Part two

PRINCIPLES OF COMPOSING MUSIC
IN AZERBAIJANI MODES IN FOLK STYLE

II. STRUCTURE OF PERFECT QUINTES

4. Composing melodies in the mode "Chargah"

While composing melodies in the mode "Chargah", it is necessary to keep to the rules for the previous modes shown in the corresponding chapters.
Below there is an example to the 1-st section of the mode "Chargah" called "Maye-Chargah". "Maye-Chargah" requires the first phrase in the beginning of the 2-nd bar to end in the tonic, and the response phrase to end in the beginning of the 4-th bar - by half cadence. The response sentence ends in the beginning of the 8-th bar in the tonic and requires its own precise repetition or repetition in a varied form.

An example to the section "Maye-Chargah":

After "Maye-Chargah" the section called "Basta-Nigar" follows. Basta-Nigar" requires the first phrase to begin with the third and to end in the tonic third; the response phrase can end in the third or in the tonic. The response sentence in the 8-th bar also ends in the tonic and requires its own precise repetition or repetition in a varied form.

1-st expansion of the composed melody:

Then the section called "Manandi-Mukhalif" follows. It requires the first phrase in the beginning of the 2-nd bar to end in the upper quarte. The response phrase also ends in the same degree in the beginning of the 4-th bar. The first sentence requires its own repetition in a varied form. The response sentence in the beginning of the 8-th bar ends in the tonic and requires its own repetition.

2-nd expansion of the composition:

[ Chargah: pages 1 2 3]

| Shushtar| Chargah |