Ostad Elahi called this joyful melody, whose inspiration came to him during a forty-day spiritual pilgrimage to Ali’s memorial in Najaf, Iraq, the “Najaf Melody” (Āhang-e Najaf). Incorporating passages from the Saharī and Gol wa Khār tunes, Ostad would play this melody either alone, as a central theme for other melodies, or as a linking pattern designed to ornament various modes. An “expansive” melody that shoots toward new horizons before returning to the original theme, it can be accompanied by secondary tunes or incorporated in them. This track is from a recorded session that took place in a family setting where nothing had been prepared or planned in advance: Ostad picked up his instrument, a microphone was placed before him, a recorder was turned on, and people sat and listened.

Though permeated with a profound nostalgia, this piece is actually quite elating. The consonant harmonies in the major tonality create a bright and positive mood. Ostad draws upon a variety of playing techniques, at times playing on all strings with all fingers, at other times only with one finger, thereby creating varied harmonic effects and a rich polyphony.