duration: ca 2:30 min
Poem by Forough Farrokhzad
Translated by Ahmad Karimi-Hakkak
Gift, for Soprano and Piano, is composed on a poem by Iranian poet and film director Forugh Farrokhzād (1934-1967). She was one of Iran's most influential female poets of the twentieth century and an iconoclast, writing from a female point of view. This poem, translated by Dr. Ahmad Karimi-Hakkak, is chosen from her book “Another Birth”. The prelude and postlude by piano are very depictive with descending motion to the low register while the interlude between the two sections and immediately after the line “and out of the deep of night I speak”, has an extremely passionate ascending motion to the high register. Texture, dynamic, and use of the dissonance intervals are all thoughtfully chosen to illustrate the poem and present meaningful word painting.
Homage to Messiaen
for Two Guitars
Tehran, Spring 2014
Duration: ca 5:30 min
Homage to Messiaen, for Two Guitars, is composed based on the compositional techniques of the French composer Olivier Messiaen. The beginning chords, each containing six pitches of the chromatic scale, are followed by the melodic presentation of a twelve-tone row through a brief dialogue between the two guitars. The modes of limited transition, the chord in fourth, the chord of resonance as well as rhythmic tools and techniques including retrogradation, added value, diminished value, Greek meters, and Hindu rhythms are all used to refer to Messiaen’s unique compositional style. Following the repetition of the beginning chords in measure 55, the last part is an experiment in total serialism as a means of respect to Messiaen’s inclination to total serialism in the last period of his musical career.
Insomnia
for Solo Cello
Tehran, Winter 2013
Duration: ca 3:45 min
Insomnia, for Solo Cello, was premiered by the virtuoso cellist Basir Khamoushy in 2014 in Tehran, Iran, and is dedicated to him and his family. Although the piece is carefully written out, it has an intentionally “improvisatory” quality to create the effect that the performer improvisatory breathes musical life into the notes. The dark and gloomy opening section with steady whole notes is replaced by flowing triplets and delightful contrasts of articulation and dynamic. The music seems to rush ahead at twice its opening speed in the middle section where more rhythmic patterns emerge and double-stopping tremolos and open-string notes establish a dialogue. The work makes full use of the resonant sound of the cello’s open strings that underlies so much of the work. The concept of Insomnia, as a rapidly-evolving biological and psychological disorder of the 21st-century, is addressed by the constant presentation of tension and release through musical elements.
Paradigm
for Viola, Marimba, and Piano
Baton Rouge, Fall 2016
Duration: ca 3:15 min
Paradigm, for String Orchestra, is an experiment in Pandiatonic music, using the diatonic modes without the limitations of functional tonality. The adventurous use of certain intervals (mainly seconds, fourths, and sevenths) and ostinato patterns highlights the attempt to represent Pandiatonism as a musical technique. The work presents major modes of A, C, G, D with a return to A at the end. This evokes the idea to define the formal structure as ABCDA.
Paradigm
for String Orchestra
Baton Rouge, Fall 2016
Duration: ca 3:15 min
Paradigm, for String Orchestra, is an experiment in Pandiatonic music, using the diatonic modes without the limitations of functional tonality. The adventurous use of certain intervals (mainly seconds, fourths, and sevenths) and ostinato patterns highlights the attempt to represent Pandiatonism as a musical technique. The work presents major modes of A, C, G, D with a return to A at the end. This evokes the idea to define the formal structure as ABCDA.
Seven
Audio Fixed Media
Baton Rouge, Spring 2017
Duration: 7:00 min
Seven was composed based on the idea of multiculturalism in music using seven modes of Iranian classical music; Shur, Mahur, Esfahan, Bayat-e-tork, Dashti, Afshari, and Chahargah. Short representative melodies of each mode performed by Setar, Iranian instrument, as well as excerpts from the composer’s work for solo flute, Fusion, were used as the source materials. The data from both sources were processed with Studio One and Pd-extended to create new sounds, designs, and characters. Iranian modes provide diversity with modal and rhythmic variations while the flute excerpts, with no significant modal transitions, create unity. The work presents a unique fusion of tradition and technology by the integration of Iranian traditional music and Western music and the synthesis of acoustic and electronic sounds. The focus on number seven (seven minutes, seven modes, and seven channels), makes it clear that a numerical approach was considered in this work. This work has been presented in many festivals and conferences including Society for Electro-Acoustic Music in the United States (SEAMUS) 2018 National Conference.
Shadows in Chase
for String Quartet
Tehran, Summer 2014
Duration: ca 4:45 min
Shadows in Chase, for String Quartet, presents a wide range of thematic interactions between the instruments. How the instruments follow each other, prompted the composer to select the title of “Shadows in Chase” for the work. The piece is in Sonata form which provides the audience a pleasant sense of familiarity. However, the composer’s distinct insight into the thematic ideas and their developments and repetitions, makes the work sound different from the standard Sonata repertoire. The recapitulation part repeats the first theme a step lower which brings the piece to an end!
Shadows in Chase
for String Orchestra
Tehran, Summer 2014
Duration: ca 4:45 min
Shadows in Chase, for String Orchestra, presents a wide range of thematic interactions between the instruments. How the instruments follow each other, prompted the composer to select the title of “Shadows in Chase” for the work. The piece is in Sonata form which provides the audience a pleasant sense of familiarity. However, the composer’s distinct insight into the thematic ideas and their developments and repetitions, makes the work sound different from the standard Sonata repertoire. The recapitulation part repeats the first theme a step lower which brings the piece to an end!
The Machinery World
for Chamber Ensemble
Tehran, Spring 2014
Duration: ca 6 min
The Machinery World, for Chamber Ensemble, is an experiment in graphic notation. Short melodic ideas, figures, and guidelines are provided in the score. The work was premiered by Improvisation Ensemble of University of Tehran, conducted by the composer, at the University of Tehran in Spring 2014.
The Maze
for Clarinet Quartet
Baton Rouge, Fall 2017
Duration: ca 9:15 min
1. Energetic
2. Lyrical
3. Mysterious
The Maze, for Woodwind Quartet, is composed in three movements of Energetic, Lyrical, and Mysterious. Conceptually, the movements depict passing through a maze by presenting various moods and characters: Energetic represents enthusiasm and cheerfulness when entering the maze and feeling excited to discover around, Lyrical shows exhaustion and misery when feeling desperate to face the dead-end ways, and Mysterious displays fearfulness and stress when finding out that there may be no way to get out of the Maze! Musically, all three movements present meaningful imitation and development of the thematic ideas as well as dynamic use of rhythm, register, and texture. Energetic consists of nine distinctive yet related sections all inspired by the Phrygian mode, Lyrical is composed based on three collections of the Octatonic scale, and Mysterious is a homage to Charles Ives' "Unanswered Question".
The Maze
for String Quartet
Baton Rouge, Fall 2017
Duration: ca 9:15 min
1. Energetic
2. Lyrical
3. Mysterious
The Maze, for Woodwind Quartet, is composed in three movements of Energetic, Lyrical, and Mysterious. Conceptually, the movements depict passing through a maze by presenting various moods and characters: Energetic represents enthusiasm and cheerfulness when entering the maze and feeling excited to discover around, Lyrical shows exhaustion and misery when feeling desperate to face the dead-end ways, and Mysterious displays fearfulness and stress when finding out that there may be no way to get out of the Maze! Musically, all three movements present meaningful imitation and development of the thematic ideas as well as dynamic use of rhythm, register, and texture. Energetic consists of nine distinctive yet related sections all inspired by the Phrygian mode, Lyrical is composed based on three collections of the Octatonic scale, and Mysterious is a homage to Charles Ives' "Unanswered Question".
The Maze
for Woodwind Quartet
Baton Rouge, Fall 2017
Duration: ca 9:15 min
1. Energetic
2. Lyrical
3. Mysterious
The Maze, for Woodwind Quartet, is composed in three movements of Energetic, Lyrical, and Mysterious. Conceptually, the movements depict passing through a maze by presenting various moods and characters: Energetic represents enthusiasm and cheerfulness when entering the maze and feeling excited to discover around, Lyrical shows exhaustion and misery when feeling desperate to face the dead-end ways, and Mysterious displays fearfulness and stress when finding out that there may be no way to get out of the Maze! Musically, all three movements present meaningful imitation and development of the thematic ideas as well as dynamic use of rhythm, register, and texture. Energetic consists of nine distinctive yet related sections all inspired by the Phrygian mode, Lyrical is composed based on three collections of the Octatonic scale, and Mysterious is a homage to Charles Ives' "Unanswered Question".
The Midnight Train
for Violin, Alto Saxophone, and Piano
Baton Rouge, Spring 2017
Duration: ca 4:15 min
The Midnight Train, for violin, alto saxophone, and piano, has ABA form. Part A starts with a lyrical theme in saxophone with the piano presenting figurative patterns. The theme is imitated by violin before splitting into fragments performed by both violin and saxophone. A short introduction by piano begins part B where the saxophone and violin establish a dialogue. This part has a wide variety of registral areas, rhythmic patterns, and imitative figurations. The piece ends with the repetition of part A where the initial theme is presented by the violin this time. This section is followed by a coda based on the elements of parts A and B. This work was composed upon a commission by Prof. Athanasios Zervas and is dedicated to him.
The Midnight
for Solo Piano
Tehran, Summer 2013
Duration: ca 6 min
1. Energetic
2. Emotional
3. Passionate
The Midnight, for Solo Piano, is in three movements of Energetic, Emotional, and Passionate. It is composed based on elements of Atonal music including the absence of center tone, frequent use of dissonant intervals, and rhythmic complexity. Elements of Atonal music are progressively presented throughout the movements, reaching its maximum at the twelve-tone final section.
Vision
for Solo Alto Saxophone
Baton Rouge, Winter 2016
Duration: ca 5 min
Vision, for Solo Alto Saxophone, creates a multilayered yet unified manifestation of the tone and techniques of saxophone. Essentially lyrical in character, the work features continuous rise and fall of the melodic lines, meaningful sequences of the thematic ideas, constant variations in dynamic and tempo, and balanced use of the consonant and dissonant intervals. The beginning section, Expressive, presents dramatic phrases ending in either descending or ascending motions. Section Lyrical, followed by a shortened version of Expressive section, presents constant alterations in the registral areas. Finally, the coda section Peaceful, with material originated from the beginning section, ends the work a half step lower than where it begins.
Vision
for Solo Flute
Baton Rouge, Winter 2016
Duration: ca 5 min
Vision, for Solo Alto Saxophone, creates a multilayered yet unified manifestation of the tone and techniques of saxophone. Essentially lyrical in character, the work features continuous rise and fall of the melodic lines, meaningful sequences of the thematic ideas, constant variations in dynamic and tempo, and balanced use of the consonant and dissonant intervals. The beginning section, Expressive, presents dramatic phrases ending in either descending or ascending motions. Section Lyrical, followed by a shortened version of Expressive section, presents constant alterations in the registral areas. Finally, the coda section Peaceful, with material originated from the beginning section, ends the work a half step lower than where it begins.