A quiet journey in sound. Oud & guitar guide you like a compass through gentle moods—sometimes solo, sometimes sharing the same line—always warm, close, and unhurried. Think evening light, soft steps by water, and conversations that breathe. Perfect for reading, late coffee, or letting the room exhale.

Strings in Compás (Oud & Guitar Instrumental Lounge Fusion)

This track is a quiet conversation between two voices. The oud speaks first with a shy hello. The guitar answers with a smile. They trade lines like two people walking slowly through a courtyard at dusk, not rushing, just enjoying the moment. Nothing loud. Nothing busy. Just soft light, easy breath, and a feeling that love knows how to listen.

Play it while the evening settles. Let it fill the room without taking it over. It is music for candlelight, for coffee cooling on the table, for reading a page twice because the mood feels better than the words. When the last notes fade, the silence feels friendly.

Oud & Guitar in Saba Romance - Instrumental Lounge Fusion

Two voices walk beside a quiet river. The oud speaks first, easy and low, like water touching stone. The guitar answers with a warmer light. They take turns, unhurried, trading small phrases the way close friends trade memories. The mood stays gentle and close. Nothing pushes. Nothing crowds. It feels like dusk settling on the banks, a soft breeze, time moving in slow circles. Put it on while you read, think, or share a calm evening. When the final note fades, the silence keeps the feeling company.

Saba by the River - Oud & Guitar Instrumental Lounge Fusion

Andalusian Courtyard (Final Edit with Ambient Effects)

An ambient cinematic piece that follows the quiet arc of first light to full day. Soft textures, spacious harmonies, and gentle motion create a calm rise in energy without abrupt peaks. Built for reflection, focus, and warm beginnings.

First Light in the Alhambra (with Stone and Water)

The day slows, and the courtyard fills with gold. The oud speaks first—unhurried, close—then guitar answers like warm light on stone. They trade gentle phrases while the evening gathers: small smiles, soft steps, the hush of a garden at dusk. Nothing rushes. Nothing crowds. It’s music for candlelight, for a last cup of tea, for letting the room breathe. When the final notes fade, the quiet feels friendly.

Sunset in the Alhambra (with Ambient Fountain)

A soft rain finds the courtyards of Granada. The oud speaks in warm, unhurried phrases; the guitar answers like light on wet stone. Small echoes, quiet smiles, and the hush that comes after the first drops. It feels like walking slow under arches, listening to the city breathe. Put it on for reading, late tea, or a calm evening—when the rain is part of the room.

Rain Over Granada (Jadaka al-Ghaithu)

A gentle, flowing instrumental that carries the grace of the old Andalusian song Lamma Bada Yatathanna.

This is a warm and acoustic reimagining of a timeless piece. The oud and nylon guitar guide the melody, while qanun and ney reply with delicate touches. The rhythm stays faint and distant, giving space for the music to breathe. It moves with the calm sway of lantern light in a courtyard at night - rising, falling, and lingering with quiet beauty. Close your eyes and let it drift, as if time itself has slowed to listen.

Andalusian Grace - Lamma Bada Yatathanna

A twilight narrative shaped for quiet rooms and long breaths. Strings lead with a graceful motif while oud and nylon guitar add delicate filigree. Percussion stays soft and human, guiding the listener through a sequence of scenes where stories unfold behind a veil. This is a companion to the Nights tradition, reimagined as an instrumental that leans on melody, space, and subtle lift.

[STORY ARC]

- Prologue: low strings and gentle guitar, a room lit by lamplight, the motif is whispered.
- The telling: the theme opens in phrases, oud answers in brief curls, the veil shifts and reveals.
- Flicker of risk: harmony deepens, the pulse grows, tension rises without breaking the calm.
- Wit and grace: textures part for a softer middle, the motif returns with patient strength.
- Dawn approach: color warms, cadence descends to rest, the final chord holds like a quiet promise.

[NOTES]

An instrumental reimagining that honors the spirit of Scheherazade without quoting known melodies. The aim is intimacy and poise, a story carried by tone and touch rather than words.

Scheherazade’s Veil (Instrumental)

An exploratory adventure that begins in hush and lantern glow, then steps into the deeper chambers of a hidden world. Strings carry a guiding motif while oud and nylon guitar trade soft replies. Cajon and palmas keep a quiet caravan pulse. The piece is a folklore tale told without words, each section revealing another turn in the path. Inspired by the classic tale of the forty thieves, reimagined as an instrumental that favors melody, mood, and movement over literal quotation.

[STORY ARC]

- Opening: first light on stone and dust, a cautious walk past market stalls, the lantern motif appears.
- Discovery: the passage narrows, echoes answer the strings, oud sketches the path forward.
- Crossing: rhythms gather, the compass steadies, the motif grows bolder.
-  Hidden chamber: textures thin, a quiet spark, then a gentle bloom of harmony.
- Return: the pulse softens, the theme circles back, the cave breathes out and the journey closes in calm.

[NOTES]

Reimagined from the story of the forty thieves as an instrumental. No direct melodic quotes. The focus is on atmosphere, pacing, and the feeling of steps taken into the unknown and safely home again.

Cave of Lanterns (Instrumental)

An orchestral re-imagination inspired by Kuwait’s Al-Nashid Al-Watani (national anthem) and the cherished communal song Watani Al-Nahar. Between the two themes lies a single heartbeat moment, a reflection on the difficult days of the past and the spirit of renewal that gave Watani Al-Nahar its voice after liberation. Strings lead the performance, supported by oud and nylon guitar filigree with subtle flamenco flair. Percussion remains soft and human, shaping the arc from reverence to communal warmth.

[HISTORICAL CONTEXT BEHIND THE PRODUCTION]

For those not familiar with the history, some ebbs and flows in the orchestral direction may feel unusual, but each has intent. From 1:10 to 1:56, a steady heartbeat-like pulse carries the melody. This symbolizes the memory of the invasion, a time of tension and endurance. As the piece unfolds, the pulse turns brighter and more open, marking the moment of liberation and renewal. The music moves from struggle to resilience, from darkness into light.

This reimagined version of Watani Al-Nahar flows through multiple melodic stages:

- Shock
- Confusion
- Realization
- Resilience
- Resistance
- Solace
- Hope
- Unification

The closing call of the tar (frame drum) serves as a familiar and welcoming motif, a sound long associated with greeting and reunion, signaling the return of those who were once displaced.

To Kuwait with Love (August 2 Heartbeat Remembered)

A gentle, Andalusian-tinged instrumental where a graceful string lead meets oud and nylon guitar in quiet dialogue. Inspired by a Kuwaiti folklore song and shaped as a modern re-imagination, it favors modal melody, simple pulse, and a calm rise in energy. Reflective and warm, suited for quiet mornings and focused listening.

This piece was first imagined during a creative morning in Richmond Park (United Kingdom), while watching deer up close. In that moment I wished I could keep walking while listening to an instrumental version of Maftoon Qalbi. That feeling stayed with me until I shaped it into this work.

Enjoy.

Gazelle at Dawn (Kuwaiti Folklore Reimagined)

A slow, reflective instrumental shaped for late walks and quiet nights. Strings carry a melancholic theme over a simple pulse with gentle space and natural room. Inspired by classic Gulf folklore, reimagined for a modern, mindful listen. It sits at the tail end of my mindful walk playlist, chosen for its slow, mellow mood that helps me close the last steps of the route and settle my breathing. Quiet lifts and soft decays make it an easy companion for winding down and arriving home.


The Night Reminds Me (Instrumental)

A modern Kuwaiti folklore reimagining for long walks in the park. One melody, many voices: strings, oud, and nylon guitar revisit the theme in gentle ebbs and lifts to reduce repetition and keep movement. Hand percussion gives short bursts of energy without breaking the calm. Modal color, simple pulse, reflective tone, no vocals.

After the Trials (Instrumental)

Kuwaiti Samri is Gulf folk music with a gentle 2/4 sway and a soft frame-drum pulse. In many gatherings you hear interlocking handclaps and chant-like refrains that rise and settle with a warm communal feel. This piece offers a modern instrumental take that features violin as a surrogate for the genre’s lead vocals. The usual call and response is set aside so the core sway remains, carried by a singing melodic line while a quiet frame drum keeps time. The result is intimate and cyclical, with phrases that lean into the beat, float above it, and return to the theme for a calm, hypnotic flow. It gives first-time listeners a clear window into Samri’s rhythmic heart without the crowd energy that typically surrounds it.

[CREATIVE NOTE]
This arrangement adopts the violin as the principal melodic voice throughout, drawing on the Kuwaiti ṣawt tradition to stand in for Samri’s vocal line. Violin is not standard in classic Samri settings. Its use here is an intentional compositional choice that preserves the style’s gentle sway and measured cadence while presenting the melody instrumentally for clarity and learning.

Folklore Interlude - Samri Style Instrumental

Kuwaiti Sawt is a classic Gulf song form with a steady two-step sway and an intimate, storytelling mood. In many gatherings it is led by a singer, with violin and oud answering the lines while a soft mirwās pulse keeps time. This piece offers a modern instrumental take. The usual voice is set aside so the melody carries the story on its own, while the rhythm stays close and quiet. Phrases lean into the beat, float above it, and settle back into the theme for a calm, unhurried flow. It gives first-time listeners a clear window into Sawt’s heart without the crowd energy and vocals that typically surround it.

[PERSONAL NOTE]
I wanted to augment my mindful walks instrumentals with a haunting, mesmeric interlude. From that intent emerged this reimagined neo form of Sawt.

[CREATIVE NOTE]
This arrangement places the oud as the principal melodic voice throughout, with the violin responding in the phrasing of Kuwaiti ṣawt. Vocals are omitted by design so the tune can be heard instrumentally, while a very subtle mirwās keeps the pulse. The aim is to preserve the style’s measured cadence and warmth while presenting the melody for learning and close listening.

Folklore Interlude - Sawt Style Instrumental

This track is a journey piece. A clear, memorable theme leads from the first bar, patient and sure. The strings answer like friends on a long walk, passing the tune back and forth while the rhythm keeps a calm stride. Small swells arrive like landmarks and each one says keep going. Set your bearing and move. The melody begins as a soft thought, then firms into a line you can follow. Each return feels like a step that lands right. It gathers strength by repeating what matters and trimming what does not. You hear resolve, not rush. The strings guide, the pulse steadies, and the horizon comes closer. When it settles, there is open air ahead and a quiet pride in choosing your own way.

Where I Set My North · Strings and Compass

This track is made for slow, attentive miles. The kind of walk where you notice light on walls, wind on your face, and the sound of your own breath. It does not hurry you. It gives you space. The pulse is gentle, the edges are soft, and the music invites your thoughts to line up and settle. On a mindful-walk playlist, it works as a centering piece. Steady enough to keep you moving. Calm enough to keep your mind clear.

“Where the Sand Remembers” opens in stillness. Oud alone, close and unhurried, shaping a line that draws the ear inward. The violin joins as a quiet companion. At times it shadows the oud in near unison. At times it answers from a step away. The dialogue reads like thought and counter-thought rather than call and command.

The middle section widens in small circles. Nylon guitar stays in the background with soft arpeggios that color the air without pulling focus. Short pauses let the melody settle. When it returns, it carries a touch more light, as if the horizon has moved closer.

Near the close, a subtle percussive layer arrives, felt more than heard. It does not shift the character or the pace. It simply lifts the final phrases so the last cadence lands with quiet certainty. The oud states the closing idea plainly. The violin holds a warm line above it. The piece exhales rather than stops.

EMOTIONAL DELIVERY

Reflective rather than sad. Movement without urgency. Clarity without push. It is the sound of walking with your thoughts and finding they have started to walk with you.

Where the Sand Remembers · Quiet Oud and Violin Reins

This piece moves like a measured walk. Every phrase feels deliberate, yet never heavy. The oud begins with a steady line, tracing a shape that unfolds in small arcs before resting again on familiar ground. The violin joins softly beneath, more shadow than echo, rounding the edges of each turn. Together they breathe at the same pace, letting space do the talking.

The rhythm follows the quiet heart of Soleá por Bulerías beat cycle that holds motion without insistence. It carries the listener forward with a sense of even ground, like a path already known. Nothing urges the step; it’s the journey of presence rather than distance.

In tone and texture, Small Distance sits warm and near. The sound feels close, almost tangible, as if recorded from across a quiet courtyard. It holds the poise of reflection without sadness — a soft conversation between resolve and calm.

Small Distance belongs to the same quiet continuum as Letters Without Ink and An Equestrian Farewell, but it opens a lighter space between them. It is not about departure or arrival, only the calm found in continuing.

Small Distance · Oud and Violin in Quiet Soleá por Bulerías

This track is inspired by the timeless song Zourouni Koulla Sana Marra (“Visit me once every year”) by the revolutionary Egyptian composer Sayed Darwish. The original is known for its timeless melody and poignant lyrics; It's a quiet dialogue between longing and grace that still resonates across cultures.

In this reimagined instrumental interpretation, the oud speaks first, close and warm, setting the tone like a doorstep conversation at dusk. The violin joins as a second voice, curious and emotional, weaving in and out of the oud’s phrases as though remembering a familiar story. The guitar keeps a soft, steady pulse through understated arpeggios, while brushed percussion outlines the heartbeat of a gentle four-beat walk.

Throughout, flamenco influences tease the melody’s journey- a hint of zambra glow, the soft pulse of tangos, and the poised sway of soleá por bulerías near the close. These flavors drift through the piece like passing moods, guiding the listener without ever overtaking the stillness at its heart.

This is not a performance meant to dazzle, but a meeting between two musical worlds. The melody speaks as if at a doorway- graceful, nostalgic, and assured. By the closing cadence, the air feels calm and near; the visit complete.

Perfect for reflective playlists, quiet evenings, or moments when memory needs space to breathe.

Zourouni Koulla Sana Marra · A Flamenco-Threaded Reimagining for Oud and Violin

Am Ahmed Reverie is a heartfelt reimagining of Omar Khairat’s timeless theme, transformed through the voice of the oud and the lyric grace of the violin. Built on the flamenco bulerías compás, it tells its story in twelve steady heartbeats, where rhythm and melody intertwine in moments of unison and quiet separation.

The oud leads in E Nahawand, touching briefly upon Hijaz at each cadence, while nylon guitar, cajón, and palmas shape the landscape beneath. The music breathes between tradition and renewal, familiar yet newly alive. Each variation swings in a slightly different light, carrying the listener through reflection, motion, and return.

This rendition does not seek to replicate; it dreams the melody anew, paying homage to Khairat’s spirit while walking its own path. The result is both tribute and transformation, an instrumental reverie where Arabic soul and flamenco rhythm share the same dusk.

[BEHIND THE REIMAGINATION]

I shaped this piece as a reflection of how we move through our own cycles, the quiet beginnings, the stumbles, the recoveries, and the calm that follows. Its melody was reimagined to feel both ancient and familiar, so that whoever listens can find a part of their own journey within it.

Every return of the theme is a return changed, carrying traces of what came before, just as every day we live repeats the same rhythm with a slightly different meaning. Some sections walk, others rise, some breathe wider before narrowing again. The music follows the shape of every life that has learned, lost, rebuilt, and continued.

It is not a story about any one person. It is about the shared rhythm we all live by, the quiet truth that we can begin again, and that even repetition can become beautiful once it turns into understanding.

Am Ahmed Reverie · A Reimagined Tribute to Omar Khairat

I’ve always lived at the crossroads of music and poetry — where feeling becomes form, and melody turns memory into meaning. Whether it’s a lingering jazz note, a well-placed rhyme, or a shift in tempo that tells a deeper story, I’m drawn to that quiet magic where art reflects life with a little more style.

My roots are in classic music — the kind that doesn’t chase the moment but lingers with you long after the last note. Over time, that love expanded into poetry writing and jazz — especially the kind that swings, speaks, and smirks all at once. Jazz, to me, isn’t just a genre; it’s a personality. A conversation. A little tilt of the head and a grin that knows more than it says.

When I set out to create an album, it’s rarely just a collection of songs. I approach it like a personal playlist — one that drifts and flows as if the entire tracklist were one long, uninterrupted piece. Each track leans into the next, shifting mood, pace, or voice, but always carrying the same thread of feeling. I want you to listen the way I do — not as a shuffle of moments, but as a cinematic arc. One breath that lasts an hour.

Lyrically, my work is rooted in lived experience. Sometimes it’s obvious. Other times it’s just the skeleton of a memory, dressed up in wit, irony, or longing. I draw from real-life events, then let the poet in me twist, stretch, or sweeten them to taste. Depending on the tone of the album — playful, romantic, nostalgic, or something in between — I try to keep the emotional truth intact while giving it a fresh coat of creativity. A little humor where it fits. A deeper dive where it hurts.

My newest jazz album continues this tradition — short-lined swing tracks, conversational duets, and tongue-in-cheek storytelling. It’s an homage to late-night alleyway ballads, rooftop serenades, and train station goodbyes — all bound together with a sense of charm and cohesion. Each song is its own little scene, but together they tell a story — one you can revisit with each replay.

Thanks for stopping by my profile. I hope you find something that earns a spot on your repeat-play list — a melody, a lyric, or a moment that feels like it was written just for you.

Strings in Compás (Oud & Guitar Instrumental Lounge Fusion)

Dikheel Aldikheel