This ancient tune from pre-Islamic times enables us to understand the amazing powers of expression reached in a tessitura as concise as a tone and a half. Indeed, the suite of three sustained semitones acting as an ostinato that this short piece gradually builds generates a tension that is truly unheard of. The apparent lack of movement is the pretext for Ostad to install the dynamics of his music, using changing rhythms and a profusion of subtle embellishments that endow each note with unusual depth and relief. The listener is not accustomed to this, but anyone who is willing to let oneself be guided by the sounds will find they touch both mind and soul alike. It is as though a mere few notes hold both a time and a place immemorial condensed within them. The tension is somewhat relieved when a diminished fourth is reached, then right at the end of the piece, when the perfect fourth bursts through to introduce the following key, the space opens up as though suddenly filled with light.