The training courses of tar class always faced many problems
and sometimes postponed up to two years, but what should be said apart from the topic of instrument making, is ethics and character of the dear masters, such that the art students taking steps in that way easily understand this issue. None of the masters of music, singers, or producers of instruments agree with the others in terms of work, art, training, and according to old people, they are bitter enemies, and this is unfortunate.
I started making tar in 2001 with one of the old masters of Isfahan (Master Goli) for a few months but I received many instructions in this work from valuable masters such as Master Rzizadeh , Master Shojaei, Master Azizi, Master Rezvan, Master Borjian, Master Sabet, Master Mohammadi, and Master Ghorbanpour.
I always regret that the time and atmosphere of music and the weakness in teaching this art in my country, Iran, never allowed me to continuously use the presence of precious instrument-making masters, some of whom are no longer alive. I sincerely hope that the great masters who are working in this field will be more open-minded about training for the next generations.
It is necessary to mention the book of instrument-making art written by the great master Hossein Masoud, who has always been with me like a precious reference