Dastgāh-e Navā

About this Dastgāh

In terms of intervals, the Dastgāh-e Navā has a close relationship with the Šur, and many of its Guše-ha (sub-modes) are structured in the modal scheme of Šur. The modal scheme of Dastgāh-e Navā is similar to the Maqam-e Navā, one of the maqams described by the 11th-century music theorist Muhammad Nishāburi. This version of Navā has D as the first scale degree.

Some hints:

The Sequence tab below contains an annotated example of this Dastgāh. 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 third 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 and is usually the starting point of the improvisation. 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. The dotted line shows the area of melodic motion.

Learning more

Here are some resources to learn more about this tuning.