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PERSIAN MUSIC TERMINOLOGY
Radif
The Radif (raw or rank, model or a suit of sequences) is an evolving
collection of old melodies that have been categorized into seven Dastgah.
The main element of the Radif consists of the modes of each Dastgah and the
sequence of the Goushehs and Avazes. Since the Radif was compiled and
narrated by different masters, various versions of the Radif have emerged
over time. However, in a broader sense, the Radif can be divided into two
main categories: the vocal Radif and the instrumental Radif. The
instrumental Radif is based on vocal modes or non-rhythmic music, which is
designed in accordance with the special capabilities of each instrument for
which the Radif is written. The vocal Radif is a kind of Radif in which Avaz
or non-rhythmic music is based on poetic meters and syllabus. The rhythm is
greatly influenced by the rhythm and meter of Persian poetry. This kind of
Radif is performed by a vocalist. Since there is a close relation between
instrumental and vocal parts of most Persian classical music, the player
usually follows the vocalist in performance.
Dastgháh
Iranian classical music is based on the Radif which consists of seven
Dastgahs. Apparently, the first classification of the Radif was derived from
the Bohur Al-Alhan, a book written by Fursat Al dullah-i Shirazi. In
addition to the characteristics of Maqam, each Dastgah has some rhythmic
forms, such as intermezzo (Chaharmiezrab), Reng, and Kerishmeh as well as
some non-rhythmic forms, which make the most part of each Dastgah. Modal
changes appear in performing each Dastgah and return to the initial modes is
other characteristics of each Dastgah. The names of the different Dastgahs
and their sub-divisions in the Radif are:
1. Dastgah Shur which includes Avaz Abuata, Avaz Bayat Tork (Zand), Avaz
Afshari, and Avaz Dashti.
2. Dastgah Segah.
3. Dastgah Chargah.
4. Dastgah Mahur.
5. Dastgah Humayoun and Avaz Esfahan.
6. Dastgah Rastpanjgah.
7. Dastgah Nava.
Mayeh
Mayeh is kind of tonal and it is similar to scale, but unlike scale, tonal
not necessarily requires the sequence of the notes between the beginning and
the ending notes of the scale. In Persian music, tonal is sometimes used for
defining the Avaz like Mayeh-i Isfahán and Mayeh-i Afshary.
Maqam
Mayeh is kind of Mode: is the distances between the notes of any specify
scale. In analyzing the theory of Persian traditional music, each scale is
divided into two Dongs. The Dongs could be symmetrical or asymmetrical.
Sometimes, both Dastgah and Maqam are used for the same purpose in Persian
music like Dastgah-I Shur or Maqam-I Shur. In this case, Maqam-i Shur
signifies the notes which correspond to the Daramad-i Shure.
Gusheh
Each of the existing melody in the Radif is called Gusheh. Gushes can appear
in the form of Charmeszrab and Kershemeh. From the modal perspective, Gushes
can be divided into two categories: the Gushes which are based on the change
of the tonic or stop notes. In this case, the change of the mode has not
occurred in accordance with Daramad. The other Gushes have changed in
respect to the tonic and endnotes. For instance, Gusheh Dad in Mahur is
among those Gushes that only its tonic note has change, while the mode and
the tonic note have changed in Gusheh Delkash in the same Dastgah. Foroud is
the descent or return to the beginning of the melody which is in accordance
with the mode of the Daraumad.
Shahed Note (Tonic Note)
It is the note that appears more than any other notes and is the center of
the melody.
Stop Note
After playing a Shahid note in a Gusheh you can end on this note as well as
the Shahid note. Shahid and Stop can be the same note as in Mahour Do,
Gosheh Delkash (Shahid & Stop are Sol) or they can be different notes as in
Mahour Do, Gousheh Shekasteh (Shahed is Sol and Stop is Mi Koron)
Forms in Persian Music
Generally, form in music refers to the shape and the skeleton of the musical
piece. There are two general forms in Persian music: First, the forms that
exist in the Radif, such as Daraumad, Avaz, Kereshmeh, Bastehnegar,
Charmezrab, Renge, Masnavi, and so forth. Second, the forms that do not
exist in the Radif like Peeshdaramad and Tasneef. Except Daramad which is
the introducer of the main mode in each Dastgah, all of the existing forms
in Persian music are performable in other Dastgahs and Gushes.
A. The Existing Forms In The Radif
1. Daramad, it denotes beginning or appearing. Daramad introduces the main
mode of each Dastgah. The form of Daramad can be though of vocal form too.
2. Avaz: is the main part of each Dastgah and is a non-rhythmic form.
3. Kereshmeh: is a rhythmic form whose rhythmic cycle is twelve.
4. Bastenegar: is also a rhythmic form which has a three-beat cycle (3/8,
3/16,…).
5. Charmezrab: has the fastest rhythm in the Radif. It can have various
rhythmic cycles, such as 6/8, 6/16, 4/4, 2/4 or _.
6. Reng: is a dance-like piece marking the end of the performance. Its
rhythmic cycle is usually 6/8.
B. The Forms that do not exist in the Radif
1. Peeshdaramad (prelude) usually performed in the beginning of the
performance. It is a slow rhythmic piece which comes before Daramad in each
Dastgah. These rhythmic forms usually have 2/4, _, 4/4, 6/4 rhythmic cycles.
Darvish Khan and Mokhtari played a vital role in developing and promoting
this rhythmic form.
2. Tasneef is a kind of music, which is accompanied with poems. Therefore,
the presence of a vocalist is necessary in performing a Tasneef. Usually,
Tasneef has a part known as overture and some other portions which can be
only instrumental or partially instrumental and vocal. In terms of rhythm,
Tasneef can have the form of Renge.
Improvisation
Improvisation is a kind of art in which the performer in accordance with
his/her emotional mod uses his/her musical knowledge which he/she has gained
through many years of repletion and practice under the supervision of the
master. It should be mentioned that the ultimate goal of memorizing and
mastering the Radif is to make the musician able to improvise
Modulation
Modulation is the art of changing the initial mode, going to different
modes, and returning to the original mode. This mastery cannot be achieved
unless the musician has perfectly learned the different Radifs and other
musical pieces and compositions.
Scale’s note name in Persian music
A series of successive sounds or notes located between two notes one of
which is the beginning and the other is the end of the scale. The numbers of
the existing notes in each scale vary from country to country. For instance,
in Chinese music, each scale has five notes. Therefore, the six notes is the
repetition of the first note. In Jazz music each scale has six notes. It is
to say that usually musical scales in most music contain seven notes and the
eight notes is the repetition of the first note. Each note of any musical
scale is called “degree”. The first degree in each scale defines the name of
that scale. The Persian names of the different degrees of the eight-note
scale (seven notes and 8th is a Octeve) are, Pardih, Ru Pardih, Miyani, Zir
Namayan, Namayan, Ru-Namamyan, Mahsoos, and Hingum.
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