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
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
| Chargah | Shahnaz
| Saranj |