Part two

PRINCIPLES OF COMPOSING MUSIC
IN AZERBAIJANI MODES IN FOLK STYLE

III. STRUCTURE OF MINOR SIXTHS

2. Composing of melodies in the mode "Bayati-Shiraz"

While composing music in the mode "Bayati-Shiraz", it is necessary to keep to the rules for the previous modes given in the corresponding chapters.

Below there is an example to the 1-st section of "Bayati-Shiraz" called "Maye-Bayati-Shiraz". "Maye-Bayati-Shiraz" requires the first phrase in the beginning of the 2-nd bar to end in the tonic, and the response phrase in the beginning of the 4-th bar to form a half cadence.

Response sentence in the beginning of the 8-th bar ends in the tonic and requires its own precise repetition in a varied form.

Then the section called "Bayati-Isfahan" follows. It differs from "Maye-Bayati-Shiraz" as much as the response sentence in the beginning of the 8-th bar ends not in the tonic, but in the lower mediant of the tonic.

1-st expansion of composition:

Then the section called "Huzzal" follows."Huzzal" begins in the tonic quinte and demands the upper mediant to be annulled and the third to be included into the scale. The first phrase of "Huzzal" finishes in the very third in the beginning of the 2-nd bar. The response phrase ends in that very third. The first sentence requires its own repetition in a varied form. The response sentence ends in the beginning of the 8-th bar in the tonic, while the third 1/2 tone descends and turns into the mediant again.

2- nd expansion of composition:

Then upward octave repetition of the sections "Maye-Bayati-Shiraz" and "Bayati-Isfahan" follows. In the conclusion of "Bayati-Isfahan" it is necessary to make a second step downwards to the quinte of the tonic and then response to the tonic and conclude it.

The last expansion of composition:

 

[ "Bayati-Shiraz": pages 1 2 ]