Azerbaycan Xalq musiqisinin esaslari

D. Full and half cadences

In all modes full cadences are usually structured by stops of melody in the tonic of the mode. Azerbaijani modes "Shushtar" and "Humayun" are exceptions in this regard. For example, the melody stop in the tonic of "Shushtar" forms the impression of a half cadence. However, the stop in the lower quarte of the tonic gives the impression of a full cadence. An approach to the tonic is possible from above and from below through the main tones directly by leap from the lower quarte. But approach to the lower quarte is possible gradually from above and below through the main tones, and also by leap directly from the tonic.

Examples of cadences:

2. Composing melodies in the mode "Shushtar"

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

Then follows the section called "Tarkib". The first phrase of "Tarkib" generally starts with the supertonic of the keynote. Conclusion of the first phrase in the beginning of the 2-nd bar allows a stop in the same degree and in the tonic, as well. The first sentence requires its quinte repetition in a varied form. While repeating it in the variant form, a leap is allowed from the supertonic of the keynote beyond the boundaries of the scale, namely, to the tone forming the upper second from the mediant of the tonic. It is necessary to combine this sentence and its variant with the response sentence of "Maye-Shushtar".