Seyir in Persian Classical music: Case Study: Darâmad-e Avâz-e bayâte- Esfâhân
Abstract:

In the recently musical theory, “Mode” is distinguished not only by intervallic structure and by their position on the general scale, But also by specific progression. Modes with an identical intervallic structure and position on the general scale may be distinguished on the basis of melodic progression. Seyir or melodic progression is making a plan in which the melody must travel along a rather specific path. Ideally a Seyir, should give a widely acceptable guide to the progression of a chosen mode, making it different from another ones. The progression of a mode shows the relationship between the some main tonal centers. In fact the Seyir is marked by points of these tones. The relative position of these tones shows the melodic direction of the progression and a detailed generalized exposition of the progression are also given in the Seyir.
The tonal centers in Persian Classical Music include: Shâhed, Final, Stop and Motaghayyer (variable tone). (The Shâhed tone is the center around which the melody evolves and rest note on which the melodic segments comes to rest and Motaghayyer (variable tone) is a tone that is susceptible to alteration during the course of the Gushe). These tones are comparatively inactive, with the Shâhed, of course, being the least active. In the Persian modal system, unlike some other modal system such as Makam, melodic progression is often closely tied to a specific melody, however melodic progression is an important concept in the creation of the Gushe (the smaller modal units with constitute the substance of the Persian modal system), but it never exhibit separately. For this purpose, in this article, according to the 10 transcriptions of one mode of Persian classical music we try to draw out the Seyir of the domination the melody. These transcriptions are selected from the Darâmad-e Avâz-e bayâte- Esfâhân (The Âvâz is traditionally regarded as a derivative Dastgâh whit the fewer Gushes and the performance of a Dastgāh or Avaz usually begins with one or more sections called Darāmad), Such as Mirzâ Abodllâh, Mousâ Ma’rofi, Mirzâ Hosein gholi, Abollâh Davami, Abolhasan Eqbâl Âzar, Abolhasan Sabâ, Gholâmhosein Banân, Hasan Kasâee, Jalil Shahnâz, Mohamma Reza Lotfi. At the first we determine the sentences of the transcriptions and then draw the graphs of melodic progression for each of them. In fact, these graphs indicate the basic route of the melody. Comparison of these graphs show that these case studies are similar to choose the path for illustrates Darâmad-e Avâz-e bayâte- Esfâhân. Based on these graphs we can see the Darâmad-e Avâz-e bayâte- Esfâhân always begin with activate the Shâhed tone, then often with the descending movement goes to the stop tone and then go back to the Shâhed tone. In the following melody usually involve the tones upper the Shâhed.
These similar paths can be dividing in two groups that can call the beginning paths and the ending paths. The complex of these paths makes the melodic progression (Seyir) of Darâmad-e Avâz-e bayâte- Esfâhân.

Language:
Persian
Published:
Honar-Ha-Ye-Ziba: Honar-Ha-Ye Mosighi Va Namayeshi, Volume:22 Issue: 56, 2017
Pages:
81 to 91
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