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World On Your Street: The Global Music Challenge
The town of Isfahan in Iran
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Describe the atmosphere and live music at a local pub, restaurant, festival, church or temple, club night.... inspire other people to check it out!


Musician: Hamid

Location: Leicester

Instruments: voice

Music: Iranian / Persian

HOW I CAME TO THIS MUSICÌýÌýÌýÌýÌýÌýÌýÌýÌýÌýWHERE I PLAYÌýÌýÌýÌýÌýÌýÌýÌýÌýÌýA FAVOURITE SONG Click here for Hande Domac's storyClick here for Mosi Conde's storyClick here for Rachel McLeod's story


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ListenÌýÌýListen to (4'00) 'Ode to Hafez', sung by Hamid

'You need a good strong voice to sing quarter notes which are very important for traditional Persian song'

How I came to this music:

I came to Leicester two years ago after leaving my home in Isfahan, Iran's second largest city. I specialise in traditional singing rooted in thousands of years of Persian heritage. As with all musicians in Iran, I learned my craft through a series of dedicated teachers, starting first with my father. My Dad was a professional singer of traditional Persian songs. He died 11 years ago. When I was about 9 years old, he started to teach me to sing. As I got older I was a student of other traditional Persian singers like Shazarian and Eftekari. They were very good teachers.

Nae, a traditional Persian fluteGradually I learned to sing quarter notes which are very important for all facets of traditional Persian songs and singing. They are called cha cha. Not everyone can sing quarter notes. You need to have a good, strong throat. Traditional Persian instruments include a nae which is like a flute, a santor which is like a hammered dulcimer, tombak which are small drums and a komanche which is like a spiked fiddle. Traditional Persian music always has a conductor who writes everything down - harmony, melody, notes.

Making a new life for myself in Leicester meant that I had to sacrifice my career as a successful performer in my homeland of Iran. I used to appear with an ensemble of musicians playing traditional Persian instruments.

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