using a small brass plectrum known in Persian/Azerbaijani as a mezrab/mizrab. That is held in the right hand and used in a combination of upstrokes (alt) and downstrokes (üst) along with occasional tremolos in both directions. Meanwhile the notes are selected by the placing of the fingers of the left hand, with notes sometimes bent by a motion of the placed finger as in blues guitar. The addition of an un-plucked note as a trill on top of the plucked bass note is known in Azerbaijani as lal barmaq – literally “muted finger”., while a somewhat similar effect called jirmag is achieved by using the fingernail to strike the string. This gives a more poignant 'scratching' sound. Azerbaijani tar The "Azerbaijani tar", "Caucasus tar" or the "11 string tar" is an instrument in a slightly different shape from the Iranian Tar and was developed from the Persian tar around 1870 by Sadigjan. It has a slightly different build and has more strings. The Azerbaijani tar has further one extra bass-string on the side, on a raised nut, and usually 2 double resonance strings via small metal nuts halfway through the neck. All these strings are running next to the main strings over the bridge and are fixed to a string-holder and the edge of the body. Overall the Azerbaijani tar has 11 strings and 17 tones. It is considered the national instrument of Azerbaijan. According to the Encyclopædia Iranica, Azeri art music is also performed in other regions of the Caucasus, mainly among Armenians who have adopted the mugham system and musical instruments such as the kemancha and tar. A tar is depicted on the reverse of the Azerbaijani 1 qəpik coin minted since 2006 and on the obverse of the Azerbaijani 1 manat banknote issued since 2006. In 2012, the craftsmanship and performance art of the tar in Azerbaijan was added to the UNESCO's List of the Intangible Cultural Heritage of Humanity. Music therapy The melodies performed on tar were considered useful for headache, insomnia and melancholy, as well as for eliminating nervous and muscle spasms. Listening to this instrument was believed to induce a quiet and philosophical mood, compelling the listener to reflect upon life. Its solemn melodies were thought to cause a person to relax and fall asleep. The author of Qabusnameh (11th century) recommends that when selecting musical tones (pardeh), to take into account the temperament