The Theory of music
The art of music is organized into seven systems called dastgah.
The seven main dastga are Shur ,Mahor,,Homayon,Sehgah,Chahargah,
Nava and Rast panjgah.
These satellite system(avaz-song or naghmeh),four belonging to the dastgah
of Shur and one to Homayon.Their individual names are: Abu Ata,
Bayat-e Tork,Afshari and Dashti associated with the dasgah of shur; and
Esfahan,associated with Homayon.The music theoristes usually translate
dastgah as "mode".Each dastgah has its own seven-note scale and some
notes have special sinificance within that scale. When a performer is asked
to define a certain dastgah ,he does not play its scale,but its first Gusheh.
The first few gusheh-ha fill the lower half of the octave, the next few fill
the rest of the octav,and later gusheh-ha may rise to the beginning of the
the second octav. what is important is not the gusheh as a tune but ,in
a sense,the gusheh as genetic material for the creation of new pieces.
For the opening gusheh the daramd , the melodi range.more>>>>
The total number of gusheh-ha in all twelve dastgah(300 melodies)
makes up a body of music called the Radif.more>>>>>
Student learns the sections of the gusheh from books a practice
dating from the last two decades when the gusheh-ha were noted
and published by several masters.
C> ONE MICROTONE above C
C# two microtone Above C
Dp three microtones above C (p koron)
The start on C for each dastgah ( p koron and b flat)
Mahor C D E F G A B C
Shure,Dashti,Abu-Ata C Dp Eb F G Ab Bb C
Bayat-e Tork C D E F G A Bp C
Afshari C D Ep F G Ab Bb C
Homayon C Dp E F G Ab Bb C
Esfahan C D Eb F G Ab Bb C
Sehgah C Dp EP F GP Ap Bp C
Chahargah C Dp E F G Ap B C
Nava C D Eb F G Ap Bb C
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