The Music of Medieval Iran : An Introduction to Middle-Eastern Music Theory
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- เผยแพร่เมื่อ 3 มิ.ย. 2024
- This is an introductory overview of the most general aspects of Medieval Iranian music; it also serves as an insight into Middle-Eastern, Near-Eastern, and most historical Greek musical traditions as a whole, so even though the concepts here are described using a Medieval Iranian lens and terminology, they also apply broadly to much of the Arab world, the Turks, Greeks, etc, both their medieval music as well as much of the current music.
Sources:
The Modal System of pre-Dastgāh music, Arya Kabiri
The Modal System of Arabian and Persian Music, 1250 - 1500: An interpretation of Contemporary Texts, Owen Wright
Music Theory in the Safavid Era: The Taqsim-al-Nagāmat, Owen Wright
Theory and Practice in the Music of the Islamic World: Essays in Honour of Owen Wright, multiple authors
00:00 Intro
04:06 The Road to the Middle-Ages
08:50 The Octave Division
15:35 The Maqām
24:00 The Dāng - Tetrachordal Conscience
30:17 The Notation System
40:40 Conclusion - เพลง
DISCLAIMER: Like an idiot I kept saying Safi-ad-din Ardabili but I meant to say Safi-ad-din Urmawi, who is the music theorist, whilst the former was a Sufi mystic, sorry about that!
This is an introductory overview of the most general aspects of Medieval Iranian music; it also serves as an insight into Middle-Eastern, Near-Eastern, and most historical Greek musical traditions as a whole, so even though the concepts here are described using a Medieval Iranian lens and terminology, they also apply broadly to much of the Arab world, the Turks, Greeks, etc, both their medieval music as well as much of the current music.
Sources:
The Modal System of pre-Dastgāh music, Arya Kabiri
The Modal System of Arabian and Persian Music, 1250 - 1500: An interpretation of Contemporary Texts, Owen Wright
Music Theory in the Safavid Era: The Taqsim-al-Nagāmat, Owen Wright
Theory and Practice in the Music of the Islamic World: Essays in Honour of Owen Wright, multiple authors
00:00 Intro
04:06 The Road to the Middle-Ages
08:50 The Octave Division
15:35 The Maqām
24:00 The Dāng - Tetrachordal Conscience
30:17 The Notation System
40:40 Conclusion
Mr Farya would you consider making a video about Byzantine musical notation? Just a thought. Keep up with the great content.
@@pankats1222 Great suggestion! I’m studying the theory of Byzantine Chant right now and I’ll produce explanatory videos once I know enough :)
No need to be hard on yourself, sir! You are anything but an idiot!
Simply, me too.
I had no idea that Persian and Iranian were not interchangeable terms. Thank you, Farya, for helping me look like slightly less of a moron the next time that comes up.
As an Iranic person who isn't Persian (I'm Ossetian), I'm glad you understand the difference know. If you're interested in an example of such a people, look into the Ossetians, they're unique in the way that they're in fact the only Iranic people native to Europe
@@kathrinat9824 Ещё есть ясы в Венгрии (Jasz people) и у них тоже аланское происхождение, но они язык утратили и частично ассимилировались
Honeslty same I’m ashamed as a history buff to only find out recently.
@@kathrinat9824 Iranic and Iranian also isn't the same though! There is a similar issue with Turkish and Turkic (this problem is exacerbated by Turkish language and education system). These naming conventions can be really confusing but at least English has this part figured out*, now the issue of Farsi and Persian opens a whole new Pandora box!
*it unfortunately doesn't have a distinction between adjectives for modern Russia and ancient Rus, much like Russian by the way :v And we can't avoid it by saying "rusyn" because there is a modern language (unrelated to ethnonyms at least) called Rusyn which is very distinct despite some Russian and Ukrainian scholars' opinions :v
PS I wish there were some good Ossetian learning sources, at least like a B1 level would be nice ;_;
@@Sk0lzky The issue of Farsi and Persian isn't a Pandora's box at all, the only reason you might believe it is, is because everyone does such a poor job explaining it, so I can't blame you.
Persian and Farsi refer to the exact same concept: the mother language spoken by the Persian ethnicity. One is simply the word in the Persian language, transposed directly onto English usage, the other is the word in English inherited from a long line going back to Greece. Farsi is the Persian word, Persian is the English word. It's not more complicated than that.
In other words, saying Persian or Farsi is equivalent to saying "Allemand" or "Deutsch." In both cases, you're referring to the exact same thing: the same language, one is simply the French word for that language, and the other is the native German word for that language.
As a 48 year-old white dude from podunk USA (but a lifelong musician and historian, semi-pro on both), I am absolutely loving your channel.
You've answered a lot of questions old professors couldn't (as best as you could), you've simplified a bit of stuff that I always wondered about, and you isolate and destroy the bullshit a lot of us "trained" and semi-trained Euro-theory-oriented musicians grew up with about musical traditions from Central Eurasia.
I especially love your mythbusting of the "pedants;" It was a battle I fought with instructors a number of times regarding music from non-Euro cultures, and glad to see my my old efforts being vindicated.
As a person knowing Persian language I can assure you the translation is very accurate.
including the use of a word spelled "dephts" ?
@@magister343 That’s just pedantic.
I am really curious as to what he is saying, though if I reverse the subtitles I am sure I can get a pretty accurate idea.
@@magister343 As it was already said, that's just pedantic.
@@faberofwillandmight8758 Basically.
Respect for all Persian and Iranian people from Italy 🇮🇷❤🇮🇹
22:38 Love the paradox between your emotional reaction in Farsi and your rational explanation in the subtitles 🤣
Chad Farya is in the house. Very informative, as always, man.
ευχαριστώ my friend!
Also just a general thank you for giving us content on Iranian history. It's so hard to find any information on Iranian history in general so this channel is truly a gem
😎💖💖💖💖😎
Thank you very much
I would like to add these hints and insights:
1. The Arabic word for tethrachord is _Jins_ (جنس) , etymoligically derived from the greek word _Genus_ . Its plural is _Ajnas_ (أجناس).
2. To say Maqam, Safiyuddin used the word _Dawr_ (دور) which means rotation or loop.
3. Using the word Maqam was the idea of Abu Is'haq al-Shirazi, a physicist and friend of Safiyddin, both studied in Baghdad under Nassiruddin al-Tussi.
4. Abu Is'haq al-Shirazi was also a Sufi, he got the name Maqam (spiritual state) from Sufism literature
5. The names of the Maqams are also from Abu Is'haq al-Shirazi: He used ethnical and geographical references such as Ajam (Persians), Koord, Nahawand (Kurds), Bayati (a Turkic tribe that inhabited west Iraq), Hijaz (to no say Arabs)
6. Abu Is'haq kept some technical Persian words such as Ségah (third place) and Rast (Right, equal)
7. Since the Arab Music Congres of Cairo 1932, Arabs from Iraq to Morocco use the 25 intervals divided Octave system, developped by Dr. Mikhaeil Petraki (died in 1888), aka Mikhaeil Meshaqa (ميخائيل مشاقة), a doctor, polymath, diplomat, politician and free-masson born in Tripoli Lebanon to a greek catholic christian family in 1800, studied medicine in Egypt, converted to Anglicanism and worked as consul for the US in Damascus. He revived the system of Abu Nasr al-Farabi dividing the octave into 25 equal sounds.
Wow! Thank you for this! There's a lot of contradictory information on this subject. e.g. I saw some news report with a syriac priest claiming the words "rast", "bayati", "hijaz" are from their aramaic language and got modified to arabic. I read elsewhere that there was an effort by an ottoman sultan (i forgot who) that tasked two kurds living in palestine with the task of collecting this musical knowledge. Just all kinds of contradictory info. I know about the Arabic Music Conference and the collection and standardization of this music, but what do these names mean and where do they come from seems obscure, at least to the general public. Even in these old books you find them refering to nonexisting maqams (at least in Arabic) such as nawruz and usshak and in the footnotes you see the comment this is known as rast or bayati today. Again, thank you for spreading this knowledge, and please let us know of any books or reference you recommend. ☺️
When I look up "Abu Is'haq al-Shirazi" I only find a well-known religious scholar who lived at an earlier period. Could it be an error?
@@jkllkj3481
The error is mine, I apologize, please check Qutbuddin al-Shirazi
@@HamzaBaqoushi thank you!
Rast a man😉🐬🫧
I just love being taught about medieval persian music by Darius himself on TH-cam. Truly best time to be alive
Facts 😂😂😂😂😂😂😂😂😂
That doesn't make sense since Darius was pre-Islamic not medieval
@@alinaqirizvi1441 You clearly missed the joke
And you didn't seem to have learned anything
I had to jump in and say i really appreciate your frustration in trying to have these conversations! I grew up hearing bouzouki and lyra music, my grandparents are from greek villages, but in school (new york city in the united states) i was taught that "music" is western european music. I remember trying to ask "music teachers" where the rest of the sounds were, hahaha. I found the "important" scales really unfulfilling, and i found the descriptions of music "theory" really odd and unable to help me build what my ears wanted.
I was a kid being told by authorities that "This Is Music Theory" and i was completely at a loss to get anywhere with them. Invariably would say "well these are the notes on the piano and - " , i would say "NO WHERE ARE THE REST OF THE SOUNDS and why dont you play them in the PRETTY patterns" ... and i was not allowed to take music class anymore.
Now im 30 and finally it clicked that i live in western european music land but my ears grew up with a totally different tradition
You may be surprised to hear that I had a very similar experience, and I was born and raised in California. I gave up after two years of piano lessons, and started playing what was in my head 🎶☮
Can this man be cast for documentaries, series or movies please?
Got my vote❤
The past tense of "cast" is "cast".
@@horsemumbler1 Thanks!
Iran is a world in and of itself that I will eventually explore culturally, anthropologically, musically and linguistically, someday. Great talk, as always. Kheyli mamnūn!
0:10 you nailed the iranian english so hard 😂 time-tereveler
Just wanted to let you know that as a Gilani Iranian who lives in Montréal and shares the same passion for music as you, it always puts a bright smile on my face whenever you make these kinds of informative videos or create wonderful music of variety of different cultures. Keep it up Farya!
As a French person, I can confirm that we talk the exact same way about French Canadians (at least Quebeckers, we barely know about Acadians). Funny duck-sounding people.
Also your European French impression was a spot on Paris accent.
I fear ever using my Ontario school taught French in France, hahahaha
I just love the fact that you're showing Iranian culture like this! your channel isn't only focused on Iran, it's very international and I think that's what makes it so great! Keep doing the grand work.
The way you described the intervals of music has me thinking of a sin wave in trigonometry. Which I guess makes sense given that each pitch would produce a different wave. Please correct me if I’m wrong. But in terms of wavelengths, it’s really really cool how music and math relate 😄 just thought I would share my observation 😊
Uzbeks and Uyghurs also have “six maqom” but it is different but also related. Uzbek maqom developed in Khanate of Bukhara and influenced Tajiks too.
Would love to see you do something with Qawwali. It's perfect meeting between India and Iran!
Just found your channel, and gotta say....Great work my friend! Texan here who has traveled quite a bit, and I love your explanation of accents. Simply traveling from south Texas to Chile the Spanish accents range wildly. I am geographer/GIS/geologist by day, but musician (amateur historian) by night. Excellent channel!!
Came for the tutorial and got a whole documentary. This was probably the best explanation of Iranian music and you look so good in the traditional outfit. Great job!
Thank you for the explanation on Iranian/Persian and the differences between the two. I look forward to watching the rest of the video tomorrow. (Also I do love the long-form content you do, explaining the history of regional music. It's doesn't make the most sense to me because I'm not the most musically inclined, but it's really fascinating. Can't wait for more!)
Farya you’re the best content creator on TH-cam. It’s actually stunning the quality and frequency of your videos.
Love Iranian literature! So cool to learn a little about historical Iranian music!!
Thanks so much for that clarification about Persian vs. Iranian -- I've frequently heard them used interchangeably, and I also assumed Persia was the "older" civilization and Iran the state was newer. Learning so much from your channel: music, culture, history, logical fallacies. You're fantastic!
Really wonderful video, I was looking forward to this topic for long! Would love to see more content on maqams. Being an Indian, I would really like to know more about the similarities and differences between maqams and ragas, haven't really found good content on this!
great instructional overview video, greatly appreciated, hoovering up the knowledge man! Guitarist here; would like to get an electro-acoustic Oud soon. Persian and middle eastern music is lovely, passionate, intelligent, intricate and heart felt. Very glad to have found this vid via youtube! ❤ Cool that you are aware of such people as Harry Partch; i’m a big fan of his, his triple album set of Delusions of the Fury is a great treasure. You are a very intelligent fellow. I’m not rebutting anything you said but i also love Jeff Beck, all guitarists do i’m sure, he was a very expressive and unique player. Frigian was the first mode I learned. A few years later i ran into the guitarist from the Commodores, a band i never really listen to, on a ferry and he turned me on to the importance of modes in improvisation. He was very good and a super nice guy to take his time to share his knowledge with me. I often play quite modally these days and use my loop station to create original drone sounds and simple progressions to improv on top of. Tis my daily meditation and people often tell me that i make beautiful music and take them on a journey along with me and i make lots of friends/connections through my self expression through music over the years. And when i travel i always get invited over for dinner meet the wife and kids or whatever because of my music, even if i don’t speak the native tongue very well. This has especially been the case in Quebec. So glad i learned to speak this universal language, it really has enhanced my life greatly. If you ever come to Salt Spring Island please make contact I’d like to book a private lesson or 3 with you. Wait till i get my Oud though. What do you think of the Gonin electric Oud?
I hope someone from the Russian-speaking community can add subtitles. Because of the language barrier, alas, I understand only partially.
It's a good thing I graduated from music school, so I can understand some of the complicated stuff from the video professionally.
I could do that. I speak both fluently
@@kathrinat9824 This is very wonderful! I'd be happy if you did.
This was the coolest video I've seen in a long time. I'm just a typical Irish/Welsh-Canadian dude who loves exploring music in all it's majesty. I started listening to Anatolian Rock a few years back, and it's been a game-changer. Along with King Gizzard and other groups doing microtonal stuff, my musical palette is becoming more refined, and I love it. You do a great job at explaining things and this video was captivating. Thanks!!
I am from Brazil, I loce iranian music, been looking for videos like this for a while, thanks for sharing you knowledge!
“Music doesn't lie. If there is something to be changed in this world, then it can only happen through music.” - Jimi Hendrix
I can't stress enough how much I randomly found this and I'm fully engaged with it and this is awesome
I have never even heard of eastern music theory until I came across youre video and you have blessed me with new knowledge!!! I am greatful to you for this.!
Always a pleasure to watch your musical lectures. Informative and entertaining!
Take care brother
I'm so glad polymathy recommended your channel, I'm loving it, I always learn something, thank you very much for the content
Hi. I watched your music theory carefully. I am blues/rock guitarist but also play phrygian mode for my interest in mystic eastern mode of playing music (me, using 12 western tones on my guitar within a western octave of 12 tones 😃). I am a Balkanian (Bosnian) but live in Australia half of my life. Thank you for your precise introduction into Iranian/Turkish style of music. I was laughing when you explained symplifying the middle east music modes and scales by average western musician for i understand that the scale in an middle eastern music within a octave is wider and makes that middle east music mystic/exotic. Also i watched many videos on Utube about Iran and i understand Iranian/Persian history, culture and music and yes, your Iranian food is very yummy. I did eat in Iranian restaurants here in Australia. Thank you for your video. Cheers.
How have I never been aware of your channel?? I thoroughly enjoyed this sir, thank you for making it!
You are making ancient music mainstream in ways that are impossible to fathom!
Love your videos man!
Mind utterly and thoroughly blown! I have always loved anything about different cultures musical knowledge, thanks for giving us the utterly beautiful Cistine Chapel of Central Asia music talking about the maqams and so on.
This is such an amazing breakdown, and I appreciate so much your passion (and well-placed ire).
I’ve always been fascinated by how different cultures break down their scales, and the ways musical understanding changes with a culture over time.
I read a thing once a long time ago about how one of the most destructive things to the remnants of regional tonality, microtonality, and relative tuning in the west was the invention and subsequent ubiquity of the mass-produced accordion. Lots of semi-isolated ethno-cultural musical traditions in Europe (and Eastern Europe particularly) changed near-instantly as they were forced to adapt to the standardized divisions and temperament of the incredibly popular instrument. Apparently a lot of unrecorded traditional folk scales were lost, which is wild to think of, as the accordion was invented in the 1800s.
This is excellent background for someone who knows a few tunes from this tradition but doesn't quite grasp the theory quite yet. Might also be the thing that convinces me to buy a baglama. The commentary on Canadian vs European French is hilarious as well XD
YES! I’ve been waiting for you to cover this! I’m a Tar player myself, thank you for discussing this topic
Yes, finally! I've been waiting a long time for this. Thank you!
Would be interested to see more in depth analysis of sounds used in Persian speaking lands outside Iran, like Afghanistan, Tajikistan or Southern Uzbekistan, and how that could show the development that is perhaps distinct or shared? Something I'd love to learn more on! Not sure if my language is correct in descriving these things :)
Yay! Thanks a lot for your work, one of the coolest channels I've seen on this platform!
Love this! Really stoked to have found your videos. Especially the road analogy which is super useful!
Tonnes of information, and you are a fantastic, engaging presenter. Extra points awarded for your eye makeup : )
I am glad to listen to such a comprehensive insight into old 3/4 tonal music. Special thanks for playing "Rasputin" theme by BoneyM! Never thought of that relation.
Just enough whackiness to get us through! Thank you for all the knowledge.
My guy got ripped out of the Shahnameh
Ohhh it's so interesting to hear your definition of a mode and yours makes much more sense .... Especially looking from eastern perspective! Loving the channel!
Mode for me is you take a scale....reorder it ( like an inversion of a chord . So play it from the first degree of the scale or the second....this changes the home key giving a different flavour! Or mood ! But that explanation didn't really fit looking at examples of microtonal music.... Your channel is amazing love it!
Editing my previous comment to add I adore the notation system dear lord it's amazing 😍 ....
Interval system is amazing 😁 😍
Thank you! I learned so much from this video. I knew about Western modes but this really opened by mind at what a brilliant system the tetrachord combinations are. And how much more fun it would be to be free of the standardized notation. You can make the music fit your vocal range. And you are hilarious and fun to watch!
Fascinating. Greetings from Poland (happily not yet invaded by Russia). And subscription added.
22:50. I don't know Persian, let alone Classical Persian, but this is so hilarious!
Before seeing videos on your channel, I had a basic idea of how a lot of Middle-Eastern music was fundamentally based around having a far more subdivided octave, but I did not really know what it sounded like or what exactly the flavor and other ideas applied to this created. Now I have a better understanding (far from perfect) that has lead me to a far greater appreciation of Middle-Eastern music, and it seems like one of the most interesting musical traditions out there, from what I can tell now
Hey! I'm currently writing my bachelor thesis on "microtonality" (which honestly is a misleading and just very eurocentric term) and I'm currently working on a section on Iranian musíc. I just wanted to say thank you for this, this is really helpful for an unknowing westerner like me. This is really great, I enjoyed this a lot. Keep it up! :))
Daddy is literally our most blessed✨ middle eastern primary source in the past 2~3 years 😍
Thank you for this creative video essay, it was really instructive both music history and theory-wise. I play modal jazz music and this idea of thinking an octave as two tetrachords is interesting and fresh for me, will try it next time.
I really love your channel! I love historical music and folk music!
Your explanation about how each of the notes in a dang is designated relative to the preceding interval finally helped me understand what you see in other videos about not needing Western music notation. Without the emphasis on verticality and coordinated complex harmonies, there's not really a need to designate music in terms of absolute pitch like Western music notation does.
Fascinating and very learned! THANK YOU for your work!
thank you . your attire, your content and the presentation is fantastic. i thoroughly enjoyed it and learned a lot
What an enthralling, beautifully well researched, lecture.
This IS great, many thanks for your excellent introduction...
I have no musical educaion outside two and a half years of middle school band, so while I am extremely lost in all this, as a student of history, these are very entertaining and very educational. You're a great historian!
Thank you for sharing your knowledge. 🙏🏻🙏🏻
The interval based notation system is fascinating. I remember there was a project of making new notation system and an interval based one was one of them, who knew that it already existed!
To plug a "f-- Saint-Jérôme" in a video about the music of Medieval Iran is an accomplishment in an of itself. Bien joué!
Hehe merci!
Thank you so much for this detailed video! I am a Fan of this channel now :)
Awesome channel, man c: I came for the history/theory and then found out your amazing music as well!! I'm looking forward to watching your other video essays on history and theory as well :3
Very good informational video. Thank you so much
This sounds soooo good. Another excellent video!
Thanks for the work you put in. Now I know you have done a Flemish tune (I checked all your vids by title so far), and are aware of Flemish polyphony of the Renaissance. One thing to clarify is that using the VOICE rather than only instruments (such as the Lute which had moveable frets) was that while it was not a technique we know about for sure, the singing would sweeten intervals in a manner that implies, not necessarily ‘micro tones” but the same note on paper might have two versions when it is sung against some other note. Hence the organs and harpsichords etc, lute fret placements, would adjust to fit best with certain pieces of music. If you have not read Juan Bermudo yet, I recommend. He notes singers off tune in his day (1550ish) and advocates glueing down the frets of Vihuela (basically a renaissance lute) extremely close to modern Equal temp. This clashes conceptually with organs that had those in between notes, and we still see this clash even 200 years later during Bach’s day where he would play Ab fugue to show how bad organs are tempered etc.
Bottom line is there were some people advocating modulation via “ficta notes” or accidentals which will be problematic if you are vocally “micro tuning” on the go, it needs a more strict concept of tuning relations (see Greiter’s Pasibus Abiguis). In the Flemish polyphony they DID have Phrygian modes and lots of music based on this…mode 3 and the plagal version mode 4, not just a “few exceptions”. From what I gather via examples, the difference between the modes is more about the tessetura of the main melody or cantus firmus. While you are correct that stuff like the Hijaz does not manifest in Cantus firmi, the truth is that when you hear a phrygian cadence, the counter voices would do things like the Picardy third creating that typical sound of mixed natural phrygian and the phrygian dominant….and even you will find on occasion raised 7 ficta (D# relative to Mi or E)….and you can see how the basic sound of your annoying harmonic major is simply part of that the old Renaisssance polyphony. What happens later is that the mi modes 3 and 4 collapse or combine with the minor modes 1 and 2, and you get only the “MINOR KEY” where the modal mixture views Phrygian only as DOMINANT. But for sure, the modal sound is not unique to hijaz and Eastern musics, but is part of Western Tradition as well, just as tempered “in between” notes actually mattered before autotune. 😂
That is the absolutely coolest thing that we get to see your Grandfather in action. Thank you. You are blessed, Farya.
My Grandfather used to sing Apo Xeno Topo. :)
love your style and dedication. your vids are both very educating and entertaining. gotta get myself an oud finally! :D
Beautifully explained🙏🏻🙏🏻❣️i have learned a lot😄
Thank you so much for this lesson, not just in music theory, but also in culture, I’m learning how to make orchestral music and I’m starting with music theory, so thank you very much, and side note, I have to agree 100% with Arab accents being diverse in English and in their original accents, and that it’s important to distinguish Persians and Iranians (which is the entire reason Persia changed to Iran in the ~30’s
great video been looking for info like this thankyou
This was one of the FUCKING BEST videos on the topic I've ever seen. Your presentation and explanation are so good, that even a person with absolutely no knowledge can learn. Thank you, thank you.
Wonderful! Thanks for what you do
Just found your channel and your content is fire bro - youre going places!
Fascinating as always ✨️❤️😊
Fantastique vidéo! Claire, intéressant, drôle et j'en passe... tu as cocher toute les cases!
Thank you for this very interesting video ! And I mean interesting on multiple levels. For one I didn't know Persian and Iranian were not the same. And the explanation about music was is fascinating.
I actually clicked on this, because I wanted to listen to music. But this lesson was really interesting. I learned a lot. Thank you. :D
love seeing the weapons collection in the background
Very interesting. Thank you for sharing.
Excellent video man thanks!!!
I love your work keep going it's amazing to listen to
Thank you so much for showing more about less represented historical cultures!
This is a masterpiece! Been looking for a channel that will take the time to do videos explaining Middle Eastern music and have not found one until now! I'm beyond grateful to you, Farya, my very funny Iranian brother. Please do more! I'm very interested in learning Middle Eastern music as I find Western music a little......a little lacking in depth and a little boxy and uhmm....meh......and I find myself very very naturally drawn to Middle Eastern music and vocal "ornamentations" (😂sorry). I have recently found a gem, Farya, that gem being your channel. Bother me not, for you shall now only find me basking in that music which is closest to the Divine. Also, your accents are so easy on the ears.
Dude, this is wicked awesome! Thank you so much!
Thanks so much for posting.
that section about pedants was something else :D great content, once again, though :O learned quite a bit
So happy I found your channel 😄 💕
Thank you for the very valuable clip you made for Iranian music.
درود بر شما فریا جان با صفحه شما به تازگی آشنا شدم امیدوارم صفحه یوتیوب شما بتونه بیشتر بین مردم ایران شناخته بشه چون محتوای بسیار ارزشمندی رو برای موسیقی بویژه موسیقی ایرانی می سازید.
Ever thought of making something about the Restitutor Orbis? Would be awesome!
Seriously, thank you so much for this video, the way the octaves function and how they utilize it in middle-eastern music is outstanding 👌 ❤
Fit & presentation are goated
that pulp fiction tune reference was mind blowing