This modal melody bears the name of its saintly author or transmitters and belongs to the category of tunes that have a purely mystical and devotional origin. One the most popular songs of the religious tradition of Eastern Kurdestān, it is said to celebrate mystical love, although unlike many other songs in which one engages in an intimate dialogue with oneself, Sārū Khānī is characterized by an important narrative and discursive aspect. The internal rhythm is that of language itself, bearing an articulation very close to declamation; therefore, it is quite remote from the whispers and moans typical of other pieces of the same sort. This tune can be easily coupled with classical Persian poetry (with alternating patterns of long and short vowels), whether lyrical, didactic, or narrative.

As is generally the case with the playing of bards, instrumental patterns are introduced between two declamations, during which it is still possible to hum a few words. In Sārū Khānī, the three-beat intermediary theme (Zang-e Shotorī) suggests the gallop of a camel and is accompanied by the recitation of divine names such as Haqq and Ali. After Sārū Khānī, Ostad interprets in a restrained manner a variant of Halparka, a dance with a rhythm of ten brief beats (3+2/2+3).

A two-beat dance called Shān Jonbānak (“moving one’s shoulders”) concludes this improvisation. Ostad used to say that this tune could not be played correctly unless the shoulders were moved in the proper manner. This sequence was recorded at Ostad’s house sometime in the late sixties during an evening gathering of fifteen to twenty people. Following a talk with his spiritual students, Ostad would often start playing before tape recorders could be turned on. This was the case that particular evening, which is why the recording starts shortly after the beginning of the introduction. Unfortunately, it was not possible to eliminate ambient noises that occasionally mar this masterful rendition.