The story of Bābā Faqīh is one of the stories belonging to the Ahl-e Haqq tradition. Ostad Elahi was particularly fond of this piece and played it often, each time improvising a new variation, which required great virtuosity and mastery. The playing is light at first, in major tonalities, leading to a more poignant expression with the introduction of the Sheykh Amīrī piece. This precedes the vocals that slowly lead the piece into the developments of Bābā Faqīhī. Throughout the piece, there are allusions to many other suites and there is a smooth and continuous succession of different modes, revealing total freedom in the rendering of the piece.

The transitions eventually lead to the Jang Ārā piece, a part of the Jelo Shāhī suite. The theme of this piece depicts the preparations for, and feverish anticipation of, a great event: the coming of the theophany—the height of the spiritual quest for seekers of Truth—expressed by the words “Shām āmā” (“My King has come”). Combined with a quick and light melody, the lively rhythm and persistent bass of the tanbur gradually contribute to creating an intense spiritual emotion among the listeners.