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In "Iraq" the tonic of the mode "Rast", as
well as the whole scale, is moved an octave upwards . Therefore,
"Maye-Rast" shifted for one octave higher, can form
the melody of the section "Iraq". "Iraq" can
also have its own melody composed on the principles of formation
of "Maye- Rast", but in order to preserve the thematic
unity of the work, it is better to use the melody of "Maye-Rast"
in its entirety.
After "Iraq" it is necessary to response to the initial
position. It is done through "Garayi". For "Garayi"
one must understand the change of the leading note si
by the boundary tone of the scale in its initial form (si-flat).
And it is also done not by the application of chromatic scale,
but by octave leap of the tonic to the lower mediant. In this
case the function of the mediant is substituted by the function
of the supertonic, thereby enabling it to move to the boundary
tone.
Sometimes a move from the tonic octave directly to the boundary
tone is also permitted.
There are cases when the boundary tone is evaded, as the lower
quarte and the lower mediant of the tonic octave act in the function
of the tonic quinte and the supertonic of the same quinte simultaneously.
After substitution of the main tone by the boundary tone the first
sentence of "Garayi" ends as "Vilayeti", in
the quinte of the tonic in the beginning of the 4-th bar; then
it is followed by the response sentence with a stop in the tonic
third. Then the section "Husseini" wholly comes, i.
e. with the end in the tonic of the mode.
Thus,
all the compositions in the mode "Rast" can be represented
as follows:
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