Uploaded November 2025 | Updated September 2026, 3 weeks ago
Music from traditional Armenian melodies, duduk by @AliFarbodnia, davul by Stefanos Athinaios, zurna by Ofer P, vocals by Farya Faraji. The Epic Armenian music series is a musical project where the sounds of modern Armenian music are used as a framing device for themes pertaining to the history of the Armenian people.
Tigranes II the Great was king of the ancient Kingdom of Armenia, a political entity that existed from 331 BC to 428 AD. He is widely remembered as perhaps the greatest Armenian monarch in history, and his reign stretched the boundaries of the Armenian kingdom, sometimes called an empire in that era, as far as the Mediterranean sea, conquering parts of Cappadocia, Syria, and Mesopotamia, and founding his grand capital Tigranocerta.
The music is primarily based in Western Armenian musical forms, which tend to be more morphological Anatolian in their sound, prioritising duple metres, the powerful davul drums, and the zurna as a lead instrument. The main melody heard here is the famous Yarkhushta, an Armenian war dance that originates in the highlands of Western Armenia, primarily associated with the region of Sasun.
The lyrics are in the Classical Armenian language, also called Grabar, the stage of the Armenian language spoken from circa 400 A.D to 1100 A.D, and are excerpts from historical Armenian writings, namely the History of Armenia attributed to the historian Movses Khorenatsi in the 5th century, Agathangelos’ History of the Armenians and Step‘anos Orbelian's writings. Modern Armenian pronunciation was used when singing those passages instead of reconstructed historical pronunciation.
Lyrics in Classical Armenian:
Տիգրան մեծն, որոյ համբաւն հասեաց մինչեւ ծայրն աշխարհիս, որ յաղթեց ի բազմաց թագաւորաց։
Տիգրան քաջն,
որ կորցուց իբրեւ ստրուկս զպարտեւս հպարտ,
որ կոտորեց զմարաց բազմութիւն,
որ դիմեց զհռոմայեցինս զորեղս
Տիգրան արեւահայեաց,
որ լուսաւորեց աշխարհս ի փառս
Տիգրան մեծագոյն,
որ ծաւալեաց սահմանս ի Սուրբծովէ
մինչեւ յԾովն Միջին։
Ամենազգաց սարսափ էր Տիգրան
Հայր մեք ունինք զՏիգրան արքան առիւծ,
որ զթշնամիս խորտակէր ի մարտի
Տիգրան մեծն, որոյ համբաւն հասեաց մինչեւ ծայրն աշխարհիս, որ յաղթեց ի բազմաց թագաւորաց։
Տիգրան քաջն,
որ կորցուց իբրեւ ստրուկս զպարտեւս հպարտ,
որ կոտորեց զմարաց բազմութիւն,
որ դիմեց զհռոմայեցինս զորեղս
Տիգրան արեւահայեաց,
որ լուսաւորեց աշխարհս ի փառս
Տիգրան մեծագոյն,
որ ծաւալեաց սահմանս ի Սուրբծովէ
մինչեւ յԾովն Միջին։
Ամենազգաց սարսափ էր Տիգրան
Հայր մեք ունինք զՏիգրան արքան առիւծ,
որ զթշնամիս խորտակէր ի մարտի
Tigran mets’n,
oroy hambavn has’eats’ minchev tsayrn ashkharhis,
or haght’ets’ i bazmats’ tagavorats’.
Tigran k’aj’n,
or k’ort’s’uts’ ibrew struks’ zpartevs’ hpart,
or k’otorets’ zmarats’ bazmut’yun,
or dimec’ zhromayets’inz zoreghs.
Tigran arevahayats’,
or lusavorets’ ashkharhs i p’ars’.
Tigran metsagoyn,
or ts’avaleats’ sahmans i Surpts’ovê
minchev y Tsovn Mijin.
Amenazgats’ sars’ap er Tigran.
Hayr mek’ unin’k’ zTigran arkan ariwts’,
or zt’shnamis khortaker i mardi.
English translation:
Tigran the Great,
Whose renown reached the ends of the earth,
Who triumphed over many kings.
Tigran the Brave,
Who reduced the proud Parthians to slaves,
Who slaughtered the multitudes of Medes,
Who stood against the mighty Romans.
Tigran, the sun-faced, who illumined the world with glory.
Tigran the Greatest, who stretched his borders from the Holy Sea (the Caspian) unto the Middle Sea (the Mediterranean).
Tigran was the terror of all nations.
We have as father King Tigran the Lion,
who would crush the foe in battle.
Music from traditional Armenian melodies, duduk by @AliFarbodnia, davul by Stefanos Athinaios, zurna by Ofer P, vocals by Farya Faraji. The Epic Armenian music series is a musical project where the sounds of modern Armenian music are used as a framing device for themes pertaining to the history of the Armenian people.
Tigranes II the Great was king of the ancient Kingdom of Armenia, a political entity that existed from 331 BC to 428 AD. He is widely remembered as perhaps the greatest Armenian monarch in history, and his reign stretched the boundaries of the Armenian kingdom, sometimes called an empire in that era, as far as the Mediterranean sea, conquering parts of Cappadocia, Syria, and Mesopotamia, and founding his grand capital Tigranocerta.
The music is primarily based in Western Armenian musical forms, which tend to be more morphological Anatolian in their sound, prioritising duple metres, the powerful davul drums, and the zurna as a lead instrument. The main melody heard here is the famous Yarkhushta, an Armenian war dance that originates in the highlands of Western Armenia, primarily associated with the region of Sasun.
The lyrics are in the Classical Armenian language, also called Grabar, the stage of the Armenian language spoken from circa 400 A.D to 1100 A.D, and are excerpts from historical Armenian writings, namely the History of Armenia attributed to the historian Movses Khorenatsi in the 5th century, Agathangelos’ History of the Armenians and Step‘anos Orbelian's writings. Modern Armenian pronunciation was used when singing those passages instead of reconstructed historical pronunciation.
Lyrics in Classical Armenian:
Տիգրան մեծն, որոյ համբաւն հասեաց մինչեւ ծայրն աշխարհիս, որ յաղթեց ի բազմաց թագաւորաց։
Տիգրան քաջն,
որ կորցուց իբրեւ ստրուկս զպարտեւս հպարտ,
որ կոտորեց զմարաց բազմութիւն,
որ դիմեց զհռոմայեցինս զորեղս
Տիգրան արեւահայեաց,
որ լուսաւորեց աշխարհս ի փառս
Տիգրան մեծագոյն,
որ ծաւալեաց սահմանս ի Սուրբծովէ
մինչեւ յԾովն Միջին։
Ամենազգաց սարսափ էր Տիգրան
Հայր մեք ունինք զՏիգրան արքան առիւծ,
որ զթշնամիս խորտակէր ի մարտի
Տիգրան մեծն, որոյ համբաւն հասեաց մինչեւ ծայրն աշխարհիս, որ յաղթեց ի բազմաց թագաւորաց։
Տիգրան քաջն,
որ կորցուց իբրեւ ստրուկս զպարտեւս հպարտ,
որ կոտորեց զմարաց բազմութիւն,
որ դիմեց զհռոմայեցինս զորեղս
Տիգրան արեւահայեաց,
որ լուսաւորեց աշխարհս ի փառս
Տիգրան մեծագոյն,
որ ծաւալեաց սահմանս ի Սուրբծովէ
մինչեւ յԾովն Միջին։
Ամենազգաց սարսափ էր Տիգրան
Հայր մեք ունինք զՏիգրան արքան առիւծ,
որ զթշնամիս խորտակէր ի մարտի
Tigran mets’n,
oroy hambavn has’eats’ minchev tsayrn ashkharhis,
or haght’ets’ i bazmats’ tagavorats’.
Tigran k’aj’n,
or k’ort’s’uts’ ibrew struks’ zpartevs’ hpart,
or k’otorets’ zmarats’ bazmut’yun,
or dimec’ zhromayets’inz zoreghs.
Tigran arevahayats’,
or lusavorets’ ashkharhs i p’ars’.
Tigran metsagoyn,
or ts’avaleats’ sahmans i Surpts’ovê
minchev y Tsovn Mijin.
Amenazgats’ sars’ap er Tigran.
Hayr mek’ unin’k’ zTigran arkan ariwts’,
or zt’shnamis khortaker i mardi.
English translation:
Tigran the Great,
Whose renown reached the ends of the earth,
Who triumphed over many kings.
Tigran the Brave,
Who reduced the proud Parthians to slaves,
Who slaughtered the multitudes of Medes,
Who stood against the mighty Romans.
Tigran, the sun-faced, who illumined the world with glory.
Tigran the Greatest, who stretched his borders from the Holy Sea (the Caspian) unto the Middle Sea (the Mediterranean).
Tigran was the terror of all nations.
We have as father King Tigran the Lion,
who would crush the foe in battle.






![Catullus VII - Roman Music
Vocals, music & arrangement by Farya Faraji. This is another historically informed approximation of what Ancient Roman music may have sounded like based on our current available evidence and research. The poetry of the Classical world is one of the first places to look for reconstructions, as their poetic style was inherenrly musical: Ancient Greek and Latin poetry made use of the short vs long vowel distinctions of their language and stress accent-pitch rules to create what effectively amounted to a form of rap. It is known their poetry was sung, meaning a poem on its own is effectively a skeleton of a musical score: the poem tells you where the pitch rises, where it falls, which syllables are accentuated, which are held longer, etc. A melodic outline is contained inherently within each poem, and what remains is to fill it with a musical composition, which in this case is an original melody written in the Hypodorian Chromatic mode of the ancient genus modal system. The chromatic modes of the ancients have a distinctly jazz or blues-like feel to our modern ears due to their close clustering of semitones paired with larger interval gaps.
For this reconstruction, I employed the theories of the likes of Stefan Hagel, Armand dAngour, Barnaby Brown and others, who argue that the whole of ancient music may very well have used a harmonic, dichordal system. This system is only attested in two textual passages referring specifically to older styles found in more ancient Antiquity, but according to prof. Hagel among many others, it is possible the Roman period itself would have made use of such dichords. I thus forewent the largely monophonic arrangement style of the previous reconstructions to instead work with this dichordal model, where every note of the main melody is paired with a harmonising note, those ranging from fourths and fifths, to thirds and seconds, the latter both considered dissonant to the ancient ears, seconds being especially harsh dissonances to modern Western-trained ears.
The poem is by Catullus, a foundational poet of the Latin language, known for his interest in small-scale intimate poetry rather than great epics. The arrangement employs an ancient Greco-Roman lyra, aulos, frame drums, ancient cymbals, and a pan flute. The pronunciation employs restored Classical pronunciation accurate to Catullus time.
Lyrics in Latin:
Quaeris quot mihi basiationes
tuae Lesbia sint satis superque
quam magnus numerus Libyssae harenae
lasarpiciferis iacet Cyrenis
oraclum Iovis inter aestuosi
et Batti veteris sacrum sepulcrum
aut quam sidera multa cum tacet nox
furtivos hominum vident amores
tam te basia multa basiare
vesano satis et super Catullo est
quae nec pernumerare curiosi
possint nec mala fascinare lingua.
Translation:
You ask how many kisses
Of yours, Lesbia, would be enough and more for me.
As great as the number of Libyan sands
That lie at Cyrene producing silphium
Between the oracle of sweltering Jupiter
And the sacred tomb of old Battus,[a]
Or as many as the stars that, when the night is silent,
See the secret love affairs of men:
For you to kiss so many kisses
is more than enough for crazy Catullus,
These kisses which neither the curious can count
Nor an evil tongue bewitch. Catullus VII - Roman Music](https://i.ytimg.com/vi/VhHJta8PhMA/mqdefault.jpg)



