Part two

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 "Shur".

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 3 4 5 ]

| Rast | Shur | Segah |