Saharī is usually played to announce dawn and the awakening of nature. It can also be perceived as a call for the soul to awaken and experience more intensely the effect of the One, which is present everywhere and in everything, and to not be negligent or sluggish while all of creation sings and praises the Divine.

This piece originates from recordings made in the early 60s. It represents both a technical and artistic challenge: it is performed on a small Persian setâr that Ostad had named “Bolbol” (nightingale).¹ He had modified this setâr into a smaller replica of his five-stringed tanbur. Ostad played this instrument in a manner that upended established rules: he combined tanbur playing techniques (five fingers hitting all the strings or playing rolls) with those of the setâr (plucking the strings with the index). Above all, he played this melody in the Farangī chord (in thirds) on a five-stringed tanbur, an almost insurmountable challenge; both the technical and physical means are lacking to achieve the desired sound. Only Ostad's virtuosity is able to produce this astonishing impression of ease and simplicity.

The suite is incomplete, as the very beginning of the recording was unusable. The piece thus opens on a major key, an A-F third, that also constitutes its foundation. As the melody develops, the initial rhythm changes, with the playing of ornamentations and several shors (five-finger rolls) during short silences. The melody then returns, played in solo, in the simplest and purest manner possible, on a string with a single finger. The melody is then played anew, with all the previous characteristics (melodic, rhythmic) but with a fresh intensity. The piece as a whole is akin to an overture featuring expansive and energetic playing, a combination of subtle fluidity and great power.