3. Composing of music in the mode "Chargah"

A. Diapason of the mode scale "Chargah"

Three equal tetrachords structured by formula ¹/₂- 1¹/₂ - ¹/₂ and combined as follows: the lower tetrachord with the medial one - conjointly, and the medial tetrachord with the upper one - separately (mixed combination). It forms the scale of the mode "Chargah".
With the tonic do of the first octave the mode scale"Chargah" is presented in the following form:

This scale from sol of the minor octave to fa of the first octave forms a successive number of perfect quartes, but from do of the first octave to do of the second octave it forms the number of perfect quintes.

In this scale, as in the scale of major gammas, full consequence of the degrees is expressed by gradual succession of perfect octaves.

B. Modal functions of degrees and permissible leaps

In the above scale:

	1-st degree of the scale has two functions: I) function of the lower quarte of the tonic, 2) function of a subtonic of the lower third of the tonic. A leap from this degree is allowed only to the keynote.
	2-nd degree of the scale functions as a lower third of the tonic. Leaps are allowed from this degree to the tonic and to the keynote supertonic.
	3-rd degree of the scale has a function of the keynote subtonic. Only one leap to the keynote supertonic (diminished third) is allowed.
	4-th degree of the scale has a function of the mode keynote. Leaps from this degree are allowed: upwards - to the upper third, to the tonic quarte and quinte , downwards - to the lower third and lower quarte.
	5-th degree of the scale has a function of the keynote supertonic. Leaps from this degree are allowed: upwards - to the upper quarte of the tonic, downwards - to the lower third of the tonic.
	6-th degree of the scale has a function of the upper third of the tonic. Leaps from this degree are allowed: upwards - to the tonic quinte, downwards - to the tonic.
	7-th degree of the scale has a function of the upper quarte of the tonic. Leaps from this degree are allowed: upwards - to the supertonic of the tonic quinte, downwards - to the tonic and supertonic.
	8-th degree of the scale has a function of the tonic quinte. Leaps from this degree are allowed: upward - to the tonic octave, downward - to the tonic third and to the tonic.
	9-th degree of the scale has a function of the supertonic of the tonic quinte. Leaps are allowed downwards - to the upper quarte of the tonic, upwards - to the tonic octave.
	10-th degree of the scale has a function of the subtonic of the tonic octave. Only a step to the tonic quinte is allowed.
	11-th degree of the scale has a function of the tonic octave. Leaps from this degree are allowed to the supertonic of the quinte and to the tonic quinte.

C. Table of permissible leaps

D. Full and half cadences

Full cadence ends with a tonic. The tonic of the mode "Chargah" can be approached gradually from above, from below and directly by leap from the lower third, too.
Examples of full cadences:

Half cadences can be expressed by stops in the upper quarte and the quinte of the tonic. Approaches to the above-shown degree can be gradually from above and below. Examples of half cadences:

Note. With regard to its tonality, as a tonic of the mode "Chargah" has several functions ( function of the main tone, the quarte and the third), there are frequent cases when the phrase, while ending in the tonic, produces the impression of a half cadence.

[ Chargah:  pages 1 2 3]

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