Nearly four hundred gūshehs have been created over the centuries using classical melodic modes, folk music, the singing of heroic tales, and religious repertoires. Persian classical music is based in part on gūshehs, short melodic phrases or themes that have their own set of notes, typical phrases, and mood. She is currently completing her percussion CD Drums and Dreams. Her book Helheleh includes pieces for the daff. Now living in Canada, she works with ensembles of Arab, Bulgarian, Turkish, and Indian music, and she founded the percussion ensemble Sharghi. Naghmeh has performed with Iranian ensembles in Iran, Kuwait, Europe, and Japan. For several years, she accompanied ney (flute) master Hassan Nahid and vocalist Hengameh Akhavan. She studied santur (hammered dulcimer) under Faramarz Payvar and Pashang Kamkar as well as Sufi and Kurdish rhythms on the daff under Bijan Kamkar and Masoud Habibi. Naghmeh Farahmand, the daughter of percussionist Mahmoud Farahmand, started playing tombak at age six. Now living near Los Angeles and teaching Persian music, she continues to perform, publish, and record, including her 2014 CD A Tear at the Crossroad of Time. Two years later she joined the Iranian National Orchestra, which launched her international career. After graduating in 1997, she helped found the women’s ensemble Chakaveh. At age fourteen, she was invited to study at the Tehran Conservatory of Music, where she was named Best Tar Player at the Iranian Music Festival four years in a row. Sahba Motallebi began studying music as a young girl in the seaside city of Sari in northern Iran.

Bahare delneshin, by Rūhollāh Khāleqi (b.

This tasnīf, written by Morteza Neydavoud and Mohammad-Taqi Bahar in the early 20th century, was first recorded by Moluk Zarrabi.

Improvisation on shekasteh (a classical theme).

Pīsh darāmad (Before Entering), by Yousof Froutan (20th century).

Improvisation on āvāz (a classical theme).

Improvisation on kereshmeh (rhythmic realization of a classical Persian gūsheh, or melodic theme).Using approximately the same pitches as the major scale of Western music, māhūr is distinctive among the dastgāhs for its bright mood. Pieces on this podcast are performed in māhūr, one of the twelve melodic modes ( dastgāh) of Persian classical music. Recorded at the Freer | Sackler on March 5, 2017 Naghmeh Farahmand, tombak and daff (percussion)

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