Unlike the other examples in this appendix, this recording is part of a musical composition recorded in studio and accompanied by musical instruments (with no audience tapping to the rhythm). Nevertheless, the style of the music falls completely within the nowhe style and the singer (Sadegh Ahangaran) is a well-known nowhe performer (this is one of the first occasions he performs in a piece involving musical instruments). Recall that we are interested in nowhe performances not merely because of the tapping practices, but also because nowhe performances are generally more faithful to the rhythm imposed by the poetic meter. Even though this piece of music does not contain tapping, its rhythmic structure is faithful to that of the poem sung in it and can therefore be used for studying pause lengths in 5-based meters.
Given how uncommon 5-based rhythms are, the untrained ear may hear this rhythm as 6-based, assuming that the initial H in each HLH is longer than the final H. However, measuring the lengths of the syllables confirms that this is not the case. The mean values for the first H, the L and the final H in the 12 metra shown here are 0.370s, 0.171s, and 0.355s respectively. The duration differences between the mean values of the initial and final H's is not statistically significant (an ANOVA test shows p>0.3).