welcome to the zaa project page, and thankyou for visiting, a small introduction, and what the project is about. the zaa project is a work in progress, here, this page is a log of idea's, composition, arrangement, sketches of music in its basic form, some of which are rough ideas, and some, more in the final stage and post production area. the whole concept around the zaa project is to eventually involve real musicians in performance, and what is here, unfortunately, is what is available or at hand, in terms of instruments and musicianship, some of the instruments used, in the real world, is a daunting task, the concept of finding a duduk or tabla, doumbek or yayli tambur performer, is kind of a hard job to complete, but the sound is very important, and hence, the use of digital sample libraries, in the early stages of composition and arrangement, and in the hope that musicians with the gift of these instruments and other instruments of the middle east, africa and the far east, somehow, are drawn to this concept of collaboration and performance, and hopefully that there are people out there that like the music.
At present, this format and platform, is just a working area of ideas and sketch, in part, of performance and production, and obviously, it would benefit from real musicians and performers, a deeper understanding of interaction and experiment, sound and resonance of many elements, brought together, for now, i hope you enjoy what is here and it gains interest, amongst some of you that visit this project log, for now, many thanks, regards - rob.
please understand that this is a working log, all music and arrangement that is uploaded here, is copyrighted to robert sobol music, (c)twentytwenty, all forms of violation, ie: distribution, copying, performance and usage, is not allowed and prohibited, please contact robert sobol via email, for further information and interest in this project and its content, @robertsobolzaa
first set of ideas and based on ritual, abstract and an ambient feel, titled, 'oana', involving the syrian duduk, cornish goat bells as percussion, and a background bass drone. the main emphasis here is to create a picture, and through melodic experimentation, which brings me to the meaning behind the name, oana.