(*LH | LH) | (LHLH) | (*LHL | H)(L | H | LH) |
bar-in | hamē | kabūdiō | kharɑsh | gerye | kon | alī |
(1.55 | LH) | (1.44) | (1.43 | H)(1.43 | H | LH) |
(*μμμμ | H)(L | H | LH) |
\phantom{a} | gerye | kon | alī |
(1.46 | H)(1.50 | H | LH) |
(*L | H | L | H)(L | H | LH) | (*LHL | H)(L | H | LH) |
to | rɑ | be | jɑne | man | faghat | yavɑsh | gerye | kon | alī |
(1.47 | H | L | H)(1.49 | H | LH) | (1.44 | H)(1.46 | H | LH) |
(*LHL | H)(L | H | LH) |
yavɑsh | gerye | kon | alī |
(1.62 | H)(1.38 | H | LH) |
Translation:
Weep over these bruises and scratches, Ali!
Weep, Ali!
I implore you, weep with a low voice, Ali!
It turns wine into passion
Note:
This poem shares its meter family with that of recording 12 but the tapping rate is considerably slower here. An interesting phenomenon in this recording is the pause at the beginning of the second verse. The second verse has a different beginning than the rest of the verses (we can say that it has a different meter family). Note that this is not necessarily a property of the meter. The performer has chosen to repeat the last three words in the verse in a new verse and has filled the missing initial moras of the new verse with silence. In the fourth verse, the audience pronounces the word "yavɑsh" too, making the silence unnecessary.