Dastgāh-e Dašti

About this Dastgāh

Dastgāh-e Dašti (sometimes Āvāz-e Dašti) is another extension of Dastgāh-e Šur. Among the five extensions Dastgāh-e Šur, Dastgāh-e Dašti is the closest to Šur's primary mode. Like Abuatā, Dašti is also used in Iran's regional and religious music and is the main mode for many folk songs nationwide.

Some hints:

The Sequence tab below contains an annotated example of this Dastgāh. The second degree/tone of the scale (D 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 fourth degree/tone of the scale (F 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. The sixth degree/tone of the scale (A 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 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 lowered one-quarter tone (to A 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). The dotted line shows the area of melodic motion.

Learning more

Here are some resources to learn more about this tuning.