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In spite of the fact that rigonal music of Iran as with conventional
classification of melodies in traditional Iranian music- is monophonic (and originally a subordinate of heterophonic form), it is, nevertheless, approached with- though not consciously somewhat like polyphonic forms.
These multi-Voices, . semi-Polyphonic form are, as per secent studies, as follows:
1. Countering of tones-voices caused by the alternate per formance of the melody by two singers, so that the second begins to sing prior to the conclusion of
the melody by the first (performer).
2. Imitation due to perfornance
of the melody by several singers (or instrument or players) with delay and alternation.
3. The Case, when a single melody represented and transformed simultaneously (a heterophony variant).
4. Singing shifts letween the so list and chorus (responsive form) or anti-phoner form leads to the clash of tones, as the chorus performs the next passage before the solist (or chorus) compteles a single passage of the song.
5. Multi-voices, caused by the performa:1ce of melody by several singers, so that cach presents the melody in apace or tone segister
according to his physiological capabilities.
6. Accompaniment of the first tone (voice) using the alternating shifts, or by pursue of the movement of ascent and descent of melody in the instrumental
performances of Tamira (In Larestan (Province), Dotar (in Kurdestan) and Tamedera (in Turkmen - inhabited areas of Iran), constitutes the parallelism of the two voices in a conscious manner.