Dastgāh-e Bayāt-e Esfahān

About this Dastgāh

Dastgāh-e Bayāt-e Esfahān (sometimes Āvāz-e Bayāt-e Esfahān) is one of the extensions of Dastgāh-e Homāyun. Dastgāh-e Bayāt-e Esfahān is considered one of classical Iranian music's most poetic and romantic modes. This version of Bayāt-e Esfahān has D as the first scale degree.

Some hints:

The Sequence tab below contains an annotated example of this Dastgāh. The first degree/tone of the scale (D in this case) is one option for 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 thus may be the starting point of the improvisation. The second 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 fourth degree/tone of the scale (G 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, shahedShahed ("witness") represents a remarkably prominent pitch during music creation in a specific mode.Visit the link to learn more, and a second option for the aqaz. The dotted line shows the area of melodic motion.

Learning more

Here are some resources to learn more about this tuning.