Dastgāh-e Homāyun
About this Dastgāh
Dastgāh-e Homāyun is another Dastgāh with many sub-modes. Its modal structure is similar to Šur, but via its Guše-ha (sub-modes), one can modulate to other Dastgāh-ha, such as Segāh or Čahārgāh. The music for zourkhaneh rituals, an Iranian traditional system of athletics and a form of martial arts, is usually sung or performed in this Dastgāh. Dastgāh-e Homāyun is known for its royal mood. This version of Homāyun has 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 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 (E koron 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 is the starting point of the improvisation. The second degree/tone of the scale (F 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 third 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. The fourth degree/tone of the scale (A koron 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. The dotted line shows the area of melodic motion.
Learning more
Here are some resources to learn more about this tuning.
- Mohammad-Reza Shajarian Homayoun Masnavi (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].