Part two

PRINCIPLES OF COMPOSING MUSIC
IN AZERBAIJANI MODES IN FOLK STYLE

III. STRUCTURE OF MINOR SIXTHS

1. Composing music in the mode "Bayati-Shiraz"

A. Diapason of the mode scale "Bayati-Shiraz"

Two equal tetrachords structured by formula 1 - 1 - 1/2 and combined together by intermediate semitone (in relation to the first degree of the upper tetrachord) form the scale of the mode "Bayati-Shiraz".

The last degree of the lower tetrachord in this scale is the tonic of the mode. With the tonic do of the first octave the scale of "Bayati-Shiraz" is presented in the following form:

This scale consists of a gradual number of successive sixths:

B. Modal Functions of the Grades and Permissible Steps

In the above scale:

1-st degree of the scale functions as a lower quarte of the tonic. An upward leap to the tonic is allowed from this degree.

2-nd degree of the scale has a function of the lower mediant of the tonic. Leaps from this degree are allowed to the tonic and supertonic.

3-rd degree of the scale has a function of subtonic. A leap to supertonic is allowed from this degree.

4-th degree of the scale has a function of the tonic of the mode. Leaps from this degree are allowed: upwards - to the quarte and quinte, downwards - to the mediant and quarte.

5-th degree of the scale has a function of supertonic. Leaps from this degree are allowed: upwards - to the quarte and quinte of the tonic, downwards - to the subtonic.

6-th degree of the scale has a function of the mediant of the tonic. Leaps from this degree are possible: 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: to the tonic and supertonic.

8-th degree of the scale has a function of the tonic quinte. Leaps from this degree are allowed: downwards - to the upper mediant of the tonic, to the tonic and subtonic.

9-th degree of the scale functions as a supertonic of the tonic quinte. Only one leap to the upper quarte of the tonic is allowed from this degree.

C. Table of permissible leaps

D. Full and half cadences

A full cadence ends with a tonic. The tonic can be approached gradually from above and below through the main tones and directly downwards by leap from the quinte and upwards from the quarte.

A half cadence can be expressed by stops in the lower mediant in the quarte and also in the supertonic, with a subtonic functioning as an unprepared retard sound and a tonic mediant serving retard function.

[ "Bayati-Shiraz": pages 1 2 ]