207:
181:
171:
528:
501:
352:
325:
298:
271:
792:
451:
136:
431:
390:
s, is overwhelmingly diatonic. No leaps larger than a perfect 4th are made. Most leaps of 4ths actually occur between the end of one phrase and the beginning of another. In other situations, an upward leap of a 4th is relatively common, from the 2nd below to the 3rd above the finalis, at the
577:
contains much redundancy and several short and insignificant pieces. The present study has been concerned with larger and more singular pieces, most of which would be included in a normal but extended performance of Šur.
203:
The 3rd below is also used frequently in cadences. In such situations it is used ascendingly, resolving to the 2nd below and then to the finalis. Here, the 3rd below is higher than its octave (6th above) by a micro tone,
250:, the finalis may be approached by way of a) the 2nd below, b) the 3rd and 2nd below, c) the 2nd above, or d) the 4th above. What precedes these approaches can be brief or extensive depending on the extent of
535:
508:
359:
332:
305:
278:
458:
187:
The 6th above has no significant role except as a note of resolution for the 5th when used ascendingly (a). The 7th above can be, and frequently is, entirely omitted.
439:
Leaps of 3rds between the notes of the main tetrachord are used sparingly, generally in sequential and ornamental passages, as shown in the following score in
719:
641:
some of the Gušes may be left out altogether, and the order of those included may also vary. This observation will hold true in all of the
960:
200:
in
Persian) and in cadences, where one of the most common cadential patterns involves a progression from the 2nd below to the finalis.
691:
683:
178:). This lowering is responsible for the creation of a sense of finalis for the 4th above, since by lowering the a to a
712:
649:
s are listed and described represents, at best, the most common arrangement of the most noteworthy pieces in each
549:
These formulae, as the basis for improvisation, have been arrived at after analysis of numerous improvisations in
922:
43:
928:
819:
781:
955:
705:
761:
771:
766:
662:
573:
637:. They may be performed in that order, but the order is by no means fixed. In a given performance of
28:
776:
168:
in
Persian). When the melodic line is descending, it is usually lowered by a micro tone from a to a
98:
108:. A great many folk tunes, from different parts of Persia, are founded on the modal schemes of
687:
679:
56:
es, however from a merely technical point of view, one can consider them as an ensemble of 12
401:
104:
92:
20:
756:
86:
824:
407:
192:
148:
The tetrachord above the finalis (marked with "F") is the focal point of melodic activity.
80:
52:
190:
The 2nd below (marked with "Ā") has considerable importance both as a frequent note of
949:
917:
728:
566:
227:
assumes a very significant role as a unifying agent which binds together the various
175:
154:
The 4th above is the minimal high point in the mode, and has considerable prominence.
845:
829:
814:
800:
391:
beginning of a phrase. An upward and then downward leap of a 4th is common in the
254:
improvisation. The following scores, give an average length for each of these
78:. It contains a large body of pieces, and in its domain belong four important
157:
The 2nd and particularly the 3rd above the finalis are also heard frequently.
206:
180:
170:
395:
d as shown above. This type of ending is also used in a number of other
737:
72:
36:
527:
500:
351:
324:
297:
270:
934:
450:
135:
430:
701:
697:
124:
is conceived within the modal structure shown below for
415:, which involves the leap of a 4th down, is known as
46:(Classically, Persian Music is organized into seven
863:
799:
744:
184:, the original tetrachord is recreated from g.
71:is in some respects the most important of the
713:
8:
488:are transcribed in the following scores in
720:
706:
698:
561:s which are part of the organisation of
151:The finalis is the most emphasized tone.
472:To illustrate the melodic character of
144:The characteristics of this mode are:
160:The 5th above (marked with "M") is a
7:
678:(Cambridge University Press, 1990).
676:The Dastgāh Concept in Persian Music
423:in Persian) (see the score below).
24:
411:). The very final portion of this
14:
790:
694:(first paperback edition, 2004).
526:
499:
449:
429:
350:
323:
296:
269:
205:
179:
169:
134:
1:
480:, two different formulae for
120:s. The melodic formation in
977:
645:s. The order in which the
565:are performed. A complete
961:Persian words and phrases
923:Persian traditional music
913:
838:
788:
735:
476:, as represented by the
378:The melodic movement of
825:Avaz-e Bayat-e Esfahan
243:pattern is used. In a
35:) is one of the seven
32:
888:Darāmad-eZang-e Šotor
782:Dastgah-e Rastpanjgah
929:Great Book of Music
830:Avaz-e Bayat-e Kord
815:Avaz-e Bayat-e Tork
762:Dastgah-e Chahargah
589:are the following:
772:Dastgah-e Homayoun
571:, such as that of
112:or its derivative
943:
942:
239:s, more than one
968:
794:
793:
722:
715:
708:
699:
542:
541:
540:
538:
530:
515:
514:
513:
511:
503:
465:
464:
463:
461:
453:
433:
366:
365:
364:
362:
354:
339:
338:
337:
335:
327:
312:
311:
310:
308:
300:
285:
284:
283:
281:
273:
209:
183:
173:
138:
26:
976:
975:
971:
970:
969:
967:
966:
965:
946:
945:
944:
939:
909:
859:
853:Nava-e Nishapur
834:
795:
791:
786:
767:Dastgāh-e Māhur
757:Dastgah-e Segah
740:
731:
726:
674:Hormoz Farhat,
671:
663:Dastgāh-e Māhur
659:
557:section, those
536:
534:
533:
532:
509:
507:
506:
505:
459:
457:
456:
455:
376:
360:
358:
357:
356:
333:
331:
330:
329:
306:
304:
303:
302:
279:
277:
276:
275:
217:
66:
12:
11:
5:
974:
972:
964:
963:
958:
948:
947:
941:
940:
938:
937:
932:
925:
920:
914:
911:
910:
908:
907:
904:
901:
898:
895:
892:
889:
886:
885:Darāmad-e Ḵārā
883:
880:
877:
874:
871:
867:
865:
861:
860:
858:
857:
854:
851:
848:
843:
839:
836:
835:
833:
832:
827:
822:
820:Avaz-e Afshari
817:
812:
811:Avaz-e Abu'ata
809:
805:
803:
797:
796:
789:
787:
785:
784:
779:
777:Dastgah-e Nava
774:
769:
764:
759:
754:
752:Dastgah-e Shur
748:
746:
742:
741:
736:
733:
732:
727:
725:
724:
717:
710:
702:
696:
695:
670:
667:
666:
665:
658:
655:
547:
546:
545:
544:
520:
519:
518:
517:
470:
469:
468:
467:
437:
436:
435:
434:
375:
372:
371:
370:
369:
368:
344:
343:
342:
341:
317:
316:
315:
314:
290:
289:
288:
287:
216:
213:
212:
211:
201:
188:
185:
158:
155:
152:
149:
142:
141:
140:
139:
65:
62:
13:
10:
9:
6:
4:
3:
2:
973:
962:
959:
957:
956:Persian music
954:
953:
951:
936:
933:
931:
930:
926:
924:
921:
919:
918:Persian scale
916:
915:
912:
905:
902:
899:
896:
893:
890:
887:
884:
881:
878:
875:
872:
869:
868:
866:
862:
855:
852:
850:Bayat-e Qajar
849:
847:
844:
841:
840:
837:
831:
828:
826:
823:
821:
818:
816:
813:
810:
808:Avaz-e Dashti
807:
806:
804:
802:
798:
783:
780:
778:
775:
773:
770:
768:
765:
763:
760:
758:
755:
753:
750:
749:
747:
743:
739:
734:
730:
723:
718:
716:
711:
709:
704:
703:
700:
693:
692:0-521-54206-5
689:
685:
684:0-521-30542-X
681:
677:
673:
672:
668:
664:
661:
660:
656:
654:
652:
648:
644:
640:
639:Dastgāh-e Šur
636:
632:
628:
624:
620:
616:
612:
608:
604:
600:
596:
592:
588:
587:Dastgāh-e Šur
584:
579:
576:
575:
570:
569:
564:
563:Dastgāh-e Šur
560:
556:
552:
551:Dastgāh-e Šur
539:
529:
524:
523:
522:
521:
512:
502:
497:
496:
495:
494:
493:
491:
487:
483:
479:
475:
462:
452:
448:
447:
446:
445:
444:
442:
432:
428:
427:
426:
425:
424:
422:
421:pigeon's wing
418:
417:Bāl-e Kabutar
414:
410:
409:
404:
403:
398:
394:
389:
385:
381:
373:
363:
353:
348:
347:
346:
345:
336:
326:
321:
320:
319:
318:
309:
299:
294:
293:
292:
291:
282:
272:
267:
266:
265:
264:
263:
261:
257:
253:
249:
246:
242:
238:
234:
230:
226:
222:
214:
210:instead of b.
208:
202:
199:
195:
194:
189:
186:
182:
177:
172:
167:
163:
159:
156:
153:
150:
147:
146:
145:
137:
133:
132:
131:
130:
129:
127:
123:
119:
115:
111:
107:
106:
101:
100:
95:
94:
89:
88:
83:
82:
77:
75:
70:
63:
61:
59:
55:
54:
49:
45:
44:Persian Music
41:
39:
34:
30:
22:
18:
17:Dastgāh-e Šur
927:
846:Bayat-e Kord
751:
675:
650:
646:
642:
638:
634:
631:Bayāt-e Kord
630:
626:
622:
618:
614:
610:
606:
602:
598:
594:
590:
586:
582:
580:
574:Musā Ma'rufi
572:
567:
562:
558:
554:
553:. After the
550:
548:
489:
485:
481:
477:
473:
471:
440:
438:
420:
416:
412:
406:
400:
396:
392:
387:
383:
382:, as of all
379:
377:
259:
255:
251:
247:
244:
240:
236:
232:
228:
224:
220:
218:
197:
191:
165:
161:
143:
125:
121:
117:
113:
109:
103:
99:Bayāt-e Tork
97:
91:
85:
79:
73:
68:
67:
64:Introduction
57:
51:
47:
37:
16:
15:
29:Azerbaijani
950:Categories
669:References
595:Mollā Nāzi
235:. In most
231:s in that
162:Moteqayyer
25:دستگاه شور
903:Neydavood
894:Čahār-bāḡ
870:Jāmadarān
581:The main
419:(meaning
258:types in
219:In every
198:beginning
196:(meaning
164:(meaning
50:and five
873:Deylaman
842:Shushtar
657:See also
492: :
443: :
399:s (e.g.
166:variable
128: :
48:Dastgāhs
897:Kerešma
876:Delkash
745:Dastgah
738:Dastgah
651:Dastgāh
643:Dastgāh
635:Gereyli
627:Hoseyni
555:Darāmad
482:Darāmad
478:Darāmad
402:Homāyun
397:Dastgāh
384:Dastgāh
374:Darāmad
237:Dastgāh
233:Dastgāh
221:Dastgāh
114:Dastgāh
74:Dastgāh
58:Dastgāh
38:Dastgāh
21:Persian
935:Tasnif
906:Golriz
900:Bozorg
690:
682:
623:Qarače
619:Šahnāz
603:Bozorg
599:Golriz
591:Salmak
537:listen
510:listen
460:listen
386:s and
361:listen
334:listen
307:listen
280:listen
116:s and
105:Afšāri
93:Abuatā
891:Ḥeǰāz
882:Bīdād
864:Gusha
856:Rahāb
729:Radif
615:Ozzāl
611:Qajar
585:s of
568:Radif
490:Šur D
484:s of
441:Šur D
413:Forud
393:Forud
260:Šur D
256:Forud
252:Forud
248:Forud
241:Forud
225:Forud
215:Forud
176:koron
126:Šur D
102:and
87:Dašti
801:Āvāz
688:ISBN
680:ISBN
647:Guše
633:and
607:Xārā
583:Guše
559:Guše
525:(b)
498:(a)
408:Navā
405:and
388:Guše
349:(d)
322:(c)
295:(b)
268:(a)
229:Guše
223:the
193:Āqāz
118:Guše
84:es:
81:Āvāz
60:s).
53:Āvāz
879:Dād
486:Šur
474:Šur
380:Šur
245:Šur
174:(a
122:Šur
110:Šur
69:Šur
42:of
33:Şur
952::
686:,
653:.
629:,
625:,
621:,
617:,
613:,
609:,
605:,
601:,
597:,
593:,
262::
96:,
90:,
31::
27:;
23::
721:e
714:t
707:v
543:)
531:(
516:)
504:(
466:)
454:(
367:)
355:(
340:)
328:(
313:)
301:(
286:)
274:(
204:b
76:s
40:s
19:(
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