Part two


3. Composing music in the mode "Shakhnaz"

A. Diapason of the scale of the auxiliary mode "Shahnaz"

In the scale of the 2-nd type mode "Chargah" a tetrachord built by formula 1/2 - 11/2 - 1/2 is combined with another tetrachord structured by formula 1 - 1 - 1/2 . But in the scale of "Shahnaz", on the contrary, a tetrachord constructed by formula 1 - 1 - 1/2 is combined separately with another tetrachord built by formula 1/2 - 11/2 - 1/2 .
For example, 1 - 1 - 1/2 + 1/2 - 11/2 - 1/2 :

B. Modal function of degrees and permissible leaps

Modal functions of "Shakhnaz" mode's degrees depend on the main tone, which forms the first degree and tonic function of the mode "Rast" in this scale.

All the degrees of the lower tetrachord can function as the tonic of the mode "Shakhnaz".

C. Full and half cadences

Full and half cadences of the mode "Shakhnaz" are the same as those for the modes "Rast", "Shur" and "Segah".

4. Composing melodies in the mode "Shakhnaz"

The first phrase in the beginning of the 2-nd bar ends in the quinte of the main tone. The response phrase also ends in the same degree in the beginning of the 4-th bar. The first sentence requires its own repetition. The response sentence in the beginning of the 8-th bar ends in one of the degrees of the first tetrachord.

The next section is "Maye-Shur" with a tonic of the previous quinte of the main tone sol, while the 6-th degree of the scale rises. However, the 7-th degree descends for a semitone, as it is required by "Shur". (In this case the 6-th degree functions as the supertonic of "Shur" and lowers in the corresponding cases).

When the cadence ends in the second degree of the main tone the sixth degree of the scale becomes relieved from descent (as the quinte of the "Shur" tonic).

Below there is an example of the composition in the mode "Shakhnaz".

| Chargah | Shahnaz | Saranj |




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