Iranian Tar: The definition of tar in the Moein dictionary is: The Persian instrument composed of five string which plays with small pick and a thin layer of lamb’s skin covered the box. Tar is one of the Persian chordophones which plays with plectrum . Tar is mostly prevalent in iran, some other regions of the Middle East such as Afghanistan, Tajikistan, Azerbaijan and Armenia and Georgia and other areas near the Caucasus. In Persian Tar means “ sting”, although it may have same meaning in other languages such as Kurdish. Thus, researchers believed that Tar has a identical root among other ethnicities in Iran as it is called as the Iranian Cultural Continent. Tar used to have a five strings. Gholamhossein Darvish or Darwish Khan added a sixth string that is still in use According to the narrative of Tar had been existed from the time of Farabi (c. 6 AH - 6 AH) a Iranian musician, then it became more perfect by Safieddin Ermavi and others. On this basis, a trace of Tar is found in the paintings of the Eighth Heaven Palace in Isfahan which back to the Safarid dynasty of the eighth century (AH). Also, playing this instrument during the Zandieh era was common in Shiraz. However, the specific name of this instrument is not found in the sources of the Zandiyeh period, and therefore, it may have been a different name at that time. Tar with a specific specification which is now common had been observed in Qajar period.Tar is called as Iranian National instrument according to Morteza Hananeh. Ruhollah Khaleghi( professor of Persian music) in his book named the story of music said: the name of Tar (Saz) has been mentioned in the poetry of Farrokhi Sistani. Tar is constructed according to Iranian culture. Some curves and arches used in instruction of Tar is similar to what is seen in calligraphy, painting, miniature and Iranian architectures and it have been become more perfect and complete as the time passes. The latest modifications have been made by Darwish Khan, a professor of Persian music (January 1, 2009), with the addition of a sixth string to complete and extend the acoustic range. Tar has 27 tone (less than three cotaves). The latest technical and virtuosity modification is made by a famous composer master John II. He designed a wooded node so called as four flower shape symmetrically on its box. In any case Tar is an ancient instrument. Some call it the six- string or (sheshta) and others named a modified form of Robab and finially some researchers believed that it belong to and old Tanbour family or Barabat. Modification made on Tar: At first step musicians put Tar on their feed rather than to chest. For this reason the right foot must be placed on top of the left food. Thus if there isn’t any chair, the musician will faced with problem in a case of handling it. So, some modification has been made for this purpose. The size of box, bowl and proportion of their size to its fingerboard was changed according to traditional Iranian architecture, as the sound is exactly fixed with Iranian traditional music demands. This type of Tar was too light to keep it on men’s feet and it slips while playing. Thus, they increase the height of music box and increase the volume by increasing the diameter of music box. Administration of plectrum: it is used to administer a large waxes as a plectrum which easily fit with the hands of musician. It make is easier to create strong and pity left and right plectrum with a fine countable and fast rhythm. Nowadays new plectrum has been replaced and the way of introducing soft and fine sound is changed accordingly. Addition of sixth string: it is narrated that Mushtaq Ali Shah in Zandiyeh Darwish period, added this string to the sub-bas string. This string had disturbed the harmonics of sound track’s performance and it produced a redundant voice among other homogeneous sounds. For this reason this strings is tuned in a way that it can’t perform a musical rank with such tun and lost is originality and beauty although it is possible to play a sweat songs with this instrument. Structural features: Tar belongs to Persian chordophones which plays with plectrum which made of wood, Skin, bone, metal and caged sponge. The overall length is 96 cm. the musician placed it horizontally on its thigh in a sitting position. The musician wrapped fingers of his left hand on the straps fasten on the fingerboard and tab strings with plectrum with right hand. Tar consist of these parts: Resonant box: this box is made of a mulberry wood with two hollow volume ( one larger than other) . The larger part is called a box and the smaller one is called a jar .they mounted the open space of resonance box with skin. The Vault is placed on the skin of box. Skin: the open part of resonance box is filled with a thin section of lamb or goat skin Vault: it is usually made of bone which placed on the skin of box with its two small pedestals. Its length is 8cm and has a 2cm height. Each string is placed individually one the small vault slots. Fingerboard: this is made of walnut or mulberry wood which is a tubular with 50 cm height and a diameter of 4 cm. straps is placed at a regular intervals. Claw and earpiece box: it is placed on the top of fingerboard. It consist of 6 earpiece which strings are stitched to them. Pawl: pawl is a thin, low-lying piece of metal usually made of brass. It is about 4-3 cm height that half of its length is covered with hand of musician and consist of waxes. Strings: Tar consist of 6 string, which first and second strings are made of white metal, third and fourth strings are made of brass, the fifth one is a white metal and it is threaded string and the sixth string is made of yellow metal and it is called as a brass string. Tuning: The open-hand tune is a quarter-down and octave six-stranded string. The string can be changed as the player needs. There are usually variations in the performances of the twelve national music bands of the fifth and sixth cords. Tar notation carries a second-line TB key. Scratch and double or triple chords can be played on the string. The notes can be played on the bass string with the right thumb. The fingerboard is extended up to the heel to add to the six strap (one quarter hand distance) by Master Ali Naqi Wiziri  Clawing is a kind of playing at the level of the masters, so that the left hand on the strings stays unchanged, and the next finger picks up the string, making the sound. Taken" or so-called "Pizzicato" is a type of playing that immediately , the resonance is followed after the last sound by the same finger or the next fingers of same hand. Push is also a term used for playing on the wall to create a softer, more mature sound. Occasionally, a stump is struck with a strap and the left fingers play a short song. The sound can be changed by variation in the size and shape of the bowl, the fingerboard, and the skin, and made some other type of Tar which named as Alto Tar. Although none of these instrument is administered frequently Common sign in Tar In string music, like other instruments, contractual signs are used to finger and create special modes, the most common of which are: • O = Open Hand Mark (Absolute Sound) • ^ = Right plectrum sign, that is played from top to bottom. • ν = The left plectrum sign, that is played from bottom to top. • T = mark for the execution of the stretching time of the note with a fine string • + = Run with left thumb on bass string • musician keep the stretch of notes with fine straps. Playing right and left strings in successive, machine-gun, equal and relatively rapid manner is called "fine". Fingerprints on the first and second string are numbered 1, for the left forearm finger, and 1 and 2 and 1 for the next fingers, respectively. They put these numbers on the sheet. To finger the second and third string below the numbers, they draw a small semicircle that reminds them of the use of the strings and their fingers. The terms "upper fingerboard” (near the earpiece), middle of fingerboard, and "lower fingerboard" (near the handle) are common in stringing. All the signs of the modes and gestures of music theory can be written in the same way and they are applicable. Specification of good Tar Good Tar has low pitch transparent voice Does not make a sting in the middle of fingerboard. If the instrument makes a deafening sound and does not reveal changing the string and straps it indicates that the fingerboard is tilted and twisted. Whatever the plectrum beats the strings its sounds gets better. In this case Tar is a favorite of the musician, since the old strumming instrument is much nicer than the new instrument.  The quality and shape of the plectrum are very influential in the sound of the performer.  The instrument must have a good sound volume and no excessive buzzing, the volume of all strings should be proportional. In many instruments, the Do and sol strings fall apart, meaning they are stitched together at the top, but fall at the end of the strings harness back or forth, and this is most evident with the diapason or tuner expansion. The most important thing about a good instrument is that its sound is clear and without additional sound musicians: Mr Ali Akbar Khan Farahani Mr Hossein Qoli Mirza Abdullah   Darwish Khan Alireqi Vaziri The famous Moses Ali Akbar Shahnazi Morteza Ney Davood Abdul Hussein Shahnazi Thanks again Ataka Jangkou Mohammad Reza Lotfi Contemporary musicians: Jalil Shahnaz Houshang Zarif Hossein Alizadeh Saturn silent Dariush Pyrniak Hamid Motebassem Majid Derakhshani Shahram Mir Jalali Mohammad Reza Lotfi Builders: Ous Farajullah John the First John II Abbas and Ja'far Sanat Ramazan Ali Shahrokhi Contemporary: Ebrahim Ghanbari Mehr Youssef Poria Mahmoud Farahmand Ramin Jazairi Hossein Azizi