Part two



С. Table of permissible leaps

D. Full and half cadences

Full cadence ends with a tonic. The tonic may be approached gradually from above, from below and directly by leap. Examples of full cadences:

Half cadence can be expressed by stop in the supertonic, in the upper mediant, in the upper quarte and in the upper quinte. Approaches to the above given degrees are possible only gradually downwards or upwards, but to the supertonic only downwards.
Examples of half cadences:

4. Composing melodies in the mode "Shur"

While composing melodies in the mode "Shur" the same principles for the mode "Rast" as shown in the corresponding chapter above should be observed.

An example given below is the 1-st section of the mode "Shur" called "Maye-Shur".

In "Maye-Shur" the first phrase must end in the beginning of the 2-nd bar in the tonic. The response phrase in the beginning of the 4-th bar must end with a half cadence.

The response sentence ends in the beginning of the 8-th bar in the tonic and requires its own repetition in a varied form.
N о t e: In all cases with an initial degree not shown, the performer is free in choice. It refers to composing melodies in all modes.
An example of the section "Maye-Shur":

After "Maye-Shur" a section called "Zamin-Khara" follows. In "Zamin-Khara" the first phrase must end in the beginning of the 2-nd bar in the upper mediant of the tonic (fa).

The response phrase forming a half cadence in the beginning of the 4-th bar may end in the mediant, in the supertonic and in the upper quarte of the tonic, as well:

It is possible to take one of the above-given variants as the first sentence of "Zamin-Khara" and combine it with a response sentence from the section of "Maye-Shur".

Example of the 1-st expansion of the composed melody:


[Shur: pages 1 2 3 4 5 ]

| Rast | Shur | Segah |






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