Dastgāh-e Bayāt-e Tork
About this Dastgāh
Dastgāh-e Bayāt-e Tork (sometimes Āvāz-e Bayāt-e Tork) is another extension of Dastgāh-e Šur. Dastgāh-e Bayāt-e Tork, like Dašti, is widely used in Iranian folk music. 'Tork' in the title refers to the Turkic Qashqai of Southern Iran. It may be because the Qashqai tribe sings folk songs in this mode.
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 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 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 (F in this case) is the shahedShahed ("witness") represents a remarkably prominent pitch during music creation in a specific mode.Visit the link to learn more and 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 two dotted brackets show areas of melodic motion. In the lower bracket, melodic figures are ascending, while in the upper bracket, melodic figures are descending.
Learning more
Here are some resources to learn more about this tuning.
- Shahram Nazeri Gol-e Sadbarg (musical example)
- 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].