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Duration: 12′ | contemporary
This piece emerges from an research focused on synthetic modes and temporal perception in contemporary composition. The work is built upon a single newly constructed mode, which generates multiple internal variants, temporal behaviors, and harmonic possibilities. Instead of treating the mode as a fixed structure, the composition approaches it as a flexible environment in which several related identities can unfold. The five-episode form, the thematic materials, and the harmonic language all arise from this long process of modal experimentation….
Read more: Modal Sketch No.1
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Duration: 5′ | Electronic
This piece is a variation on the fifth episode of Modal Sketch No.1, realized using electronics. It also draws material from the previous four episodes, while maintaining a conceptual and structural approach closely aligned with Episode V of the original piano work.
Read more: Electronic Variation on Modal Sketch No.1: Episode V
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Duration: 8′ | contemporary
June 13, 2025. The second day of war between Iran and Israel. The day might have felt like any other, if we had not been awakened the night before by the terrifying sound of explosions. There was nowhere to escape, no safe place to go; we had no choice but to stay at home, powerless to change what was happening. In that moment, the only thing I could do was turn to the piano. I played without plan, without thought of form or technique….
Read more: Is This How It Ends?
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Duration: 7′ | audiovisual
Fresh Figs is built around the idea of how a computer might remember what once belonged to a human memory broken, incomplete, and emotionally charged. The piece moves between sound and image, exploring the thin line where human feeling meets machine interpretation.
Read more: fresh figs
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Duration: 7′ | contemporary
This piece was composed for the Kariz Project, a call for scores that invited composers to create new works inspired by the concept of qanat—the ancient Persian underground water channels symbolizing flow, connection, and hidden life. The call required writing for the Quater Ensemble, featuring oboe, piano, percussion, and double bass. Hāfeze-ye qanāt-e na chandān qadimī was selected for performance in the festival,
Read more: Hāfeze-ye qanāt-e na chandān qadimī
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Duration: 8′ | Persian traditional
Navâ Trio is a composition for three Kamânches that focuses on the Dastgâh-e Navâ and incorporates poly-modal structures. The main objective of this piece is to explore polyphony within the framework of Persian modal music, combining classical polyphonic techniques with innovative approaches to texture and structure.
Read more: Navâ Trio
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Duration: 5′ | contemporary
This piece is built on the interplay between two contrasting tonalities, which shape its harmonic framework and establish a dynamic sense of tension and equilibrium. In the first movement, the combination of E major and F minor, along with the use of a Neapolitan chord in E major and a diminished seventh in F minor, creates a complex harmonic texture and intensifies the contrast between the tonalities. Each melody is constructed to reinforce its own tonality, adding layers of tension as the piece progresses.
Read more: The war
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Duration: 3′ | graphic notation
This piece emerged from the composer’s exploration of graphic notation, dedicating part of their practice to experimenting with visual elements as a basis for musical expression. Among various études, one in particular captured their interest for its compelling use of shapes and unique interplay between graphic and musical ideas, inspiring the composer to develop it into a full composition.
Read more: side cut view
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Duration: 5′ | Electronic
The main idea of Velonium No. 2 emerged from the composer’s work with a custom electronic instrument, created using Cycling74’s Max/MSP. This instrument is designed so that the pitch of each note changes according to the force with which it is played: striking a note harder (forte) raises its frequency, while softer touches (piano) lower it, with each note responding independently. This design provided new ways to explore sound, allowing for an interactive approach to pitch and dynamics.
Read more: velonium no.2
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Duration: 6′ | neo-romantic
Faryâd” (Cry) is a string quintet inspired by a childhood nightmare of the composer. The piece is structured in three sections, each reflecting an emotional journey of isolation and helplessness. The central concept revolves around a scenario in which the protagonist, surrounded by terrifying creatures, attempts to cry for help but is unable to reach the people around them, creating a sense of deep frustration.
Read more: Faryâd
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duration: 3’5″ | Persian traditional
The “Untitled” series explores the modal structures of Persian traditional music’s dastgâhs through solo piano improvisation. It combines these melodic modes with complex harmonic structures, establishing an interaction between modality in the melody lines and distinct tonality in the harmony. This compositional approach creates a framework where Persian musical traditions intersect with contemporary harmonic techniques.
Read more: untitled
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Duration: 4′ | Electronic
“The Birth” is one of the composer’s first explorations into electronic music, creating a complex sonic landscape that reflects the profound emotional and spiritual journey of a man during and after intercourse. The title, “The Birth,” not only symbolizes the arrival of new life but also signifies a transformation within the man’s personality, representing both creation and change.
Read more: The birth
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Duration: 1’30” | contemporary
This piece was composed during a masterclass with Amin Honarmand, where participants were assigned to create a short work—under 90 seconds—for flute and bassoon duet. The short duration and specific instrumentation presented a unique challenge, prompting an exploration of contrast and interaction between the two instruments. With the distinct tonal characteristics of the flute and bassoon, the piece focuses on tonal contrasts and harmonic interactions within a concise form.
Read more: woodwind duet
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Duration: 4′ | Film Score
This piece was composed for “The Cue Tube” festival, where composers were tasked with creating an original orchestral score for a 4-minute animation. Shortlisted as a finalist in the festival, the composition uses a traditional orchestral setup with woodwinds (1 flute, 1 oboe, 1 clarinet, 1 bassoon), brass (2 horns, 2 trumpets,2 trombones), and strings, enabling a range of textures suited to the animated narrative. It seeks to enhance the visual storytelling, shifting through themes and motifs that reflect the animation’s key moments and emotional arcs.
Read more: wing it!
