Vahid Moradi - Emperator | ORIGINAL SONG TRACK

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Emperator - Single

Emperator

Vahid Moradi - Chelchelaye Safari | ORIGINAL SONG TRACK

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Chelchelaye Safari - Single

Chelchelaye Safari

Vahid Moradi - Choobe Khoda | ORIGINAL SONG TRACK

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Choobe Khoda  - Single

Choobe Khoda

Vahid Moradi - Del Pare | ORIGINAL SONG TRACK

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Del Pare - Single

Del Pare

Shahin Sheykh X Vahid Nemati - Alhamdulilah | Official Audio

Available everywhere:
https://songwhip.com/shahinsheykh/alhamdulillah

Lyrics: Vahid Nemati
Beat Producer: Watiar
Tanbur: Ali Kakavand
Distribution Manager: Masir

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Shahin Sheykh X Vahid Nemati - Alhamdulilah

Composer and Pianist: Vahid Jahandari

This collection of miniature pieces for solo piano serves as a testament to the influence of George Russell's Lydian Chromatic Concept on the composer. Jahandari delves into Russell's theoretical framework, applying its principles to craft a series of works that navigate the harmonic landscapes, melodic trajectories, register, and various techniques based on those teachings.

In the context of 'chord scale unity' within the parent scale, the composer, inspired by Prokofiev's Visions Fugitive Op. 22, emphasizes its significance in each movement, despite the regular modulations soon after the introduction of each scale series. This way, the composer transitions from one space for expression to another harmonic mood with fresh exploration of the main motivic relationships, contributing to a dynamic and evolving emotional expression throughout the composition.

Immediate emotional responses are the primary guide in shaping Jahandari's aesthetic approach to composition. During the process, such as selecting the pitch series, horizontal and vertical relationships to the parent scales, voice leading style, and the transitions, when modulating, and in terms of formal structure, that there is a tendency for rapid changes of modes, from one way of expression to another, all are influeced from the Visions Fugitive Op. 22 series.

The composer, while adhering to the regulations of Russell's Lydian Chromatic Concept, infuses each piece with a distinct emotional logic and, therefore, a distinctive vocabulary—a reference to the means by which the overall shape of a sonic exhibition is built for outer observance. The composer views sonic exhibition as a form of emancipation—an artistic liberation that transcends conventional boundaries within language and ordinary forms of communication. 

This unfolds through the composer's navigation of the Lydian Chromatic Concept, allowing for the creation of distinctive and individualistically subjective expressive modes. This personalized approach permeates the sonic landscape, offering free means of articulating a􏰀itudes, interests, and beliefs. Through this lens, the composer elevates music beyond a mere auditory experience, transforming it into a resonant form of artistic expression. This allows the audience to experience the perspective, positionality, and emotional resonance, spatializing a virtual reality to communicate auditory procedures in the global climate of the early 21st century.

Beyond the realms of the needs for individuality and collectivity of emotional space, "Uniting Images" also delves into broader societal narratives. Jahandari reflects on themes related to race, gender, national origin, and various categories that have impacted him over the past decade of adulthood. The compositions serve as a medium through which the composer communicates his response to the complexities of the contemporary world. The emotional resonance extends beyond the personal, offering a glimpse into the inevitable confrontation of shared humanity.

The composer places a deliberate emphasis on the nuanced and regular use of the pedal throughout various movements of the composition. Acknowledging the complexities inherent in the harmonic relationships within this sonic exhibition, as well as the interplay of specific progressions and cycles, finger techniques, and the desired timbral character, the composer advocates for a thoughtful and considered approach to pedal usage by each piano performer.

Uniting Images I - Vahid Jahandari

Composer and Pianist: Vahid Jahandari

This collection of miniature pieces for solo piano serves as a testament to the influence of George Russell's Lydian Chromatic Concept on the composer. Jahandari delves into Russell's theoretical framework, applying its principles to craft a series of works that navigate the harmonic landscapes, melodic trajectories, register, and various techniques based on those teachings.

In the context of 'chord scale unity' within the parent scale, the composer, inspired by Prokofiev's Visions Fugitive Op. 22, emphasizes its significance in each movement, despite the regular modulations soon after the introduction of each scale series. This way, the composer transitions from one space for expression to another harmonic mood with fresh exploration of the main motivic relationships, contributing to a dynamic and evolving emotional expression throughout the composition.

Immediate emotional responses are the primary guide in shaping Jahandari's aesthetic approach to composition. During the process, such as selecting the pitch series, horizontal and vertical relationships to the parent scales, voice leading style, and the transitions, when modulating, and in terms of formal structure, that there is a tendency for rapid changes of modes, from one way of expression to another, all are influeced from the Visions Fugitive Op. 22 series.

The composer, while adhering to the regulations of Russell's Lydian Chromatic Concept, infuses each piece with a distinct emotional logic and, therefore, a distinctive vocabulary—a reference to the means by which the overall shape of a sonic exhibition is built for outer observance. The composer views sonic exhibition as a form of emancipation—an artistic liberation that transcends conventional boundaries within language and ordinary forms of communication.

This unfolds through the composer's navigation of the Lydian Chromatic Concept, allowing for the creation of distinctive and individualistically subjective expressive modes. This personalized approach permeates the sonic landscape, offering free means of articulating interests, and beliefs. Through this lens, the composer elevates music beyond a mere auditory experience, transforming it into a resonant form of artistic expression. This allows the audience to experience the perspective, positionality, and emotional resonance, spatializing a virtual reality to communicate auditory procedures in the global climate of the early 21st century.

Beyond the realms of the needs for individuality and collectivity of emotional space, "Uniting Images" also delves into broader societal narratives. Jahandari reflects on themes related to race, gender, national origin, and various categories that have impacted him over the past decade of adulthood. The compositions serve as a medium through which the composer communicates his response to the complexities of the contemporary world. The emotional resonance extends beyond the personal, offering a glimpse into the inevitable confrontation of shared humanity.

The composer places a deliberate emphasis on the nuanced and regular use of the pedal throughout various movements of the composition. Acknowledging the complexities inherent in the harmonic relationships within this sonic exhibition, as well as the interplay of specific progressions and cycles, finger techniques, and the desired timbral character, the composer advocates for a thoughtful and considered approach to pedal usage by each piano performer.

Uniting Images II - Vahid Jahandari

Composer and Pianist: Vahid Jahandari

This collection of miniature pieces for solo piano serves as a testament to the influence of George Russell's Lydian Chromatic Concept on the composer. Jahandari delves into Russell's theoretical framework, applying its principles to craft a series of works that navigate the harmonic landscapes, melodic trajectories, register, and various techniques based on those teachings.

In the context of 'chord scale unity' within the parent scale, the composer, inspired by Prokofiev's Visions Fugitive Op. 22, emphasizes its significance in each movement, despite the regular modulations soon after the introduction of each scale series. This way, the composer transitions from one space for expression to another harmonic mood with fresh exploration of the main motivic relationships, contributing to a dynamic and evolving emotional expression throughout the composition.

Immediate emotional responses are the primary guide in shaping Jahandari's aesthetic approach to composition. During the process, such as selecting the pitch series, horizontal and vertical relationships to the parent scales, voice leading style, and the transitions, when modulating, and in terms of formal structure, that there is a tendency for rapid changes of modes, from one way of expression to another, all are influeced from the Visions Fugitive Op. 22 series.

The composer, while adhering to the regulations of Russell's Lydian Chromatic Concept, infuses each piece with a distinct emotional logic and, therefore, a distinctive vocabulary—a reference to the means by which the overall shape of a sonic exhibition is built for outer observance. The composer views sonic exhibition as a form of emancipation—an artistic liberation that transcends conventional boundaries within language and ordinary forms of communication.

This unfolds through the composer's navigation of the Lydian Chromatic Concept, allowing for the creation of distinctive and individualistically subjective expressive modes. This personalized approach permeates the sonic landscape, offering free means of articulating a􏰀itudes, interests, and beliefs. Through this lens, the composer elevates music beyond a mere auditory experience, transforming it into a resonant form of artistic expression. This allows the audience to experience the perspective, positionality, and emotional resonance, spatializing a virtual reality to communicate auditory procedures in the global climate of the early 21st century.

Beyond the realms of the needs for individuality and collectivity of emotional space, "Uniting Images" also delves into broader societal narratives. Jahandari reflects on themes related to race, gender, national origin, and various categories that have impacted him over the past decade of adulthood. The compositions serve as a medium through which the composer communicates his response to the complexities of the contemporary world. The emotional resonance extends beyond the personal, offering a glimpse into the inevitable confrontation of shared humanity.

The composer places a deliberate emphasis on the nuanced and regular use of the pedal throughout various movements of the composition. Acknowledging the complexities inherent in the harmonic relationships within this sonic exhibition, as well as the interplay of specific progressions and cycles, finger techniques, and the desired timbral character, the composer advocates for a thoughtful and considered approach to pedal usage by each piano performer.

Uniting Images III - Vahid Jahandari

Uniting Images (Remix)

ULUSUM-OYAN

Award-winning composer, producer, performer, and educator of ElectroAcoustic music, Vahid Jahandari is a dynamic transdisciplinary musician, specializing in global music studies. Award-winning composer of acoustic and electronic music, Jahandari's works have been performed and recorded in North America, Europe, and Asia. He has received awards, including first prizes at 2Agosto and Pejman competitions for His orchestral and chamber music, and commissions include the Grammy nominee ensemble, PubliQuartet.

Jahandari is a multi-instrumentalist and improviser who works across various genres and mediums. His music has been selected and performed at numerous festivals, including ISCM World Music Days in Estonia, the World Saxophone Congress in Croatia, SXSW, SEAMUS, SPLICE, and many more.

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