Now it’s time analyze each DASTGÂH one by one and I’d like to start with DASTGÂH e MÂHUR because in it’s main Guše (DARÂMAD)*, it sounds like the Major Scale and there are no quarter steps in it’s first few Gušes!
1- DARÂMAD : In pre-islam era, there was a MAQÂM** called RÁST*** which is very much similar to the first 2 tetrachords of DASTGÂH e MÁHUR with 1 little difference. in DARÂMAD of MÁHUR the tetrachords are DARÂMAD e MÁHUR and RÂST and they are connected with their Finalises:
G A B C
C D E F
But in OŠŠAQ, these same tetrachords are used, but the second one starts a whole step higher than the finalis (not connected):
G A B C
D E F♯ G
But as we don’t play F and high G in the first and of course the main Guše of this DASTGÂH (DARÂMAD), and the Finalis was the same in both of them (C), they could have sounded the same.
2-KEREŠMEH**** : is the second Guše of DASTGÂH e MÂHUR and it’s basically a 12/8 rhythmic figure that you can here in almost all of other DASTGÂHs in exact same rhythmic shape or just with a little bit of adjustment. The main figure is:
But in KEREŠMEH in MÁHUR it changes to:
In this Guše, you can here the F note for the first time.
3- AVÁZ :In this Guše, melody starts with F and descends to the finals (C) in the beginning of the Guše and later you here it extends to G and then even to A.
*: It’s the starting Guše of each DASTGÂH.
**: Before RADI:F and DASTGÂHs, Iranian was using the MAQÂM system.
***: In old Persian 12 MAQÂM system, the first MAQÂM was OŠŠÁQ (means Lovers)
****: KEREŠMEH in different DASTGÂHs of RADI:F :
To be continued…
☆: All the musics in this blog is played by OSTÂD HOSEIN ALI:ZÂDEH on SETÂR and has been published by MÂHUR RECORDS.