Named after a saint who lived prior to Shāh Khoshīn, the major intervals of this piece give it a clear and gentle tone, resulting in a degree of calmness after the poignant expressions of the previous piece. It is interesting to note that in the middle of this piece, Ostad tunes his tanbur without interrupting his playing. His voice first invokes the presence of the Beloved, “Shādī kan ey shādī” (“Joy! O soul, rejoice [for He is here!])” before warning those who deny Him: “Fekr-e aw ruw kan, nīyan jāy hāshā. Tchāwy emrū nawīnū, key mawīnū fardā” (“Think of the day when you can no longer deny, for how can the eye that cannot see today, see tomorrow?”).