Mahshad Sharifi

Learning To Play The Setar by Mahshad Sharifi

About the setar

The Persian setar is a traditional stringed instrument central to Persian classical music, known for its
delicate sound and intimate expressiveness. Its name, derived from Persian "seh" (three) and "tar"
(string), historically referred to its three strings, though modern setars typically have four. The setar
belongs to the lute family and is played with the index finger’s nail, producing a soft, melodic tone
suited for solo performances or accompanying vocals.

Physical Structure
The setar has a pear-shaped wooden body, often made from mulberry or walnut, with a thin soundboard
of spruce or cedar for resonance. Its long neck, about 60-70 cm, supports a fretboard with 25-28
movable frets, traditionally made of gut or nylon, allowing microtonal adjustments crucial to Persian
music’s modal system (dastgah). The four steel or bronze strings are tuned in pairs, typically to C, C,
G, and C (or similar variations), with the third string acting as a drone. The instrument’s total length is
around 85-90 cm, and its lightweight, compact design makes it ideal for personal settings.

Historical Background
The setar’s origins trace back to pre-Islamic Persia, evolving from earlier lutes like the tanbur. It gained
prominence during the Safavid dynasty (16th-18th centuries) and became a staple in Sufi and classical
music due to its introspective sound. By the Qajar era (19th century), it was refined into its modern
form, with virtuosos like Mirza Abdollah standardizing its repertoire. The setar’s role in Persian music
reflects a spiritual ethos, often linked to poetry by Rumi or Hafez.

Playing Technique and Repertoire

Players hold the setar at a 45-degree angle, plucking strings with the right hand’s fingernail while the
left hand navigates the frets. Its microtonal capabilities allow for intricate ornamentation and
improvisation within the dastgah system, which includes modes like Shur or Homayoun. The setar’s
repertoire, or radif, is a vast collection of melodic patterns passed orally, emphasizing emotional depth
over virtuosic display. It’s often played solo or in small ensembles, accompanying vocalists or poetry
recitations.

Cultural Significance
The setar is more than a musical instrument; it’s a cultural symbol of Persian mysticism and artistry. Its
subtle, nuanced sound suits introspective settings, resonating with Sufi ideals of inner reflection.
Masters like Mohammad Reza Lotfi and Hossein Alizadeh have elevated its global profile, blending
traditional techniques with modern compositions. Today, the setar is taught in conservatories and
performed worldwide, preserving Iran’s musical heritage.

Modern Context
Contemporary setar makers, like those in Isfahan or Tehran, craft instruments prized for tonal clarity,
with prices ranging from $200 to over $2,000 for master-crafted models. The setar’s popularity has
grown internationally, with non-Iranian musicians exploring its versatility in fusion genres. Online
platforms and festivals, like the Shiraz Arts Festival, showcase its enduring appeal.
 Mahshad Sharifi
Learning Basics
Beginners start by mastering basic scales, tuning the instrument, and developing finger dexterity.
Learning the radif requires studying with a master, as it’s traditionally taught orally. Online tutorials or
books like The Radif of Persian Music by Bruno Nettl can supplement learning. Affordable setars
($200-$500) are available from Iranian luthiers or retailers like Sala Muzik.

Setar Tuning
The tuning of the Persian setar is a fundamental aspect of its role in Persian classical music, enabling
its distinctive microtonal melodies within the dastgah system. Below is a detailed exploration of setar
tuning, covering standard tunings, variations, microtonal considerations, and practical aspects, while
keeping it concise and focused.

Standard Tuning
The modern setar has four strings arranged in three courses: two single strings and one paired course.
The most common tuning, often used for the Shur dastgah (a prevalent mode), is:

String 1 (lowest, bass, string closest to your chest): C (typically C3, around 130.8 Hz)
String 2: C (C4, an octave higher, ~261.6 Hz)
String 3: G (G3, ~196 Hz)
String 4: C (C4, closest to the floor, paired with String 2, ~261.6 Hz)

This tuning, notated as C-C-G-C, uses the third string (G) as a drone or harmonic anchor, while the
other strings carry the melody. The paired second and fourth strings enhance resonance and volume for
melodic lines. Tuning is relative to the player’s preference or the vocalist’s range, often adjusted to a
reference pitch like A=440 Hz or slightly lower for traditional settings.

Variations in Tuning
Setar tuning varies depending on the dastgah or the piece’s tonal center. Common alternative tunings
include:
D-D-A-D: Used for dastgahs like Mahur or Rast-Panjgah, shifting the tonal center to D.
C-C-F-C: Suited for Segah or Chahargah, where the third string’s F provides a modal pivot.
D-D-G-D: Employed in Homayoun, aligning with its brighter, major-like character.

Players adjust tunings to match the modal structure, which may require re-tuning between pieces. The
movable frets (25-28, traditionally gut or nylon) are repositioned to accommodate the microtonal
intervals of each dastgah, such as the koron (a flattened note, roughly a quarter tone lower) or sori (a
sharpened note).

27 fret Setar, Notes, Interval Ratio, Frequency (Hz), Cents (Approx.)

 Mahshad Sharifi

Please note: The location of these notes may vary depending on the setar, the dastgah used, or user
preference (to accommodate for different vocal or solo performances)

27 frets allows for finer micro-tonal tuning.

Persian Music Theory

 Mahshad Sharifi
Persian music theory, rooted in a centuries-old tradition, is a sophisticated system that underpins the
performance of instruments like the setar. It revolves around the dastgah system, a framework of
modes, melodies, and improvisational practices that define Persian classical music. Below is a concise
yet comprehensive overview, tailored to provide context for playing the setar, as requested.

Core Concepts of Persian Music Theory

Dastgah System:

Definition: A dastgah is a modal system, akin to a musical framework, that combines a specific scale,
melodic motifs, and emotional character. There are seven primary dastgahs: Shur, Segah, Chahargah,
Rast-Panjgah, Homayun, Mahur, and Nava, with derivative modes called avaz (e.g., Abu-Ata, Bayat-e
Tork under Shur).

Structure: Each dastgah includes:

Shahed: The tonal center or "home" note, like a tonic.

Ist: A resting or concluding note, often aligning with the shahed.

Forud: Cadential patterns that signal resolution.

Bidad: The peak or climactic note, often higher in pitch.

Setar Role: The setar navigates these modes, with the melody string (e.g., E4 in C3-G3-C4-E4 tuning)
emphasizing the shahed, while Bam and Drone strings provide harmonic or rhythmic support.

Radif:
Definition: The radif is the repertoire of Persian classical music, a collection of hundreds of short
melodic fragments called gusheh, organized within each dastgah. It’s the foundation for
improvisation and composition.

Learning: Traditionally memorized through oral transmission, the radif is taught by masters (e.g., Mirza
Abdollah’s radif is a standard). Each gusheh has a name (e.g., Kereshmeh, Daramad) and a unique
melodic contour.

Setar Application: Beginners start with simple gushehs like Daramad in Shur, practicing them on
the White and Yellow strings, gradually adding ornamentation.

Scales and Intervals:

 Mahshad Sharifi
Microtones: Persian music uses quarter-tones, unlike Western equal temperament. For example, in
Dastgah Shur (similar to a minor mode), the scale might be approximated as C-D-Eb(corona)-F-G-A-
Bb, where Eb(corona) is a quarter-tone flat, giving a distinct melancholy.

Tetrachords: Scales are built from tetrachords (four-note units). For instance, Shur’s lower tetrachord
might be C-D-Eb(corona)-F, joined to an upper tetrachord like G-A-Bb-C.

Setar Frets: The setar’s fretboard accommodates microtones with movable gut or nylon frets. Players
adjust finger placement for precise intonation (e.g., pressing slightly off the fret for a corona note).

Rhythm and Meter:

Free Rhythm: Many gushehs are non-metric, allowing expressive freedom, especially in solo setar
playing. The player shapes phrases based on emotional flow.

Metric Pieces: Rhythmic forms like kereshmeh (6/8) or pishdaramad (ensemble prelude, often 4/4) use
defined beats. The setar’s Bam string often marks rhythmic pulses.

Tahrir: Vocal-inspired ornamentation, like rapid melodic flourishes, is mimicked on the setar with
slides, hammer-ons, or vibrato.

Improvisation:
Core Principle: Persian music prioritizes improvisation within the dastgah’s rules. Players draw from
the radif’s gushehs, weaving them into personal expressions.

Setar Technique: Improvisation starts with mastering a few gushehs, then varying them with ornaments
(e.g., vibrato on F#4 in Shur) or rhythmic changes, guided by the mood (e.g., meditative in Nava,
heroic in Chahargah).

Emotional and Aesthetic Qualities:

Each dastgah evokes a specific mood: Shur is introspective, Mahur is joyful, Homayun is majestic. The
setar’s delicate tone amplifies these nuances.

Haal: The spiritual or emotional state of the performer shapes the music, especially in intimate settings
like dervish gatherings.

Practical Application for Setar Players

Tuning and Dastgah:

Standard setar tuning (C3-G3-C4-E4) aligns with Dastgah Shur or Mahur, where C4 is often the
shahed. For other dastgahs (e.g., Segah), retune slightly (e.g., C3-G3-B3(corona)-E4).
 Mahshad Sharifi
Practice tuning daily to train your ear for microtones, using a tuner for precision at first.

Learning a Dastgah:
Start with Shur: It’s accessible and widely used. Learn the Daramad gusheh (basic melody) on the
White string: E4 (open), F4 (1st fret), Eb(corona) (quarter-tone fret), G4 (3rd fret). Use Bam (C3) for
bass emphasis.

Practice: Play the gusheh slowly, adding vibrato or slides to mimic vocal tahrir. Repeat 5-10 times per
session.

Example Scale: C4-D4-Eb(corona)-F4-G4-A4-Bb4-C5 (adjust frets for microtones).

Radif Exploration:
Memorize 1-2 gushehs per week (e.g., Daramad, Kereshmeh in Shur). Use resources like Hossein
Alizadeh’s recordings or The Radif of Persian Music by Dariush Tala’i.

On the setar, practice gushehs across strings: Melody on White/Yellow, rhythmic support on
Drone/Bam.

Improvisation Basics:
After learning a gusheh, vary it: Change the rhythm (e.g., stretch a quarter note to a half note), add
ornaments, or shift to a related gusheh (e.g., from Daramad to Salmak in Shur).

Try: Play E4-F4-Eb(corona)-G4, then repeat with a slide from F4 to G4.

Rhythmic Practice:
Use a metronome (~60 BPM) to practice metric gushehs like Zabol in 6/8. Pluck Bam on downbeats,
melody on White string.

For non-metric pieces, record yourself to ensure phrasing feels natural, not rushed.

Cultural Context
Historical Roots: Persian music theory evolved from pre-Islamic Zoroastrian chants, refined during the
Sassanid era (3rd-7th centuries) and Islamic Golden Age. It was formalized in the 19th century by
masters like Ali Akbar Farahani.

Sufi Influence: The setar’s intimate sound suits mystical settings, where music reflects spiritual
journeys, as in Rumi’s poetry.

Modern Practice: Today, Persian music blends tradition with innovation, seen in works by
Mohammad Reza Lotfi or Kayhan Kalhor, often taught in conservatories or informally.
 Mahshad Sharifi
Tips for Learning
Start Simple: Focus on one dastgah (e.g., Shur) for a month before exploring others.

Ear Training: Listen to masters (e.g., Lotfi’s Shur recordings) to internalize microtones and phrasing.

Teacher or Resources: If possible, study with a master. Otherwise, use books like Persian Classical
Music by Ella Zonis or online platforms (e.g., Setar.info).

Practice: Spend 15 min daily on scales/gushehs, 10 min on improvisation, and 5 min listening to
recordings.

Notebook: Log gushehs learned and questions (e.g., “How to fret Eb(corona) cleanly?”).

Example: Playing Shur on the Setar

Tuning: C3 (Bam), G3 (Drone), C4 (Yellow), E4 (White).

Scale: C4-D4-Eb(corona)-F4-G4-A4-Bb4 (White string: open E4, 1st fret F4, quarter-tone fret
Eb(corona), etc.).

Gusheh - Daramad:
Play: E4 (open, quarter note), F4 (1st, quarter), Eb(corona) (quarter-tone fret, half note), G4 (3rd,
quarter).

Add Bam: Pluck C3 on beat 1 of each measure.

Ornament: Add vibrato on G4 or a slide from F4 to Eb(corona).

Improvise: Repeat the phrase, then vary by holding Eb(corona) longer or adding A4 briefly.

Image on the left shows the notes and fret positions on a standard setar, right image shows the scales
for different dastgahs. A standard setar has around 24-25 frets. More common setars may have 27 frets.

Microtonal Considerations
 Mahshad Sharifi
Persian music relies on microtones, which the setar’s design supports. Unlike Western equal
temperament, Persian modes use intervals smaller than a semitone. For example:
In Shur, the second degree might be a koron (e.g., a note between D and D-flat).
In Segah, intervals include neutral seconds (neither major nor minor).

Players tune strings precisely and adjust frets to achieve these intervals, often by ear, guided by the
radif (traditional repertoire). The fretboard’s flexibility allows for fine-tuning during performance,
ensuring the setar captures the emotive nuances of modes like Dasht-e Arak or Bayat-e Tork.

Practical Tuning Process

To tune a setar:
1. Use a reference pitch: A tuner (clip-on or app-based, like Tuner T1) or a pitch pipe sets the bass
string (e.g., C3).
2. Tune the second string: Match it an octave above the first (C4).
3. Tune the third string: Set it to G3, a perfect fifth above the first string’s C.
4. Tune the fourth string: Align it with the second string (C4) for unison in the paired course.
5. Check microtones: Adjust frets (sliding them along the neck) to match the dastgah’s intervals,
using a master’s recording or teacher’s guidance.

Tuning requires regular maintenance, as strings stretch and environmental factors (humidity,
temperature) affect pitch. Steel or bronze strings, common in modern setars, hold tuning better than
older silk or gut strings but need frequent checks.

Cultural and Musical Role

Tuning is not just technical but deeply musical, as it defines the setar’s ability to convey the emotional
character of each dastgah. For instance, the somber Segah requires a tuning that emphasizes its unique
microtonal steps, while the lively Mahur aligns with a more major-like structure. Masters like
Mohammad Reza Lotfi tuned by ear, adjusting dynamically to suit vocalists or the performance
context, reflecting the setar’s intimate, expressive nature.

Modern Context and Resources

Today, electronic tuners and apps (e.g., Fine Tuner or Pano Tuner) simplify tuning for beginners,
though traditionalists emphasize ear training. Online tutorials, like those on YouTube channels such as
Iran Music Academy, demonstrate tuning for specific dastgahs.

High-quality setars, crafted by luthiers in Tehran or Isfahan, ensure stable tuning, with prices starting at
$200 for student models.
 Mahshad Sharifi
Microtonal tuning
Microtonal tuning on the Persian setar is a defining feature that enables the instrument to produce the
intricate, emotive melodies of Persian classical music within the dastgah system. Unlike Western
music’s 12-tone equal temperament, Persian music employs intervals smaller than a semitone, such as
quarter tones, which the setar’s design—particularly its movable frets and flexible tuning—
accommodates. Below is a focused exploration of microtonal tuning for the setar, covering its
principles, implementation, role in dastgahs, and practical considerations.

Principles of Microtonal Tuning

Microtonal tuning refers to the use of intervals smaller than the Western semitone (100 cents). In
Persian music, these intervals create the distinctive character of each dastgah, a modal system
comprising melodic patterns (gushehs) and specific scales. Key microtonal intervals include:

Koron: A flattened note, roughly 30-50 cents below a natural note (e.g., a pitch between E and
E-flat). Notated as a backward flat (♭ with a slash).
Sori: A sharpened note, about 30-50 cents above a natural note (e.g., between F and F-sharp).
Notated as a sharp with a vertical line.
Neutral intervals: Neither major nor minor, such as a neutral second (120-150 cents) or neutral
third (300-350 cents).

These intervals allow the setar to produce melodies with subtle emotional nuances, essential for modes
like Segah (somber, introspective) or Shur (plaintive, lyrical).
Implementation on the Setar

The setar’s design facilitates microtonal tuning through:

1. Movable Frets: The neck has 25-28 frets, traditionally made of gut or nylon, which can be slid
along the fretboard to adjust pitch. Players position frets to match the microtonal intervals of a
specific dastgah, often by ear or referencing a master’s radif (traditional repertoire).
2. String Tuning: The four strings (typically tuned C-C-G-C for Shur) are fine-tuned to align with
the modal center. For microtonal modes, the third string (e.g., G) may be adjusted slightly to
serve as a drone or pivot for koron/sori notes.
3. Fretboard Precision: Frets are spaced to produce quarter tones or neutral intervals. For example,
in Segah, the second degree might be a koron (E-koron, ~150 cents above D), requiring a fret
placed between the Western D and E positions.

A typical microtonal scale for Segah in C tuning might be:

C, D-koron (150 cents), E (300 cents), F, G, A-koron (~850 cents), B, C. This contrasts with a
Western C minor scale (C, D, E-flat, F, G, A-flat, B-flat, C), highlighting the setar’s unique
intervallic structure.

Role in Dastgahs
Each dastgah requires specific microtonal adjustments, achieved by retuning strings and repositioning
frets. Examples include:
 Mahshad Sharifi
Shur: Emphasizes koron notes (e.g., E-koron as the second degree). Tuning: C-C-G-C, with
frets set for quarter-tone steps in the lower tetrachord (C, D-koron, E-koron, F).
Segah: Features a neutral second and koron-heavy scale. Tuning: C-C-F-C, with frets adjusted
for pitches like D-koron and A-koron.
Chahargah: Uses both koron and sori, creating a dramatic, symmetrical scale. Tuning: C-C-F-
C, with precise fret placement for neutral thirds.
Mahur: Closer to Western major scales but may include subtle microtonal inflections, tuned D-
D-A-D, with frets set for near-standard intervals.

Players memorize fret positions for each dastgah, often adjusting during performance to match a
vocalist’s range or the piece’s emotional intent. This flexibility distinguishes the setar from fixed-pitch
instruments like the piano.

Practical Considerations
Tuning a setar for microtonal music involves:
1. Setting the Reference Pitch: Use a tuner (e.g., Korg CA-50 or a mobile app like Pano Tuner) to
set the bass string (e.g., C3, ~130.8 Hz). Traditionalists tune by ear, referencing a master’s
recording or a tanbur.
2. Adjusting Strings: Fine-tune the second, third, and fourth strings (e.g., C4, G3, C4) to align with
the dastgah’s tonal center. For microtonal modes, the third string may be slightly detuned (e.g.,
G3 lowered by 20-30 cents for Segah).
3. Positioning Frets: Slide frets to match microtonal intervals, using a tuner or ear. For example, in
Shur, the fret for E-koron is placed ~1-2 mm closer to the nut than E-flat. This process requires
precision, as small shifts (0.5 mm) alter pitch significantly.
4. Verification: Play gushehs from the radif to ensure the tuning suits the mode’s character. Adjust
frets iteratively during practice.

Challenges include maintaining fret stability (gut frets slip under tension) and adapting to
environmental factors like humidity, which affects string and wood tension. Modern setars use nylon
frets and steel/bronze strings for better consistency, but frequent retuning is still necessary.

Cultural and Musical Significance

Microtonal tuning is central to the setar’s expressive power, allowing it to convey the nuanced
emotions of Persian poetry and Sufi mysticism. Masters like Hossein Alizadeh or Dariush Talai adjust
tunings dynamically, enhancing the setar’s dialogue with vocalists or its solo improvisations (avaz).
The precision of microtonal tuning reflects the radif’s oral tradition, where subtle pitch variations carry
cultural weight.

Modern Tools and Learning

Beginners can use microtonal tuners (e.g., TonalEnergy, supporting quarter-tone settings) or
software like Scala to map Persian scales. Online resources, such as tutorials on Iran Music
 Mahshad Sharifi
Academy’s YouTube channel or articles on sites like iranicaonline.org, demonstrate fret placement for
dastgahs. Studying with a master remains essential, as microtonal tuning is learned through listening
and imitation.

Introduction to the Persian Radif!

By Idin Samimi Mofakham‍| https://tuning.ableton.com/persian-radif/intro-to-radif/

Radif is a system that reflects Persian culture, literature, philosophy and aesthetics. In short, this system
is a complex network of melodic structures called Gusheh (plural Gusheh-hā), organized into twelve
groups arranged according to their modal relationships; each group is called a Dastgāh (plural
Dastgāh-hā), and each Dastgāh has its own tonal space, and the network that connects them is called
Radif.
Here is the list of twelve Dastgāh-hā:
• Dastgāh-e Šur
• Dastgāh-e Abuatā
• Dastgāh-e Dašti
• Dastgāh-e Bayāt-e Tork
• Dastgāh-e Afšāri
• Dastgāh-e Segāh
• Dastgāh-e Čahārgāh
• Dastgāh-e Homāyun
• Dastgāh-e Bayāt-e Esfahān
• Dastgāh-e Navā
• Dastgāh-e Māhur
• Dastgāh-e Rast-Panjgāh
The modal structure of some of these Dastgāh-hā is so similar that one can put them into one larger
category. It is essential to know that many theoreticians consider the Radif system as seven major
Dastgāh and five subgroups called Āvāz (plural Āvāz-hā). If this would be the case, the version of the
mentioned above list in this format would be :
• Dastgāh-e Šur
• Āvāz-e Abuatā
• Āvāz-e Dašti
• Āvāz-e Bayāt-e Tork
• Āvāz-e Afšāri
• Dastgāh-e Segāh
• Dastgāh-e Čahārgāh
• Dastgāh-e Homāyun
• Āvāz e Bayāt-e Esfahān
• Dastgāh-e Navā
 Mahshad Sharifi
• Dastgāh-e Māhur
• Dastgāh-e Rast-Panjgāh
Both grouping systems are correct and cause no problems in our general understanding of the Radif
system.
The crucial content of the tuning/intonation and the analytical/theoretical structures of the Radif of
Iranian music for this project is mainly based on the book The Dastgah Concept in Persian Music.
(Cambridge: Cambridge University Press; 1990), written by Professor Hormoz Farhat (1928 – 2021).
Therefore, we have oriented ourselves on Farhat's grouping system, presented at the top of this page
(twelve Dastgāh-hā). However, in order to gain a more comprehensive insight into this topic, this book
was not the only source of inspiration and learning for this project. Among other sources, two important
books, both existing only in Farsi, by great Iranian artists of different generations, Ruhollah Khaleqi
(1906-1965) and Hossein Alizadeh (b. 1952), were used for the theoretical aspects of the introduction
to each Dastgāh and the hints sections.

The Dastgah Concept in Persian Music

The Dastgah Concept in Persian Music by Hormoz Farhat is an exceptional work that deals with the
fundamental principles of Persian music and thoroughly analyzes its musical modes and melodies.
Farhat's particular contribution lies in his groundbreaking theory, that challenges the conventional
understanding of musical modes in Persian music. He argues that the intervals in Iranian music are not
rigid but rather flexible, an idea that has sparked great interest and debate among scholars.
The book consists of seventeen chapters covering a wide range of topics, including terminology,
intervals, historical context, a detailed examination of twelve Dastgāh (musical modes), various aspects
and the general structure of Persian music. Farhat introduces the concept of "flexible intervals" and
emphasizes the stability of the minor second (256/243 or 90 cents) and the whole tone (9/8 or 204
cents) in different modes and interpretations as Pythagorean intervals. He identifies two types of
"neutral tones" of variable sizes, one between 125-145 cents and another between 150-170 cents,
suggesting the use of their mean values at 135 and 165 cents respectively. He also introduces the “plus-
tone" (270 cents) and adds that the plus tone is a very unstable interval, larger than the whole tone but
not as large as the augmented tone. It is only found in a limited number of modes and is always
preceded by a small neutral tone.

Interval size
Quarter tone -
Minor second (m) D♭ 90
lesser neutral second (n) D koron 135
 Mahshad Sharifi
Interval size
greater neutral second (N) 165
Major second (M) 204
Plus tone 270

Farhat's 17-tone scale

Farhat's approach takes into account instruments such as tar and setar, whose fingerboards have fixed
frets, resulting in minimal pitch variations. His research leads to the introduction of the unequal 17-tone
scale, which offers a new and culturally authentic perspective for understanding and analyzing Persian
music, free from the influences of Western musical traditions

(* see sori)
Although all contemporary Iranian theorists before Farhat have attempted to theorize Iranian music in a
Western way, comparing the Iranian modal system with Western 12-tone scales, Farhat rejects this
approach. He stresses that there is no concept of scale in Iranian music. He goes on to say that the scale
he mentions should be understood as a palette of all possible pitches used in Iranian classical music and
as a source for creating modes. The modes created usually have four or five pitches and occasionally up
to seven. He also reminds the reader that there is no chromatic movement in the melodies of classical
Iranian music and that there are no intervals smaller than 90 cents in the structure of classical Iranian
modes.
In Persian music culture, the Radif forms a core repertoire of classical music in Iran that is understood
holistically. A complex network of more than 250 melodic patterns, called Gusheh, which are organized
into twelve main groups according to their modal relationships, bears the name Dastgāh. Each Dastgāh
is associated with a unique tonal space, and it is precisely this network that connects all twelve
Dastgāh-hā, which are called Radif. The origin of the term Dastgāh comes from the old method of
describing the position of the pitches on the instrument by the allocation of the fingers on the
fingerboard. It literally means "the position (gāh) of the hand (dast)."
 Mahshad Sharifi
Dastgāh-e Šur
About this Dastgāh
Due to its extensive repertoire in folklore and classical Iranian music and its vast sub-modes, Dastgāh-e
Šur is considered the most essential Iranian musical mode. Dastgāh-e Šur has ancient roots and is
regarded as the basis of most folk music in different regions of Iran. However, unlike some other
Dastgāh-ha (such as Segāh, Čahārgāh or Navā), Dastgāh-e Šur was not among the main Maqamat of
old Iranian music.

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The first degree/tone of the
scale (C in this case) is the aqaz, and usually the starting point of the improvisation. The second
degree/tone of the scale (D in this case) is the finalis. The sixth degree/tone of the scale (A in this case)
is the moteghayyer. This could be lowered one-quarter tone (to A koron) to emphasize the fifth degree
of the scale, i.e. G.

Dastgāh-e Abuatā
About this Dastgāh
Dastgāh-e Abuatā (sometimes Āvāz-e Abuatā) is one of the extensions of Dastgāh-e Šur. Abuatā is
mainly used in Iranian religious music, such as the call to prayer (Azān) or recitation of the Quran,
usually in the (Guše: sub-mode) of Hejaz.

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The second degree/tone of the
scale (D in this case) is the finalis. The third degree/tone of the scale (E koron in this case) could serve
as the aqaz and ist. The fifth degree/tone of the scale (G in this case) could serve as the aqaz and
shahed.
 Mahshad Sharifi
Dastgāh-e Dašti
About this Dastgāh
Dastgāh-e Dašti (sometimes Āvāz-e Dašti) is another extension of Dastgāh-e Šur. Among the five
extensions Dastgāh-e Šur, Dastgāh-e Dašti is the closest to Šur's primary mode. Like Abuatā, Dašti is
also used in Iran's regional and religious music and is the main mode for many folk songs nationwide.

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The second degree/tone of the
scale (D in this case) is the finalis. The fourth degree/tone of the scale (F in this case) is the aqaz. The
sixth degree/tone of the scale (A in this case) is the shahed and moteghayyer. This could be lowered
one-quarter tone (to A koron).

Dastgāh-e Bayāt-e Tork

About this Dastgāh
Dastgāh-e Bayāt-e Tork (sometimes Āvāz-e Bayāt-e Tork) is another extension of Dastgāh-e Šur.
Dastgāh-e Bayāt-e Tork, like Dašti, is widely used in Iranian folk music. 'Tork' in the title refers to the
Turkic Qashqai of Southern Iran. It may be because the Qashqai tribe sings folk songs in this mode.

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The first degree/tone of the
scale (C in this case) is the aqaz and ist. The fourth degree/tone of the scale (F in this case) is the
shahed and finalis. The two dotted brackets show areas of melodic motion. In the lower bracket,
melodic figures are ascending, while in the upper bracket, melodic figures are descending.

Dastgāh-e Afšāri
About this Dastgāh
 Mahshad Sharifi
Dastgāh-e Afšāri (sometimes Āvāz-e Afšāri) is another extension of Dastgāh-e Šur. In terms of
intervals in the mode, Afšāri is very similar to the central mode of Šur and Segāh. The name of the
Dastgāh was taken from the name of the Afshār people (from the Turkic tribes of Azerbaijan).

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The first degree/tone of the
scale (C in this case) is the finalis. The third degree/tone of the scale (E koron in this case) is the ist.
The fifth degree/tone of the scale (G in this case) is the aqaz, and usually the starting point of the
improvisation. The sixth degree/tone of the scale (A koron in this case) is the moteghayyer. This could
be raised one-quarter tone (to A♭).

Dastgāh-e Segāh
About this Dastgāh
The modal structure of Segāh is the same as Dastgāh-e Afšāri. However, what is different between
them is the starting and finishing notes of these Dastgāh-ha. The modal scheme of Dastgāh-e Segāh
probably originates from Maqam-e Rāst, one of the maqams described by the 13th-century music
theorist Safi al-Din al-Urmawi. This version of Segāh has E koron as the first scale degree.

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The first degree/tone of the
scale (E koron in this case) is the finalis, aqaz, shahed, and is usually the starting point of the
improvisation. The dotted line shows the area of melodic motion. Note that the 2nd scale degree is
omitted, which is common for Segāh.

Dastgāh-e Čahārgāh
About this Dastgāh
Dastgāh-e Čahārgāh is one of the most characteristic modes of Iranian classical music. Compared to the
Šur and Segāh, which are ideal for gentle and sorrowful music styles, Dastgāh-e Čahārgāh is described
as having vitality and strength and is considered suitable for epic music. This version of Čahārgāh has
G as the first scale degree.
 Mahshad Sharifi
Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The second degree/tone of the
scale (A koron in this case) is the aqaz, and usually the starting point of the improvisation. The fourth
degree/tone of the scale (C in this case) is the finalis.

Dastgāh-e Homāyun
About this Dastgāh
Dastgāh-e Homāyun is another Dastgāh with many sub-modes. Its modal structure is similar to Šur, but
via its Guše-ha (sub-modes), one can modulate to other Dastgāh-ha, such as Segāh or Čahārgāh. The
music for zourkhaneh rituals, an Iranian traditional system of athletics and a form of martial arts, is
usually sung or performed in this Dastgāh. Dastgāh-e Homāyun is known for its royal mood. This
version of Homāyun has E koron as the first scale degree.

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh.
The first degree/tone of the scale (E koron in this case) is the aqaz and is the starting point of the
improvisation. The second degree/tone of the scale (F in this case) is the ist. The third degree/tone of
the scale (G in this case) is the finalis. The fourth degree/tone of the scale (A koron in this case) is the
shahed.

Dastgāh-e Bayāt-e Esfahān

About this Dastgāh
Dastgāh-e Bayāt-e Esfahān (sometimes Āvāz-e Bayāt-e Esfahān) is one of the extensions of Dastgāh-e
Homāyun. Dastgāh-e Bayāt-e Esfahān is considered one of classical Iranian music's most poetic and
romantic modes. This version of Bayāt-e Esfahān has D as the first scale degree.

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The first degree/tone of the
scale (D in this case) is one option for the aqaz, and thus may be the starting point of the improvisation.
 Mahshad Sharifi
The second degree/tone of the scale (E koron in this case) is the ist. The fourth degree/tone of the scale
(G in this case) is the finalis, shahed, and a second option for the aqaz.

Dastgāh-e Navā
About this Dastgāh
In terms of intervals, the Dastgāh-e Navā has a close relationship with the Šur, and many of its Guše-ha
(sub-modes) are structured in the modal scheme of Šur. The modal scheme of Dastgāh-e Navā is
similar to the Maqam-e Navā, one of the maqams described by the 11th-century music theorist
Muhammad Nishāburi. This version of Navā has D as the first scale degree.

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The second degree/tone of the
scale (E koron in this case) is the ist. The third degree/tone of the scale (F in this case) is the aqaz and is
usually the starting point of the improvisation. The fourth degree/tone of the scale (G in this case) is the
finalis.

Dastgāh-e Māhur
About this Dastgāh
Regarding intervallic structure, Dastgāh-e Māhur is similar to Western music's Major mode and is
considered joyful in its underlying emotional content. Due to this reason, there are many happy tunes in
this Dastgāh. Many theorists considered Dastgāh-e Māhur the most prominent Dastgāhin in Iranian
classical music after Dastgāh-e Šur. This version of Māhur has G as the first scale degree.

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The fourth degree/tone of the
scale (C in this case) is the aqaz, finalis, and the starting point of the improvisation. The fifth
degree/tone of the scale (D in this case) is the shahed. The dotted line shows the area of melodic
motion. Note that, in certain cases, the higher B (but not the lower one) is played as a B♭.
 Mahshad Sharifi
Dastgāh-e Rast-Panjgāh
About this Dastgāh
One of the least performed Dastgah-sa is Rast-Panjgāh. In the majority, this Dastgah is derived from
other Dastgah-ha repertoire. Many Iranian classical musicians consider this Dastgah a tool to teach
modulation in various modes for pedagogical purposes. This version of Rast-Panjgāh has C as the first
scale degree.

Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The fourth degree/tone of the
scale (F in this case) is the aqaz, finalis, and the starting point of the improvisation. The dotted line
shows the area of melodic motion. Note that, in certain cases, the higher E (but not the lower one) is
played as an E♭.
 Mahshad Sharifi
Notation for different scales belonging to different ‘Dastgah’

Persian Music Symbols

 Mahshad Sharifi
Understanding Interval Structure
In Persian classical music, the dastgah is a modal system that serves as the foundation for composition
and improvisation. The interval structure within a dastgah refers to the specific arrangement of musical
intervals (the distances between pitches) that define the melodic character of each mode or gusheh
(sub-mode) within the dastgah. These intervals are not fixed in the Western equal-temperament sense
but are based on a more flexible, microtonal system that allows for expressive nuances.
Key Points about Interval Structure in Persian Dastgah:

1. Microtonal Intervals:
• Persian music uses intervals smaller than the Western semitone, such as quarter tones or
neutral intervals. For example:
• Sori: A slightly raised pitch (approximately a quarter tone higher).
• Koron: A slightly lowered pitch (approximately a quarter tone lower).
• These microtonal intervals create the distinctive emotional and melodic flavor of each
dastgah.
2. Tetrachord-Based Structure:
• The interval structure of a dastgah is often organized into tetrachords (a series of four
notes spanning roughly a perfect fourth) or pentachords (five-note spans).
• These tetrachords are combined or modified to form the scale or melodic framework of a
dastgah. For instance, a common tetrachord might include intervals like a whole tone, a
quarter tone, and a larger step.
3. Modal Flexibility:
• Each dastgah is not a single scale but a collection of modes (gushehs) with their own
interval structures. The performer navigates these gushehs, each with unique interval
patterns, during improvisation.
• The intervals may shift slightly depending on the gusheh, the performer's interpretation,
or the emotional context.
4. Examples of Interval Structures:
• Dastgah-e Shur: Often described as a "parent" dastgah, Shur might include a tetrachord
with intervals like: whole tone, quarter tone, and three-quarter tone. A simplified
representation could be approximated as a minor-like scale with microtonal adjustments
(e.g., E-F-G-A with F and G adjusted by koron or sori).
• Dastgah-e Mahur: Resembles the Western major scale more closely but still incorporates
subtle microtonal variations in certain gushehs.
• Dastgah-e Homayun: Features a characteristic neutral third (neither major nor minor)
due to microtonal intervals, creating a distinct melancholic or mystical mood.
5. Role of the Tonic and Finalis:
• Each dastgah has a tonic (central note) and a finalis (the note on which melodies often
resolve). The interval structure is built around these reference points, with specific
intervals defining the relationships between the tonic, other scale degrees, and the
finalis.
6. Performance and Ornamentation:
 Mahshad Sharifi
• The interval structure is not rigidly adhered to; performers use ornamentation (e.g.,
tahrir, vibrato-like flourishes) and subtle pitch variations to enhance expressiveness,
making the intervals context-dependent.

Example: Dastgah-e Shur

A simplified interval structure for the main mode of Shur might look like this (using approximate
Western notation with microtonal adjustments):
• Tonic: G
• Scale: G - A♭ (koron, slightly flatter than A♭) - B♭ - C - D - E♭ (koron) - F - G
• Intervals: Roughly 3/4 tone, 1 tone, 1 tone, 1 tone, 3/4 tone, 1 tone, 1 tone.
• This structure changes as the performer moves through different gushehs, such as Bayat-e Kord
or Oshshaq, each with its own intervallic character.

Dastgah-e Mahur

• Character: Bright, majestic, resembling the Western major scale but with microtonal nuances.
• Tonic (Example): C
• Representative Scale (Main Mode): C - D - E - F - G - A - B - C
• Intervallic Structure:
• Tetrachord: C - D - E - F (intervals: 1 tone, 1 tone, 1/2 tone)
• Upper tetrachord: G - A - B - C (1 tone, 1 tone, 1/2 tone)
• Microtonal Adjustments: In some gushehs (e.g., Delkash), the E or B may be slightly
flattened (e.g., E koron) to create a more neutral or melancholic flavor.
• Notes: Mahur is one of the most "consonant" dastgahs, with a structure close to the Western C
major scale, but performers introduce subtle microtonal variations for expressiveness.

Dastgah-e Homayun

• Character: Mystical, melancholic, with a distinctive "neutral" third.

• Tonic (Example): G
• Representative Scale (Main Mode): G - A♭ (koron) - B♮ (neutral, ~1/4 tone below B♭) - C -
D - E♭ (koron) - F - G
• Intervallic Structure:
• Lower tetrachord: G - A♭ (koron) - B♮ - C (~3/4 tone, ~3/4 tone, 1 tone)
• Upper tetrachord: D - E♭ (koron) - F - G (~3/4 tone, 1 tone, 1 tone)
• Microtonal Adjustments: The B♮ (neutral third) is neither major nor minor, creating a
unique emotional quality. In gushehs like Chakavak, the E♭ may shift closer to E♮.
• Notes: Homayun often emphasizes the fifth (D) as a secondary tonal center in some gushehs,
and its avaz, Bayat-e Esfahan, has a similar but distinct intervallic structure.
 Mahshad Sharifi
Dastgah-e Segah

• Character: Introspective, somber, with prominent microtonal intervals.

• Tonic (Example): E
• Representative Scale (Main Mode): E - F (koron) - G♮ (neutral, ~1/4 tone below G♯) - A - B♭
(koron) - C - D - E
• Intervallic Structure:
• Lower tetrachord: E - F (koron) - G♮ - A (~1/2 tone, ~3/4 tone, ~1 tone)
• Upper tetrachord: B♭ (koron) - C - D - E (~1 tone, 1 tone, 3/4 tone)
• Microtonal Adjustments: The G♮ (neutral second) is critical, and in gushehs like
Mokhalef-e Segah, the upper tetrachord may shift to emphasize a raised C (C sori).
• Notes: Segah is closely related to Chahargah but distinguished by its tonic placement and
melodic progression. The neutral intervals create a haunting quality.

Dastgah-e Chahargah

• Character: Dramatic, intense, with bold microtonal contrasts.

• Tonic (Example): C
• Representative Scale (Main Mode): C - D♭ (koron) - E♮ (neutral, ~1/4 tone below E♭) - F -
G - A♭ (koron) - B♮ - C
• Intervallic Structure:
• Lower tetrachord: C - D♭ (koron) - E♮ - F (~3/4 tone, ~1 tone, ~3/4 tone)
• Upper tetrachord: G - A♭ (koron) - B♮ - C (~3/4 tone, ~1 tone, ~3/4 tone)
• Microtonal Adjustments: In gushehs like Hesar, the upper tetrachord shifts to a new
tonic (e.g., G), and the B♮ may be slightly sharpened (sori) for emphasis.
• Notes: Chahargah’s intervallic structure is symmetrical, with parallel tetrachords, giving it a
distinctive, balanced intensity. It contrasts with Segah by its tonal center and melodic flow.

Dastgah-e Rast-Panjgah

• Character: Joyful, lyrical, with a structure similar to Mahur but distinct in its gushehs and
microtonal inflections.
• Tonic (Example): C
• Representative Scale (Main Mode): C - D - E (sori, slightly sharper than E♭) - F - G - A - B - C
• Intervallic Structure:
• Lower tetrachord: C - D - E (sori) - F (~1 tone, ~3/4 tone, ~3/4 tone)
• Upper tetrachord: G - A - B - C (~1 tone, 1 tone, 1/2 tone)
• Microtonal Adjustments: The E (sori) is a neutral third, and in gushehs like Naghmeh,
the A may be slightly flattened (koron) to evoke a more melancholic mood.
• Notes: Rast-Panjgah shares some similarities with Mahur but is distinguished by its unique
gushehs and a slightly more microtonal character in performance.
 Mahshad Sharifi
Dastgah-e Nava

Character: Soulful, introspective, closely related to Shur but with a distinct melodic identity.
• Tonic (Example): D
• Representative Scale (Main Mode): D - E♭ (koron) - F - G - A - B♭ (koron) - C - D
• Intervallic Structure:
• Lower tetrachord: D - E♭ (koron) - F - G (~3/4 tone, 1 tone, 1 tone)
• Upper tetrachord: A - B♭ (koron) - C - D (~3/4 tone, 1 tone, 1 tone)
• Microtonal Adjustments: In gushehs like Nahoft, the B♭ may shift closer to B♮, and
the E♭ may be slightly raised for variation.
• Notes: Nava’s intervallic structure resembles Shur but is differentiated by its tonal center (often
a fourth above Shur’s tonic) and unique gushehs, creating a more meditative mood.

Secondary Dastgahs (Avaz)

These are often considered sub-modes of primary dastgahs but have distinct intervallic identities.

Avaz-e Bayat-e Tork (Derivative of Shur)

• Character: Lyrical, expressive, with a minor-like quality.

• Tonic (Example): D
• Representative Scale: D - E - F - G - A - B♭ (koron) - C - D
• Intervallic Structure:
• Lower tetrachord: D - E - F - G (~1 tone, 1/2 tone, 1 tone)
• Upper tetrachord: A - B♭ (koron) - C - D (~3/4 tone, 1 tone, 1 tone)
• Microtonal Adjustments: The B♭ (koron) is a hallmark, and in some gushehs, the E
may be slightly flattened.
• Notes: Bayat-e Tork is brighter than Shur due to its major-like second (E).

Avaz-e Bayat-e Kord (Derivative of Shur)

• Character: Warm, folk-like, with a distinct microtonal flavor.
• Tonic (Example): A
• Representative Scale: A - B♭ (koron) - C - D - E♭ (koron) - F - G - A
• Intervallic Structure:
• Lower tetrachord: A - B♭ (koron) - C - D (~3/4 tone, 1 tone, 1 tone)
• Upper tetrachord: E♭ (koron) - F - G - A (~1 tone, 1 tone, 3/4 tone)
• Microtonal Adjustments: The B♭ and E♭ (koron) are prominent, with slight variations
in gushehs.
• Notes: Bayat-e Kord is a popular avaz with a strong regional character, often evoking Kurdish
influences.
 Mahshad Sharifi
Avaz-e Abu-Ata (Derivative of Shur)
• Character: Delicate, melancholic, with a neutral third.
• Tonic (Example): C
• Representative Scale: C - D♭ (koron) - E♮ (neutral, ~1/4 tone below E♭) - F - G - A♭
(koron) - B♭ - C
• Intervallic Structure:
• Lower tetrachord: C - D♭ (koron) - E♮ - F (~3/4 tone, ~1 tone, ~3/4 tone)
• Upper tetrachord: G - A♭ (koron) - B♭ - C (~3/4 tone, 1 tone, 1 tone)
• Microtonal Adjustments: The E♮ (neutral third) is central, and the A♭ may shift in
gushehs like Hijaz.
• Notes: Abu-Ata’s intervallic structure is similar to Homayun but rooted in Shur’s framework.

Avaz-e Dasht-e Arak (Derivative of Shur)

Character: Poetic, mournful, with a fluid intervallic structure.
• Tonic (Example): G
• Representative Scale: G - A♭ (koron) - B♮ (neutral, ~1/4 tone below B♭) - C - D - E♭
(koron) - F - G
• Intervallic Structure:
• Lower tetrachord: G - A♭ (koron) - B♮ - C (~3/4 tone, ~3/4 tone, 1 tone)
• Upper tetrachord: D - E♭ (koron) - F - G (~3/4 tone, 1 tone, 1 tone)
• Microtonal Adjustments: Similar to Homayun’s main mode, but with a Shur-like
resolution and unique gushehs.
• Notes: Dasht-e Arak shares traits with Abu-Ata but has a distinct melodic progression.

Avaz-e Afshari (Derivative of Shur)

• Character: Sorrowful, introspective, with a compact range.
• Tonic (Example): E
• Representative Scale: E - F (koron) - G - A - B♭ (koron) - C - D♭ (koron) - E
• Intervallic Structure:
• Lower tetrachord: E - F (koron) - G - A (~1/2 tone, 1 tone, 1 tone)
• Upper tetrachord: B♭ (koron) - C - D♭ (koron) - E (~1 tone, 3/4 tone, ~1 tone)
• Microtonal Adjustments: The D♭ (koron) is a distinctive feature, and the G may be
neutral in some gushehs.
• Notes: Afshari often emphasizes the upper tetrachord and has a more restricted melodic range
than other avaz.
 Mahshad Sharifi
General Notes

• Microtonal Flexibility: The intervals described are approximations. In practice, performers

adjust pitches subtly (e.g., bending notes or using tahrir ornamentation) based on the radif,
instrument (e.g., tar, setar, santur), and emotional intent.
• Tetrachord Combinations: Most dastgahs are built by combining two tetrachords or a tetrachord
and pentachord, with the juncture (where tetrachords meet) often being a pivotal note for
modulation to other gushehs.
• Gusheh Variations: Each dastgah contains multiple gushehs, each with its own intervallic
structure. The examples above represent the primary mode or a common gusheh, but gushehs
like Mokhalef (Segah), Hesar (Chahargah), or Delkash (Mahur) introduce significant intervallic
shifts.

Cultural and Theoretical Context

• The interval structures are rooted in the Persian radif, a repertoire of melodic models passed
down orally from master to student. The Persian radif provides the framework for the intervals
and gushehs of each dastgah.
• Unlike Western scales, Persian interval structures prioritize melodic development over harmonic
progression, focusing on linear, monophonic textures.

For a deeper understanding, studying specific dastgahs (e.g., Shur, Segah, or Rast-Panjgah) through
recordings or the radif is essential, as the intervals are best appreciated in performance.

Weekly Schedule for Learning The Setar

Weekly Plan for Learning the Setar
Goal: Develop basic technique, understand tuning, learn simple melodies, and build finger dexterity.
Prerequisites:
A tuned setar (standard tuning: C3-G3-C3-C4 or similar, e.g., Do-Sol-Do-Mi).
A tuner app (e.g., Fine Tuner or gStrings).
A notebook to track progress.
Optional: Access to a teacher or online lessons (e.g., multiple YouTube channels like Setar.info or
Persian music apps).

Day 1: Introduction and Setup (45 min)

Focus: Get familiar with the setar and basic posture.
 Mahshad Sharifi
10 min - Setup:
Tune the setar using a tuner. Strings (from thickest to thinnest): Bam (C3), Drone (C3), Yellow (G3),
White/Melody (C4).
Check bridge alignment; ensure it’s stable and strings sit in grooves. (Very important!)
15 min - Posture and Holding:
Sit cross-legged or on a chair, holding the setar at a 45° angle across your chest.
Rest the soundbox on your right thigh (if right-handed), neck pointing left-upward.
Practice cradling the neck lightly with your left hand, thumb supporting the back.

20 min - Basic Plucking:

Use the index finger’s nail (or a plectrum) to pluck the White string (C4) gently downward.
Try open-string plucks: 10 slow, even strokes, focusing on a clear tone.
Experiment with Bam (C3) and Yellow (G4) strings, noting their deeper tones.

Homework: Watch a beginner setar video (e.g., “Setar Basics” on YouTube) to observe posture.

Day 2: Right-Hand Technique (50 min)

Focus: Build confidence in plucking and explore string roles.
10 min - Warm-Up:
Tune the setar.
Pluck open strings in sequence (White, Yellow, Drone, Bam) for 2 min, aiming for consistent volume.

20 min - Right-Hand Exercises:

Practice “downstroke/chap” plucks on the White string: 4 sets of 20 plucks, resting briefly between
sets.
Introduce “upstroke” plucks (pulling upward with the index finger): 2 sets of 20.
Combine: Alternate down-up plucks on Yellow string for 2 min (slow tempo, ~60 BPM).

15 min - String Roles:

Play Bam string alone (bass foundation), then Drone (rhythmic sustain).
 Mahshad Sharifi
Combine: Pluck Bam, then Drone, in a slow 4/4 rhythm (e.g., quarter notes).
Add White string for melody: Pluck open E4 after every Bam-Drone pair.
5 min - Reflection:
Note which strings feel easiest/hardest in your notebook.
Homework: Practice plucking open strings while watching TV to build muscle memory (10 min).

Day 3: Left-Hand Basics (50 min)

Focus: Introduce fretting and simple notes.
10 min - Warm-Up:
Tune and pluck open strings (2 min each string).
Review down-up plucks from Day 2 (2 min).

20 min - Left-Hand Positioning:

Place your left thumb under the neck, fingers arched over the fretboard.
Press the White string at the first fret (C4) with your index finger, just behind the fret wire.
Pluck while pressing: Aim for a clear note, no buzz. Do 20 reps.
Try the second fret (F#4) with your middle finger: 20 reps.

15 min - Simple Scale:

Play open E4, F4 (1st fret), F#4 (2nd fret) on the White string, ascending and descending.
Go slow: 4 beats per note (~60 BPM). Repeat 5 times.
Add Yellow string: Open C4, D4 (1st fret), D#4 (2nd fret). Repeat 3 times.
5 min - Rest and Reflect:
Shake out hands to avoid tension. Note any finger soreness in your notebook.
Homework: Memorize the fret positions for C4, D4, D#4 on the White string.

Day 4: Combining Hands (60 min)

Focus: Coordinate both hands for a short melody.
10 min - Warm-Up:
Tune the setar.
 Mahshad Sharifi
Play open-string sequence (White-Yellow-Drone-Bam) for 2 min.
Review C4-D4-D#4 scale from Day 3 (2 min).

25 min - Melody Practice:

Learn a simple 4-note phrase: C4 (open), F4 (1st), E4, F#4 (2nd) on White string.
Rhythm: Quarter notes at ~60 BPM (use a metronome app if possible).
Practice 10 times, focusing on clean fretting and steady plucks.
Add Bam string: Pluck C3 before each melody note as a bass anchor. Repeat 5 times.

20 min - Dynamics:
Experiment with loud vs. soft plucks on the melody (e.g., loud E4, soft F4).
Try varying pressure with left-hand fretting to hear tonal differences.

5 min - Notebook:
Write down the melody sequence and any challenges (e.g., finger coordination).
Homework: Practice the melody 5 times before bed, aiming for smoother transitions.

Day 5: Rhythm and Timing (55 min)

Focus: Develop a sense of rhythm and refine the melody.
10 min - Warm-Up:
Tune and play open strings (2 min).
Run through Day 4’s melody 3 times, slowly.
20 min - Rhythmic Patterns:
Use a metronome (~60 BPM) to play the melody in 4/4 time.

Try a new rhythm: E4 (half note), F4 (quarter), E4 (quarter), F#4 (half). Repeat 5 times.
Add Drone string (G3): Pluck it on beats 2 and 4 as a rhythmic pulse. Practice 5 min.

20 min - Expand the Melody:

 Mahshad Sharifi
Extend the phrase: E4, F4, F#4, F4, E4, open C4 (Yellow string).
Play slowly, ensuring left-hand presses are firm and right-hand plucks are even.
Repeat 8-10 times, gradually increasing speed if comfortable.
5 min - Reflect:
Note progress in coordination and rhythm in your notebook.
Homework: Listen to a simple setar piece (e.g., a short dastgah like Bayat-e Tork on YouTube) to
hear rhythm in context.

Day 6: Musical Expression (60 min)

Focus: Add nuance and start a second melody.
10 min - Warm-Up:
Tune the setar.

Play Day 5’s extended melody 3 times, focusing on clarity.

20 min - Expression Techniques:
Practice vibrato: On F4 (1st fret), wiggle your left finger gently after pressing. Try 10 times.
Experiment with slides: Slide from E4 to F4 (open to 1st fret) smoothly. Repeat 10 times.
Vary plucking intensity for emotion (e.g., soft for F4, sharp for F#4).

25 min - New Melody:

Learn: C4 (open), D4 (1st), C4, E4 (White open).
Rhythm: Quarter notes, ~60 BPM. Practice 10 times.
Combine with Day 5 melody as a sequence: Old melody, then new. Repeat 5 times.

5 min - Notebook:
Write how vibrato or slides felt; note any string buzz or hand fatigue.
Homework: Record yourself playing both melodies (phone is fine) to hear progress.

Day 7: Rest or Review (30 min, optional)

Focus: Consolidate learning or take a break.
 Mahshad Sharifi
Option 1 - Light Practice:
Tune and play both melodies 3 times each, aiming for fluidity.
Spend 10 min improvising: Pluck open strings and fretted notes freely to explore sounds.
Write 1-2 sentences in your notebook about what feels easier now.

Option 2 - Rest:
Skip playing to let hands recover, especially if sore.
Listen to a setar master (e.g., Mohammad Reza Lotfi or Hossein Alizadeh) for inspiration.
Homework: Plan next week’s focus (e.g., learn a Persian folk tune or refine vibrato).

Tips for Success

Consistency: Practice 5-6 days, even if some sessions are shorter (20-30 min).
Patience: The setar’s delicate sound rewards precision over speed. Don’t rush fretting or
plucking.
Resources: If stuck, check free tutorials on sites like Setar.info or ask a teacher for feedback.
Hand Care: Stretch fingers before and after to avoid strain. Stop if you feel pain.
Progress Tracking: Use your notebook to log what’s working and what’s hard. This helps tailor future
weeks.

Expected Outcomes
By the end of the week, you should be able to:
Tune and hold the setar comfortably.
Pluck open strings and simple fretted notes with clarity.
Play two short melodies with basic rhythm.
Understand the roles of Bam, Drone, and melody strings.
Feel ready to tackle a simple Persian tune or scale (e.g., Dastgah Shur) next week.
 Mahshad Sharifi
Learning more
Here are some resources to learn more about Dastgah’s and tuning.
• Mohammad-Reza Shajarian Yad-e Ayyam‍
• (musical example)
• Alizadeh, H. (2012). Theoretical foundations and structure of Persian classical music‍
• . (H. Asadi, M. Oftade, M. Bayani, A. Pourtorab, & S. Fatemi, Eds.). Ministry of Education. (in
Farsi)
• Farhat, H. (2004). The Dastgāh Concept in Persian Music‍
• . Cambridge University Press.
• Khaleqi, R. (1938). A Glance at the Theory of (Persian) Music‍
• . Safi Ali-Shah Publication (in Farsi)
• Samimi Mofakham, I. (2023a). A Rational Intonation Approach to Persian Music‍
• . Živá Hudba/Living Music, 14. Prague: NAMU.
• Samimi Mofakham, I. (2023). Holographic composition technique: Revisiting the medieval
treatises on Iranian music‍(p. 140) [Ph.D. Dissertations / Research Exposition].