PRINCIPLES OF COMPOSING MUSIC
IN AZERBAIJANI MODES IN FOLK STYLE
II. STRUCTURE OF PERFECT QUINTES
After "Manandi-Mukhalif" the section "Hasar"
follows. "Hasar" is the "Chargah" shifted one quinte
upwards. Therefore, any melody composed in "Maye-Chargah"
may be thus moved one quinte upwards. Different theme (as an auxiliary
theme) is recommended for "Hasar". Indeed, it would be better
to begin the melody of "Hasar" with a tonic of "Hasar"
(from the former quinte). It is further recommended to conclude the
first phrase in the beginning of the 2-nd bar and the response phrase
in the beginning of the 4-th bar in the same tonic. The response sentence
in the beginning of the 8-th bar also ends in the tonic of "Hasar".
An example of "Hasar":
After "Hasar" the section "Mukhalif" follows. Between
the supertonic of the tonic quinte and the quinte itself an alternation
of the function takes place, i. e. the unstable supertonic turns into
the stable tonic, and the stable quinte turns into the unstable subtonic.
The melody begins with the new tonic. The first phrase in the beginning
of the 2-nd bar and the response phrase in the beginning of the 4-th
bar end in the tonic. The variant of the first sentence in the beginning
of the 8-th bar also ends in the same tonic.
Then comes the response sentence, which ends in the lower
mediant of the new tonic (the quarte of the tonic of "Chargah").
Then a more popular sentence follows (by using sequences), which leads
to the tonic from the upper quarte of the tonic.
Then the section called "Mansuriyya" follows. "Mansuriyya"
is the "Maye-Chargah" moved one octave upwards. "Mansuriyya"
does not require composing a new melody, but one octave displacement
of the melody of "Maye-Chargah" upwards. Then it is necessary
to response to the initial position by sequential movement and to repeat
the melody of '"Maye-Chargah".
Below is an example in the mode "Chargah".
[ Chargah: pages 1 2
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