Dastgāh-e Afšāri
About this Dastgāh
Dastgāh-e Afšāri (sometimes Āvāz-e Afšāri) is another extension of Dastgāh-e Šur. In terms of intervals in the mode, Afšāri is very similar to the central mode of Šur and Segāh. The name of the Dastgāh was taken from the name of the Afshār people (from the Turkic tribes of Azerbaijan).
Some hints:
The Sequence tab below contains an annotated example of this Dastgāh. The first degree/tone of the scale (C in this case) is the finalisThe finalis or foroud is a pitch that functions as a melodic cadence's goal or destination tone and creates a sense of conclusion. The term "tonic" is also sometimes used, but some authors avoid using it because it is associated with Western music theory.Visit the link to learn more. The third degree/tone of the scale (E koronA koron is an accidental that lowers the pitch by a quarter-tone. The koron was designed by Ali-Naqi Vaziri (1886-1979).Visit the link to learn more in this case) is the istIst ("stop") is a pitch that often serves as the ending note for phrases, other than final cadences.Visit the link to learn more. The fifth degree/tone of the scale (G in this case) is the aqaz("beginning") The pitch with which a Dastgah, Avaz or Gusheh is usually initiated. In some Dastgah, it is different from the Foroud, while in others they are the same pitch.Visit the link to learn more, and usually the starting point of the improvisation. The sixth degree/tone of the scale (A koron in this case) is the moteghayyerA Moteghayyer ("changeable") is a variable note. A performer may choose one of two separate pitches.Visit the link to learn more. This could be raised one-quarter tone (to A♭). The dotted line shows the area of melodic motion.
Learning more
Here are some resources to learn more about this tuning.
- Shahram Nazeri Another Concert (Musical example. Note: the fifth track is in Dastgāh-e Māhur)
- Alizadeh, H. (2012). Theoretical foundations and structure of Persian classical music. (H. Asadi, M. Oftade, M. Bayani, A. Pourtorab, & S. Fatemi, Eds.). Ministry of Education. (in Farsi)
- Farhat, H. (2004). The Dastgāh Concept in Persian Music. Cambridge University Press.
- Khaleqi, R. (1938). A Glance at the Theory of (Persian) Music. Safi Ali-Shah Publication (in Farsi)
- Samimi Mofakham, I. (2023a). A Rational Intonation Approach to Persian Music. Živá Hudba/Living Music, 14. Prague: NAMU.
- Samimi Mofakham, I. (2023). Holographic composition technique: Revisiting the medieval treatises on Iranian music (p. 140) [Ph.D. Dissertations / Research Exposition].