PRINCIPLES OF COMPOSING MUSIC
IN AZERBAIJANI MODES IN FOLK STYLE
I. STRUCTURE OF PERFECT QUARTES
Example to the 3-rd expansion of the composed melody:
Then comes the section called "Bayati-Kurd". "Bayati-Kurd"
is characterized by leap from the tonic quinte to the boundary degree,
the quinte of the tonic changing its function and turning into the tonic
of the new "Shur" (a deviation in the direction of the quinte
structure). Thus, there arises the possibility to expand the scale by
adding degrees of the new "Shur".
The first phrase of "Bayati-Kurd" ends usually
in the new tonic in the beginning of the 2-nd bar; the response phrase
also ends in the same tonic.
The response sentence should also end in the tonic in the 8-th bar.
Then it is necessary to return to the main tonality. In order to return
to the main mode it is necessary to repeat the first sentence "of
"Hijaz" and join it with the response sentence of "Maye-Shur".
Example to the 4-th expansion of the composed melody:
[Shur: pages 1 2
| Rast | Shur
| Segah |