The nagmeh Afshari
This auxiliary dastgah bears the name of one of the larger tribes.
In thescale of shur, Afshari stresses the fourtn degreeas does abu ata,
but the two naghmeh are quite different in character. Abu Ata starts on
the second degree of shur and rises to the fourth,whereas Afshari opens
on the fourth degree stresses it heavily,and then descends. Another
difference is that Afshari has a changing tone,or moteghayer,on the
fifth degree of shur,which may have two values differing by a quarter
tone. Afshari is the naghmeh most independent of the parent dastgah
,for a performance of Afshari rarely ends in Shur.
Three scale degrees of shur are prominent in the daramad of Afshari:
the second,which is the ist of afshari; the fourth ,which is the shahed
and the seventh,a decorating tone. Theorists write the scale of afshari
from the seventh degree of shur: Bb C Dp Eb f G Ab Bb transported
C D EP F G A Bb C. This transcription gives a scale with fewer
accidentals than the one obtaind when Afshari is transposed from note
of stopping,D-koron: Dp Eb F Ab Bb C Dp. The most important
belonging to Afshari are Araq and Rohab,both on th sixth degree.The
0rast kuk is F for tar and settar,B-flat for santur,and C for kamancky.
1. Daramad 2. Baste nagar 3. Goshehai arag