Conjuring

The Tar performance's style is belong to Qajar era around 150 years ago. The Tar player need to be focused on the whole concept of the each melodic segments like a little chan and connect it to the complet melody to the bigger chain/chains.

Bayate Esfahan

The Butterfly Dance
Tar & Compose: Sahba Motallebi
Tonbak: Pejman Hadadi
Mixing and Mastering: Ramin Zamani
 Butterfly Dance is a piece based on one of the beautiful sub-scale in one of the Persian mode called "Gereily in "Dastgah-e Shour". ُThe style of these kind of Tar performance is belong to Qajar era which is almost 150 years ago.
رقص پروانه برگرفته از گوشه گریلی که همان گریه لیلی هست میباشد. این گوشه که متعلق به دستگاه شور است با ساز تار به سبک دوره قاجار نواخته شده است و با ساز تنبک هراهی شده است.

Conjouring

The butterfly Dance

The Butterfly Dance

Persian Girl’s soul
Tar & Compose: Sahba Motallebi
Tonbak: Pejman Hadadi
Mixing and Mastering: Armin Karbaf

Persian girl soul

Persian Girl Soul

Women Dancing
Tar, Bass Tar & Compose: Sahba Motallebi
Kamancheh and Kamancheh Alto: Mehdi Bagheri
Oud 1: Ali Pajooheshgar
Oud 2: Nooshin Pasdar
Viola: Laya Etemadi
Percussions: Pejman Hadadi
Mixing and Mastering: Armin Karbaf
This piece is composed based on one of the Persian form called " Chaharmezrab" which is a fast, happy, and energetic music. This piece is on one of the Persian Maqam called " Avaz-e Bayate Esfahan.

Women dancing

Women Dancing

Ostad Ali Akbar Khan Shahnazi's Memories(1)

Ancient Heritage Anew

Ostad Shahnazi's Memories(1)

Ostad Shahnazi's Memories1

Abouata- Pishdaramad-e Abouata by Ostad Shahnazi- Performed by Sahba Motallebi on Tar and Pejman Hadadi on Tombak- The music style is belong to late Qajar area.

Pishdaramad-de Abouata

Pishdaramade Abouata

Abouata- Reng-e Abouta  by Ostad Shahnazi- Performed by Sahba Motallebi on Tar and Pejman Hadadi on Tombak- The music style is belong to late Qajar area.

Abouata- Reng-e Abouta

Renge Abouata

Shur-  Rohaab by Ostad Shahnazi- Performed by Sahba Motallebi on Tar and Pejman Hadadi on Tombak- The music style is belong to late Qajar area.

To the Memory of Ostad Aliakbar Shahnazi

Shur-  Rohaab

Rohaab

Shur- Reng-e Shour by Ostad Shahnazi- Performed by Sahba Motallebi on Tar and Pejman Hadadi on Tombak- The music style is belong to late Qajar area.

Shur- Reng-e Shour

Renge Shour

Point By Point, Selected Poems by Tahirih Qurratul Ayn- Tar & Reciting poems by Sahba Motallebi

Solace Of The Eyes

Point By Point

A Beauty Mark, Selected Poems by Tahirih Qurratul Ayn- Tar & Reciting poems by Sahba Motallebi

A Beauty Mark

I Pursuit, Selected Poems by Tahirih Qurratul Ayn- Tar & Reciting poems by Sahba Motallebi

I Pursuit

Running After You, Selected Poems by Tahirih Qurratul Ayn- Tar & Reciting poems by Sahba Motallebi

Running After You

His Drunken Eyes, Selected Poems by Tahirih Qurratul Ayn- Tar & Reciting poems by Sahba Motallebi

His Drunken Eyes

I Am Lost, Selected Poems by Tahirih Qurratul Ayn- Tar & Reciting poems by Sahba Motallebi

I Am Lost

From Those Locks, Selected Poems by Tahirih Qurratul Ayn- Tar & Reciting poems by Sahba Motallebi

From Those Locks

Lovers, Selected Poems by Tahirih Qurratul Ayn- Tar & Reciting poems by Sahba Motallebi

Lovers

Just Let The Wind,  Selected Poems by Tahirih Qurratul Ayn- Tar & Reciting poems by Sahba Motallebi

Just Let The Wind

Awareness & Ecstasy, Tar by Sahba Motallebi- Improvisation on "Avaze bayate Tork" a beautiful and peaceful Maqam, which is one of the braches of Dastgahe Shour that is in Persian music system.

Dream & Illusion

Awareness & Ecstacy

Healing Vibration of Shour

This piece is composed and dedicated to my two lovely girls Leily and Shireen

Leily and Shireen

I composed this piece when I was 16 years old and living in Iran. It is about female musicians residing in Iran and their enduring strength to keep Persian music alive (which is forbidden in the country of Iran) even with the threat of governmental persecution for simply being a female musician, but not only for women, for men as well.
Tar, Bass Tar & Compose: Sahba Motallebi
Kamancheh and Kamancheh Alto: Mehdi Bagheri
Oud 1: Ali Pajooheshgar
Oud 2: Nooshin Pasdar
Viola: Laya Etemadi
Percussions: Pejman Hadadi
Mixing and Mastering: Armin Karbaf

Chaharmezrab

Kindhearted Love

New day composed for Persian New year that called " Nowrouz". This specific rhythm on 6/8 is called "Reng" and it's one of the happiest musical form in Iranian music. This piece is dedicated to all Iranian and all Farsi speakers who celebrate Persian New year all around the world.

New Day

3- Vine roots
Tar & Compose: Sahba Motallebi
Mixing and Mastering: Armin Karbaf
 Vine Roots is a rhythmic solo Tar piece that dedicated to Iranian immigrating who left their homeland and left their beautiful memories in Iran to be able to survive and build their life in the new country.

(In this piece I applied Tar extended techniques that has been not used in the past in this instrument.)
قطعه ریشه های تاک، با ساز تار تقدیم شده ایت به تمام ایرانی های محاجر در سرتاسر دنیا که خاطراتشون رو در ایران کشور مادریشون جا گذاشتند تا بتونند در کشور غریب  زندگی جدیدشون رو بسازند و قوی باشند.

Vine roots

One Green Sky
Tar, BassTar & Compose: Sahba Motallebi
Vocal: Sina Sarlak
Kamancheh and Kamancheh Alto: Mehdi Bagheri
Oud 1: Ali Pajooheshgar
Oud 2: Nooshin Pasdar
Viola: Laya Etemadi
Percussions: Pejman Hadadi
Mixing and Mastering: Armin Karbaf
قطعه یک آسمان سبز به استاد حسین علیزاده به پاس بیش از نیم قرن تلاش هنری ایشان تقدیم شده است

one Green Sky

One Green Sky

Birth

"A Tear"
Tar & Compose: Sahba Motallebi
Vocal: Sina Sarlak
Poem: Amirhooshang Ebtehaj
Mixing and Mastering: Armin Karbaf
"A tear" is Tar and Vocal and none rhythmic piece, pre composed and at the same time improvised using our moment's feelings on one of the very beautiful Persian music Maqam called "Avaz-e Bayate Esfahan" 
،یک قطره اشک،تار و آواز، صهبا مطلبی و سینا سرلک،شعر: امیر هوشنگ ابتهاج میکس و مسترینگ: آرمین کارباف
 یک قطره اشک حاصل احساس درونی دو هنرمند بر روی ساز تار و  اجرای آواز است  این ساز و آواز بر روی آواز بیات اصفهان اجرا شده است.

A tear

King's Arrival
Tar & Compose: Sahba Motallebi
Tonbak: Pejman Hadadi
Mixing and Mastering: Armin Karbaf

King's Arrival

Wisdom and Love (عقل و عشق)
Tar by Sahba Motallebi

Wisdom and Love (عقل و عشق)

QUEEN OF THE TAR
Mesmerizing with her command of the tar, setar and shoorangiz, Sahba Motellabli captivates audiences globally with music born from centuries of Iranian tradition, interpreted through a contemporary lens, creating brand new music rooted in the past. She takes the listener on a journey of enchanted song, through a flurry of rhythmic chord hits and punctuated finger-work. Her hands dance across the strings, agile and flexible, effortless even at lightning speed. Known as "Queen of the Tar," or "Jimi Hendrix, but on Tar," Sahba invites us into a terrain of perfected sound with nuanced harmonics and siren-like whispers.
Born into a Baha’I family in Tehran and later relocating to Sari near the Caspian Sea, Sahba began her musical career at age 11 by learning the setar. Three years later, her talent earned her a place at the prestigious Tehran Conservatory of Music. She defied societal norms by moving to Tehran in 1992 where she lived independently and studied music despite the fact that women were not allowed to be seen carrying instruments in public. She experienced a life-altering moment when she was introduced to the tar at age 15 which led her to study with Master Fariborz Azizi and Master Ostad Hossein Alizadeh. She began practicing 8 hours a day, learning the "radif," systems of Persian music. At the Conservatory, she earned the award of Best Tar Player from 1993 – 1996. Then Sahba surpassed all expectations and won first prize for all levels, ages, and genders as the "Best Tar Player" in all of Iran for four years in a row in all festivals and competitions, from 1995 - 1998. In 1999, Sahba was invited to join the Iranian National Orchestra and began her international career. She also founded the first all-female Iranian band ever called "Chakaveh" despite the rule that women were not allowed to perform without men in Iran. At the time, women weren’t even allowed to perform with men in the main concert hall.

Sahba Motallebi

Pinned to spotlight

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