PRINCIPLES OF COMPOSING MUSIC
IN AZERBAIJANI MODES IN FOLK STYLE
I. STRUCTURE OF PERFECT QUARTES
Then the section called "Shur-Shakhnaz" follows.
While composing "Shur-Shakhnaz", it is necessary to finish
the first phrase in the beginning of the 2-nd bar in the upper quarte
of the tonic.
Response phrase forms a half cadence in the same degree in the beginning
of the 4-th bar.
It is necessary to combine a response sentence with the above given
sentence, which is to end in the keynote supertonic in the 8-th bar
(in the main tone third).
Then it is necessary to repeat the first sentence of "Shur-Shakhnaz"
and combine it with the response sentence of "Maye-Shur".
Example to the 2-nd expansion of the composed melody:
Then comes the section called "Hijaz". The first
phrase of "Hijaz" should, in all cases, begin with the tonic
quinte, and it would be better to end the same phrase in the upper quarte
of the tonic in the beginning of the 2-nd bar. The response phrase in
the beginning of the 4-th bar ends in the same degree, too forming a
The initial sentence requires a variant:
The response sentence may finish in the upper mediant, and very often
in the tonic in the beginning of the 8-th bar.
In order to connect "Hijaz" with "Maye-Shur" it
is necessary to repeat "Zamin-Khara" to the end.
[Shur: pages 1 2
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