PRINCIPLES OF COMPOSING MUSIC
IN AZERBAIJANI MODES IN FOLK STYLE
I. STRUCTURE OF PERFECT QUARTES
Then follows the section called "Simayi-Shams".
"Simayi-Shams" requires the whole scale to be moved one octave
upwards. In "Simayi-Shams" the melody revolves in the frames
of "Maye-Shur", and in order to retain the integrity of composition
instead of new music, it is recommended to repeat "Maye-Shur"
for one octave moved up.
"Simayi-Shams" is a composition culmination,
after which it is necessary to descend to the initial point, i. e. to
"Maye-Shur". The descent is carried out by the section called
"Nishihi-Pharaz". If "Bayati-Kurd" is a declination
in the direction of "Shur" with quinte structure, "Nishibi-Pharaz"
is a declination in the direction of quarte structure. Therefore, instead
of new music it is recommended to repeat "Hijaz" in transport
for the quarte moved up by which a declination in the direction of quarte
structure is achieved.
Then it is desirable to shift the melody of "Zamin-Khara"
one quarte higher and consolidate it by repeating it in the quarte of
Finally, taking the tonic of the quarte of "Shur" for "Shur-Shakhnaz"
it is necessary to make a shift to the tonic of "Shur" and
consolidate it by repetition.
Thus, the whole composition created in the mode "Shur" can
be presented in the following form:
[Shur: pages 1 2
| Rast | Shur
| Segah |