Si Pare

Audiences

The Si Pare book is intended for individuals who do not use or do not wish to use other current training methods. It is a self-learning book designed for two groups of setar students. The first group consists of those who are unable to attend schools, particularly due to financial constraints. The second group includes individuals who do not have access to a school in their vicinity. Additionally, there is a group of people who reside in big cities, have no financial issues, but prefer to learn setar privately for personal reasons.

On the other hand, there are individuals who desire to pursue a different path from the mainstream and find the ideas presented in Si Pare to be suitable for their approach.

In terms of age, studying Si Pare is possible for those who have completed at least high school and have a continuous desire for learning. It may be challenging for younger children to study Si Pare independently, but they can benefit from the book if a teacher guides them through the Dastgah of Shour and its fundamentals.

In my opinion, those who possess a fundamental interest in these subjects can deeply engage with Si Pare. It covers various topics such as the sublime and often overlooked art of Iranian music, meditation and introspection, the works of Mowlana Jalaluddin (Rumi), contemplation on the philosophy of art, the art of the East, and the history and culture of Iran. I believe individuals with such interests will find Si Pare to be a valuable resource for their endeavors.

Self-study

As far as I know, Si Pare is the first and only self-study book for the setar (or Dastgahi music in general). As mentioned before, my goal has been to compensate for the deficiencies that I see in common education so that the student does not need to learn anything other than this book. Of course, in a sense, the person who studies Si Pare is not self-educated because they always have a teacher available to provide them with the necessary guidance.

Simplicity

Simplicity is different from ease, but simplicity leads to ease. If the constituent parts of a composition are clearly and simply identified, the process of creating that composition will become easier. In other words, if we do not understand the constituent parts of a composition, such as the order and composition of the gears in a watch, that composition will be complex for us and therefore difficult to create. Si Pare has been written with great effort to ensure that the student can understand and achieve as much simplicity as possible in their performance. Simplicity is a crucial aspect in education.

Theory

Si Pare has its own unique music theory, specifically focused on Iranian Dastgahi music. This theory is the result of extensive contemplation and experimentation. It is a simple theory that effectively fulfills its purpose. Some individuals may not be familiar with the responsibilities of music theory or what it entails. In the following section, I will provide some insight on this topic. However, for now, I will limit my explanation to the fact that a music theory should be able to address various aspects of a piece of music's structure and even guide its performance. Additionally, a music theory should provide a language or set of concepts that can be used to discuss the structure of a musical composition. It is through this theory that one can evaluate the musical composition. Furthermore, by establishing what is true, a theory allows for criticism and the identification of falsehoods.

Rules

Si Pare has made significant efforts to elucidate the rules governing the implementation, structure, and musical notation of the lessons. This means providing answers to most of the questions that students may have, offering general rules. For instance, if a student asks why the tremolo is played in a particular section, the answer would be that, in general, the tremolo is played there, rather than providing a response like "because it fits" or something similar. Another example could be a gifted student asking why the left mizrab is played in a specific location and how one knows when to play the left mizrab versus the right mizrab. Si Pare has provided a clear and simple answer to this question. The rules in Si Pare can be easily learned and have no exceptions. The goal has been to ensure that everything in Si Pare adheres to the established rules.

Philosophy of music

Si Pare introduces a new chapter in music philosophy and applies it to Dastgahi music education, marking the first time this has been done in Iranian music. I believe that this work is necessary because neglecting musical vision has weakened today's Dastgahi music. However, there may be those who disagree with this necessity. To them, I would say that alternative methods that do not prioritize insight have already yielded their results. So, now what is wrong with a small village on the other side of the mountains that operates differently?

The philosophy of music in Si Pare provides a unique path for the student, and undoubtedly those who experience it will pursue a different artistic path in the future.

A part of my musical philosophy, which is found in Si Pare (First volume), revolves around silence, and the connection between sounds and silence. Following that, there are chapters on the different types of Iranian silences, each of which represents a territory that Iranian musicians traverse. Their music become narratives of their journeys and delve into the horizons and soul of that particular land.

 Language

Initially, the language used in Si Pare may be challenging for those who are not accustomed to it. However, as the reader progresses through the book and becomes familiar with the various aspects of the writing, this difficulty will gradually ease. Additionally, one reason for the reader's struggle with the text may be their fast-reading pace. I advise readers not to rush through the reading. In the upper corner of the first page of the Si Pare, the word "Adagio" is written. This word is often found at the beginning of certain pieces of music, indicating that the piece should be played slowly. The language of Si Pare is my first experience in what I call "writing for the eyes" (as opposed to "writing for the ears"). This method is based on several principles and demands: mathematical accuracy, utilization of the divine features of the Persian language, no need to know the grammar of more than one language (Persian) to communicate in that language, avoidance of the pitfalls of literary and historical conventions that have harmed the Persian language, and aesthetics. I have discussed and will continue to elaborate on these principles and the concept of writing for the eyes or ears elsewhere (on this website).

Another aspect of Si Pare's language is that I have attempted to address two common shortcomings in Iranian music. Currently, when we try to discuss Iranian music, we encounter a lack of words (concepts and language). Additionally, the technical terms used in teaching and analyzing pieces are often crude, unrefined, and at times, unappealing. In other words, we lack appropriate words (concepts) and have incorrect ones.

Editing Radif

There are many people who cringe when they hear the phrase "Editing Radif." This indicates that they either haven't considered it before or view it as a forbidden religious sin. If not, we would have seen numerous revisions of Radif by now. As far as I know, this is the first time Si Pare has considered and embarked on editing Radif. The fact that it has taken so long for Radif to be edited is not a testament to the greatness of the Si Pare's work, but rather a reflection of the traditional music community's and especially the academic music community's backwardness in Iran. My suggestion was (and still is) that it would be beneficial if the great players of the Radif would each year introduce a newly learned Radif, rather than every musician playing the same Radif they learned year after year, which becomes weaker and more lifeless with each passing year.

Details

Dealing with numerous details is one of Si Pare's distinguishing features. Unfortunately, Si pare is the first educational book on traditional Iranian music that covers such extensive and fundamental details. As far as I know, the teaching tips included in the books of Iran over the last hundred years, at least for the setar, are fewer in number compared to the tips provided in just ten pages of the Si Pare book. This is not a testament to the book's excellence, but rather an indication of the significant shortcomings in the works of its predecessors. If we lack the courage or wisdom to criticize our predecessors, we will not only fail to preserve their efforts but also fail to promote or disseminate their works.

 Written training

What we continuously hear is that our music education is primarily oral and lacks a comprehensive written component. But the simple question is, how many pages have been written or spoken about examining this statement in the past hundred years? Here's what I found: less than one page. In short, my opinion is that the irresponsibility and excessive laziness of musicians in the recent or distant past have deprived us of the musical legacy of the past and will continue to deprive future generations of that legacy.

Si Pare has made every effort to pave the way and demonstrate that music culture and techniques can be effectively taught and preserved in written form for future generations.

Music Notation

The transliteration methods of the system have progressed from the past to the present. For example, if we compare the transliteration method of Mahdi Qoli Hedayat with the method of Darius Talai, the difference and progress are obvious. The point here is that, despite all this, when it comes to the superiority of one method over another, or the effectiveness and capability of a transliteration method in general, we have barely scratched the surface. We have not devoted much time or consideration to this topic. If we had, and you were to ask an Iranian music student or professor about the good criteria of a transliteration method, they would readily share what they have learned and thought about, providing examples to support their points. The fact that nothing substantial has been done in this regard (as far as I know) does not mean that the problem is resolved or that we have moved past it. Rather, it highlights the lack of attention given by Iranian musicians to this issue. This gap is significant, as if those who study Persian language in literature colleges have not yet mastered the script of writing Persian or even considered its importance.

Si Pare has established several principles for notation. Firstly, there is a focus on creating rules and theory for all aspects of writing. This includes the smallest components of compounds, as well as the compounds themselves and the spacing between them. Secondly, there is an emphasis on simplicity, beauty, and ease of writing and reading.

In addition to the musical notation method for the components of compositions, Si Pare has also proposed special symbols for decorations and other details of the Radif notation. Some of these symbols are new, while others are modifications of previous efforts. The goal has been to advance the notation system, rather than arbitrarily replacing old symbols with new ones.

From what I have observed, there is no standardized musical notation method for Radif. Of course, when I say "standardized," I mean in the precise sense, similar to the regularity of writing in spoken languages, mathematics, and computer programming.

Recording

There are several principles guiding the recording of Si Pare samples. First and foremost, the main purpose of recording is for educational purposes. Therefore, several considerations have been taken into account, such as the speed of playing, tuning, clarity of playing, and naturalness of sound. Secondly, the recordings are designed in a way that allows students to approach the music without fear and to engage with it.

Another important point is that the lessons are played in various ways, giving students the opportunity to practice with different approaches. They can choose the method that resonates with them the most or practice with all of them to gain a deeper understanding.

In addition to the traditional setar, recordings have also utilized the silk setar and the with three-wires setar.

In this way, Si Pare's new way of paying attention to recordings and audio samples is one of the advantages and innovations of this book.

Nine Firsts of Si Pare

Now that it is March 2025, nearly a year and a half has passed since the publication of my book Si Pare in Learning the Setar and the Metamusic of Iranian Music, 2023, Moein publication, Tehran. During this time, there has been no news about this book anywhere, and no one has mentioned it. A chaotic book launch session was held in Hamedan's Book City, where the presenter, who seemed to have not understood about the book, spent nearly an hour making tasteless, baseless, and ignorant criticisms (you can find a description of this elsewhere).

In the past year and a half, I believe less than ten people have picked up the book. At the time of publication, a friend suggested sending the book as a gift to some famous musicians so they could write something about it, as is customary. Of course, I wouldn’t do that. Only three or four people shared news of the book on the internet, with only two of them being involved in music. Moein Publishing also posted news about the book on its internet pages.

Reflecting on the lack of reading and critical thinking among the country's musicians, which has brought Persian music dangerously close to decline and maybe death, I felt compelled to write about the book's characteristics. I should also mention that my other book, Unthoughtful Thoughts in Iranian Music, addresses this shameful lack of critical thinking and attempts to uncover the roots of this stagnation, and how it continues to persist and grow stronger over time.

I created SiPare to achieve the following goals:

1. To avoid repeating basic teachings for each student individually and to make them accessible to all students at once.

2. To broaden the accessibility of teachings to a wider audience of Persian music enthusiasts.

3. To provide guidance on advancing the understanding of dastgahi music, focusing on both the physical and spiritual aspects, and to address common challenges in this field.

SiPare has achieved several firsts, outlined in the following nine points:

The first first

SiPare is the first self-study guide for dastgahi music, specifically for the setar.

A self-study book is designed to cater to the reader's need for guidance in the absence of a teacher. The author has tried to meticulously addressed common questions and challenges related to self-study, making SiPare a useful resource for three main groups: those seeking cost-effective training, individuals who prefer independent learning over traditional classes, and those lacking access to nearby training facilities.

The book can be considered a pioneer in providing a self-study guide for dastgahi music and the setar. Surprisingly, there has been little to no effort in the past century to develop such a resource. While current methods of learning yield results, it is essential to recognize the value of a structured self-study guide tailored to the unique needs of learners. Just as using a spoon to dig a hole does not make it a shovel, utilizing traditional teaching materials in a self-taught manner does not replace the need for a dedicated self-study guide like SiPare.

The second first

SiPare is the first carefully planned and clear method of teaching and learning dastgahi music.

Here, being carefully planned and clear means that someone has thought about a point and then tested their thoughts in a critical way. Being carefully planned and clear in a teaching method means the following:

The goal and end of the method

It is essential that teaching in dastgahi music clearly outlines its intended outcomes. Unfortunately, this fundamental aspect is lacking in all existing teaching methods. It is crucial to establish from the beginning what level of proficiency the student will reach at each stage of their learning journey. While this may seem like a simple and obvious requirement, it is of utmost importance. Merely stating that a method will enable the student to play dastgahi music is insufficient. The method must specify the type of musician the student will become: a soloist, an orchestra player, an improviser, etc. Each of these roles demands distinct skills and training. This lack of clear objectives is why I believe current methods fall short.

Path

Once the goal is clear, the path is either made or chosen. The entire path must be well-defined, with its brevity and conductivity carefully considered, measured, evaluated, and tested. The path consists of steps that lead to the destination. Each step must be clear in its purpose and order. If the destination is unclear, the path will be disregarded and meaningless. SiPare has a theory that explains how dastgahi music melodies are composed and constructs the path based on it. None of the current methods have approached the path in this manner. It is also uncertain whether the creators of those methods truly grasped the essence and importance of the path.

One who walks the path

For the first time, this book explores the intersection of education and the student experience. It delves into topics such as understanding the student's desires and needs, the technical challenges they may encounter, and their internal psychological struggles. The book has not only identified these issues but also proposed solutions for them.

The shortness of the path

When the destination is clear, the path should be as short as possible. The book has condensed the path to its shortest possible and effective form.

The pleasure of the path

The path should be chosen in a way that maximizes the student's happiness. The book is the initial method to address and solve the issue of finding joy in the path.

In conclusion, the book is the primary and transparent method for teaching dastgahi music. Other methods need to be assessed using the criteria mentioned above to gauge their effectiveness. Current methods do not meet these standards.

The third first

SiPare is the most extensive and detailed book on dastgahi music. Its thorough treatment of playing techniques sets it apart from other educational books. This first book in a series of seven focuses solely on the shour dastgah, spanning 520 pages. Here are some sample of the details covered in the book:

- The concept of tuning is discussed over 170 times throughout the book.

- The wisdom behind a musician breaking a silence is explored in depth in one chapter, with previous chapters laying the groundwork for this discussion.

- Potential mistakes that students may make in the shour sastgah are carefully anticipated, with solutions provided.

The book offers the most comprehensive setar instruction available and addresses the needs of setar enthusiasts that have not been met by other resources.

The fourth first

The book has, for the first time, sought and succeeded in finding clear rules for many of the fundamental playing instructions. The existence of these grammatical rules means that the instructions themselves must be based on other instructions. Instructions must have rules, which means that each instruction must be based on and be an example of a higher instruction. In a normative teaching method, the teacher should not simply point out the downstroke (left) and upstroke (right), but instead explain that here you should play left because of point A. Wherever A is - as you know, and this is the norm - we should play left. An example of the anomaly in current teaching methods is that if you ask where to play left stroke and where the right, you may not receive a clear answer. Isn’t it amazing? Even these most basic instructions have not yet been standardized because there is no theory of dastgahi music that can clearly answer such simple questions. SiPare provides a clear and simple norm and rule for the right and left stroke, along with many other norms. This is the first time a method has been developed to seek and learn the norms and rules of playing, and it is also the first time that a method has successfully found those norms and rules.

The fifth first

The book SiPare is the first written instruction for teaching dastgahi music from the very beginning.

Many people believe that teaching should not start with the radif and that reaching that level takes a long time. However, in my experience, their opinions are based on untested theories and unverified claims. Interestingly, the greatest musicians from the past century to the present were all taught using this radif from the start. The book has tested and demonstrated how one can begin teaching with the radif from the very beginning.

It may be surprising why no writing has been prepared for teaching the radif before. In my view, this gap is due to the indifference, lack of motivation, or incompetence of previous generations. I would like to mention that the book is the first to deliberately, consciously, and methodically edit the radif. This may seem strange to some, as if editing a sacred text. This discomfort and surprise arise from the fact that most radif enthusiasts have not deeply analyzed the goodness, beauty, and strong structure of the radif. Therefore, they are unable to enhance its strengths or address its weaknesses. Their discussions about the radif are often superficial and insincere. This lack of knowledge and understanding stems from a lack of a method to appreciate the beauty and strength of the radif. Without this knowledge, there is no desire to explore further, which, if present, would undoubtedly lead to a deeper understanding. "Wherever there is trouble, there goes the cure; wherever there is poverty, there goes the blessing." - Rumi

The sixth first

The book is the first systematic approach to addressing the spiritual content and essence of Persian music in music education. In this context, content refers to the soul and meaning of Persian music that is conveyed through the body and physics of the music itself. These meanings may vary depending on the performer or listener, but they can be categorized into specific groups. From this viewpoint, dastgahi music serves as the musical expression of these contents, also known as Gahan in the book. SiPare introduces a new method of education that involves exploring and practicing with these gahan. It has been discovered that refining and shaping melodies is not achievable without understanding the essence of those melodies. Additionally, practicing with themes breathes life and vigor into the student, encouraging them to persevere through the challenging process of learning with greater motivation. The interconnectedness of the body and soul of the melody is evident in SiPare through various examples. For a clearer understanding, one can observe the gahan (mental state) or the essence of the melody. As Ghazali Tusi aptly stated, the voice of prayer is not loud because the listener of the prayer is not deaf but the most attentive of listeners. This illustrates the link between the prayer (content) and the voice of the worshiper (musical expression of the prayer), preserving the voice as intimate, internal, and profound. The book unveils the physical and corporeal attributes of each voice and technique derived from the essence of the gahan that seeks expression through music, marking a significant advancement in the learning and teaching of this music.

Present-day dastgahi music is facing a decline, which I attribute to a disregard for the spiritual core of this music (contents, meanings, states, etc.). The book not only guides students towards the radif but does so in a meticulous and comprehensive manner. This marks the first instance where the poetic essence of dastgahi music has been systematically explored. The detailed scope of this systematic approach can be found in the book, with limited space to delve into it further here.

The seventh first

For the first time, the book has taken steps to create a philosophy for Persian music that can have global application beyond the scope of this music. Some parts of the philosophy of Persian music are explained in the book itself. It is difficult to elaborate on it here, but it is worth noting that there is currently no established philosophy of music in Iran. In Iran, there is no philosophical approach to music, especially to Persian music. When discussions arise about Persian music, they often focus on music theory or the history of musicians, rather than the music itself. However, understanding music goes beyond music theory and historical context.

The book encourages lovers of Persian music to focus on the music itself rather than just the theory behind it. Music is a subjective experience that resides within the brain and the human being, not in the external world. Music is not sound but is caused by sound; it requires a deeper level of understanding. The book suggests that we begin to truly understand Persian music.

One method the book introduces is called Metamusic, which starts with an understanding of silence. The author believes that teaching dastgahi music without understanding the essence of the music is a futile task. This new approach to Persian music education offers a way to delve into the soul of the music and gain a deeper appreciation for all types of music worldwide.

The eighth first

For the first time, the book provides a simple way to measure and evaluate the classical correctness or incorrectness of a piece of dastgahi music, as well as its eloquence, rhetoric, and structural beauty to some extent.

Imagine someone wanting to judge a piece of dastgahi music, whether performed by a student or a master, to determine its correctness, eloquence, solidity, maturity, and refinement. What can they say about it using the vocabulary commonly used by musicians today? My answer is: Currently, there are no precise terms for such judgment, indicating a lack of a standardized method for evaluation. Essentially, without a theory to guide them, individuals are unable to provide a clear, well-founded assessment. This represents a significant shortcoming and apathy among dastgahi musicians who struggle to offer insights into the structural quality of a piece and its performance beyond mere praise or criticism.

The book offers a means for individuals to confidently discuss and evaluate the rawness and maturity of their performances. Additionally, this theory enables them to appreciate, analyze, and learn from the expertise of a master musician without resorting to empty flattery or unwarranted praise.

The ninth first

The book for the first time created the rules of notation in a way that the sounds are written according to the same rule as they are composed and played. SiPare, as mentioned, found the rule in the structure of dastgahi music melodies. Now, notation is done in a way that accurately reflects those rules.

The book observed the general regularity in the notation of dastgahi music, insisted on it, and achieved it. The regularity of notation means that a melody, line, or word (any piece of music) can be written in only one way. In other words, no matter how two people write a piece, their writing will be exactly the same if they follow the rule. Similarly, there is a regularity in writing in every language where a statement can only be written in one way and each writing can only be read in the same way. Following this principle, each piece must be played in one tone (and no more), and each tone must be played in only one way.

The book also offers a new suggestion for improving the accuracy of the current Persian script. In the current Persian writing style, it is sometimes observed that the order and clarity are lacking, which is a shortcoming. Currently, the word زیبایی meaning beauty, زیبایی referring to a beautiful thing, and زیبایی meaning "you are beautiful" are all written the same way. This causes confusion as زیبایی can be interpreted in multiple ways, requiring the reader to pause and think to understand it correctly. To address this issue, Dariush Ashouri suggests writing the word زیبایی referring to a beautiful thing as زیبایي, زیبایی meaning beauty as زیبایی, and زیبایی meaning you are beautiful as زیبا ای. Instead of using ي, I propose using زیبایے :ے. the letter ے which I think is more in line with Iranian aesthetic and is also used in Pahlavi script for the indefinite article. In Nastaliq calligraphy, it is sometimes written as a stretched ی.

Each script, including the musical script, contains various types of materials (constructive pieces) and rules for combining them. These rules and materials must be clear and not excessive. This is the essence of the regularity of writing and notation.

For the first time, this book created a notation system where sounds are written according to the same rules they are composed and played. This book has established rules based on the structure of dastgahi music melodies. Now, the writing (notation) accurately reflects these rules.

The author has been searching for a comprehensive regularity in the notation method of dastgahi music, and it appears that he has achieved it. The regularity of notation ensures that a melody or gushe can only be written in one way. In other words, regardless of who writes a piece, their notation will be identical if they follow the rules. Just like in language, where a statement can only be written one way and read the same way. Following this principle, each piece must be played in a single tone (and no more), and each tone must be played in only one way.

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