Persian classical music (traditional or modern) is organized into modal systems. A mode is a scale that has sound data in its internal organization and its own character development: it is the SPIRIT mode, the "perfume". Mode is composed of melodic sequences (the "goushés") the number varies for each mode. The goushés have name, but for most of them, they have no definite rhythm. Many were lost during the Arab occupation and because of oral transmission. The work of the artist is to enter the selected mode until you find the spirit. It can then interpret the directory, vary or improvise and compose. The Iranian musician does not grow virtuosity for its own sake, it mobilizes all its power to achieve fullness expressive, "Hal" ecstasy.

• Before Islam, music was an important and intense cultural life.
• Year 621: invasion of the Arabs. Prohibition of arts (including music) and silencing devaluation of a rich culture.
• Intensity of musical life, however, until the sixteenth century and irremediable decline for three centuries.
• 1906: musical revival (linked to the democratic revolution) that affects all social classes thanks to the master Darvish Khan; transcription start (music transmitted however orally).
  

Târ

In the Persian language, târ means "rope." Tar is a Chordophone, a long-necked lute family of Rabab that exists in Persia at least since the sixteenth century. Tar, as we know it today, have appeared in Iran in the early nineteenth century. Nowadays, it is played in the Caucasus by the Azeris, Armenians, in Iran and in Central Asia. Its appearance may vary from one region to another, particularly in the shape and size of the openings of the resonance double. Tar is characterized by the skin membrane in lieu of soundboard. It now has six strings. The soundbox shaped "eight" is covered by lambskin. Generally, the handle is made of two strips of camel bone, separated by a strip of wood. Târ is played with a plectrum metal covered by a ball of wax called zakhmeh (or Mezrab).

Sêtâr

Setar is composed of two words, which are three and târ that means "three strings". It is a direct descendant of the tambour. Setar consists of a long handle attached to a sounding pear spherical bottom composed of thin strips of wood (beech or mulberry) glued-laminated. The soundboard beech is very thin and break very small gills. The handle, long and thin, is fruit or walnut and boxwood four pegs. Since two and a half centuries ago, a fourth string was added, often given an octave higher than the bass string to make it bigger. This is a plucked string instrument that is played with the nail of the index finger.

Tonbac

Chalice drum skin glued, played with each finger of both hands. Initially accompanying instrument, it gained acclaim in the 50s with Ostad Hossein TEHERANI who developed a technique that enabled solo plays. Dariush Zarbafian continued to develop this approach for more expressive instrument. 

santour

Santour is a string instrument and melodic percussion instrument. It exists in Iran, India, southern Russia and in Gypsy, under different names (cimbalom, chang, sintur). Trapezoidal Santour includes nine choirs of four strings based on a movable bridge hardwood (tuning pegs placed at right). With lengths of rope and different components (brass bass, treble steel) gives a range of two octaves and a half. It has 72 strings, arranged with the help of 18 bridges on a trapezoidal soundboard. Two small vents in the shape of flowers or roses, allow better circulation of resonance. They are complemented by an opening in the middle of the back strap, providing a greater volume and allowing adjustment of souls. Santour is played by striking the strings with two sticks (Mezrab), very light (wood or boxwood medlar), held the first three fingers. The end of "Mezrab" is covered with felt, imitating the sound of the piano. The "rice" (continuous roll) is obtained by rapidly alternating shots left and right.

kamunche

Kamanche means small arc. The spike fiddle with round resonance and soundboard lambskin. This is a bowed instrument known in Iran, Azerbaijan, Turkey, Egypt, Tibet. It is also spread in some cities of the Far East under different names. Its uniqueness lies in its spherical shape that distinguishes it from all other stringed instruments. It has four strings and it is played with a bow (which remains fixed while the instrument is rotated on its axis) variable tension is required; not above like the violin but backed down, the palm of the hand is visible. The musician sits on the floor (or chair), pike resting on the knee or thigh.

ney

Ney is a flute, an oblique terminal mouth reed whose earliest forms date back to the age of the pyramids. We can also find these oblique flutes spelling nai. The Iranian style of play is to position the mouth between the teeth (incisors) and direct the breath with the tongue curled inside the mouth and one side of the upper lip raised to let the sound. The result is a refined sound and powerful. Ney is held upright but changes positions to allow alteration of notes.