Iranian Musical lessonsMy Personal Blogs

DASTGÂH e MÁHUR (part 01)

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:


    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):


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.

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