He was born in Madrid in 1986. At the age of 4, he started studying piano at Centro de Formación Musical Tristán, relying on the experience of teachers such as Lourdes Pérez or Cristina del Mar Gómer. In 2006, he retook classic studies. This time, taught by Nisio Aranguren and Juan Carlos Alonso López, he learned spanish guitar. Immersed in the improvisation world, he took classes along the pianist and saxophonist Marcelo Peralta in the Escuela de Música Creativa of Madrid.

In 2009, he got awarded with an scholarship and made his first trip to Crete in order to study modal composition along with Efrén López in the Labyrinth Musical Workshop. In 2015, he was awarded by the INJUVE for his assistance in creation. He took bağlama lessons with Cihan Turkoglu, Cem Çelebi, Efrén López and Sinan Ayyıldız; Yayli tanbur lessons with Evgenios Voulgaris, Ahmet Sadi, and Theodora Athanasiou; Modal composition and Makam with Christos Barbas, Efrén López, Evgenios Voulgaris and Theodora Athanasiou. In the last decade, he made various trips around Greek and Turkey in order to specialize in instruments such as the saz, the yayli tanbur, the lavta and the bouzouki.

Nowadays, he is in charge of projects such as Yayla and Alexánder Pewló Project.

Get to learn more about the before-mentioned instruments in this small space called “Museum”.

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The baglama or saz  makes reference to a family of stringed instruments. Its function is that of accompanying a vocalist, sometimes in unison, sometimes developing a very characteristic rhythmic-harmonic accompaniment typical of various regions such as Turkey, Iran, Iraq, Syria and the Balkans. It can be played with plectron (mizrap or tezene in turkish) or with the fingers. The most common one is the Turkish sax, or bağlama. Its name literally means “musical instrument” in its more general meaning. The term bağlama, which means “knot”, is related to the presence of knotted movable frets.

The Yayli tanbur is a long-necked lute derived from the tanbur (puado). In Turkey, Yayli tanbur denominates the bowed tanbur. The body is similar to the banjo but the neck is longer and has movable frets that allow the instrument to adapt to the microtonal intervals of the different maqams (modes).

In Greece, it is called politiko auto and lavta in Turkey. It is similar to the lauto from Crete but with a smaller body. It is typical of Minor Asia and its technique is similar to that of the ud, with the difference that the Lute from Constantinopla incorporates movable frets that allow the instrument to adapt to the microtonal intervals of the different maqams (modes).

The buzuki or bouzouki (μπουζούκι in Greek) is a stringed musical instrument with a pear-shaped body and provided with a very long mast. It is part of a family of lutes of long mast, and its appearance is similar to the mandoline. The box’s front of the buzuki is flat and, generally, nacrous. This instrument is played with a plectron or pick and has an opened metalic sound.

The santur (a persian word that means ‘hundred cords’) is a zither in the shape of a regular trapezoidal box made of mulberry wood that is played by stroking the cords with two delicate wooden hammers. It has two small rosettes in its cover that helps to amplify the sound. The santur has 72 cords, organized in groups of four. Each group of cords rests over the wooden movable bridge that brings a spectrum of three octaves to the instrument. It is used, mostly, in Persian or Inani cult music. From it derives instruments such as the clavecin, the dulcimer, the Persian santur and the modern piano.