This analysis examines compositional techniques in Iranian violin pieces, suggesting a new Chehārmezrāb that adheres to Saba’s method.
This study examines seven pieces from Abolhasan Saba’s Chapkuk Radif for Violin, analyzing their technical, rhythmic, melodic, and structural characteristics. The analysis focuses on bowing techniques, ornamentation, harmonic structures, rhythmic patterns, phrase structures, and modal elements. Based on these findings, a new Chehārmezrāb was composed in the Esfahan dastgāh, following the stylistic principles of Saba’s work. This research highlights the defining features of Saba’s compositional approach and provides a framework for creating new works within the Persian classical tradition.
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Soroush Shoja Talab Kouchesfahani (2025) studied this question.
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