Dastgāh-e Šur

About this Dastgāh

Due to its extensive repertoire in folklore and classical Iranian music and its vast sub-modes, Dastgāh-e Šur is considered the most essential Iranian musical mode. Dastgāh-e Šur has ancient roots and is regarded as the basis of most folk music in different regions of Iran. However, unlike some other Dastgāh-ha (such as Segāh, Čahārgāh or Navā), Dastgāh-e Šur was not among the main Maqamat of old Iranian music.

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 usually the starting point of the improvisation. 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 sixth degree/tone of the scale (A in this case) is the 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) to emphasize the fifth degree of the scale, i.e. G. The dotted line shows the area of melodic motion.

Learning more

Here are some resources to learn more about this tuning.