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The book is fifty simple pieces

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Book details:
Collection: Keyvan Kaveh
Publisher: Roham
Cut: Rahli

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SettingsThe book is fifty simple pieces removeLe violin, Volume One removeAftab Songs Book by Mohammad Reza Tavassoli Published by the author removeIntroductions to drumming by Majid Hesabi (Volume 1) removeOxford Guitar Tutorial by Dubai Kirknell - Volume One removeSantour playing book by Peshang Kamkar, Hestan Publications remove
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ContentBook details: Collection: Keyvan Kaveh Publisher: Roham Cut: RahliOverview The present collection is a collection of the most enduring songs of Iran, which are undoubtedly part of the memories of the people of yesterday and today of this land. In addition to being performed by many instruments such as guitar, keyboard, violin, flute and Suitable harmonica can be used as useful exercises for students of weight reading and composition (salfage). Some of the pieces of the book are: Sahar Morgh, Mostam Mostam, Gol Sangam, Ghogai Stars, Rashid Khan, Gol Goldun, Sultan of Hearts, Friday, deer hunting, souvenirs, need, pleasant spring, Nazanin Maryam, two windows and .. ..Product Features: Weight: 176 grams Number of pages: 60 Cut: Rahli Cover Type: Paperback
Overview
The present book, entitled Santour Play Method, written by Peshang Kamkar, includes the method of teaching the dulcimer for those who are interested in this instrument. The parts and melodies of the book "Santour" are arranged in such a way that the student does not need to change the tuning instrument to practice them. And it is noteworthy that some parts of the book "Santour playing style" have been written in a simpler way than the original, in order to facilitate the student's training progress in every way and not to face any confusing and complicated problems at the beginning. . Santour is one of the loudest and oldest Iranian instruments. Music is a constantly evolving current in which the infinity of nature and existence is the main driver of its infinite evolution and diversity. But unfortunately, traditional custom limits the subject of music education to only one part of Iranian music, namely the row. As if no other aspect is conceivable. The important point is that in this model, not only the master's lesson, but also his tastes and even his individual movements and habits are imitated. In the new educational method, the principle is to strengthen the motivations of innovation and to cultivate dynamic tastes and to promote the creative spirit. This is especially important in music. Because one of the outstanding features of music is the possibility of its unlimited creativity. Ignoring this important principle is neither theoretically correct nor useful in terms of results. Imposing some form of music, especially for the novice and novice generation, has always had disappointing results.
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