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Dastgâh-e Navâ in Pish-Radif

– In the following table, all the Dângs and Pângs of the open Gushehs in Dastgâh-e Navâ are notated.
– Each of the Dângs and Pângs are played on Târ.
– In some Gushehs we go to higher notes during the descending movement (Forud) which are not considered as part of the Dâng or Pâng of that Gusheh.
– Pish-Radif includes all the open Gushehs of each Dastgâh and Âvâz, while each lesson is only based on one closed Gusheh which is introducing all the musical atmospheres of all the open Gushehs as one of the eleven lessons of Pish-Radif.

Legend:

S = Not-e Shâhed (Central note)
I = Not-e Ist (Final note)
IM = Not-e Ist-e Movaghat (Temporary final note)
In some cases, one note is used as S and I

Dastgâh-e Navâ in Three Different Vocal Radifs

– In the following tables, we have all the open and closed Gushehs from three vocal Radifs of three master musicians, Hassan Kassâie, Mahmoud Karimi and Abdollah Davâmi.
– In different Radifs, there may be more than one Darâmad and most of the times, they are labeled as first, second, etc., But sometimes based on the melodic contour of them, they adopt a new name or an adjective that refers to their relative Gusheh.

Notes:

– Gusheh-ye Afshâri is the second open Gusheh in the Âvâz-e Afshâri under the name of Jâmeh-Darân in the Radif of two other Ostâds.
– Modulation or Pardeh-Gardâni is very common in the performance of classical Persian music. Modulation from each system of the group of Shur to another system is very common. For example we can perform all the Gushehs of Dastgâh-e Shur in two other Dastgâhs and four Âvâzes in this group.
– Razavi is an open Gusheh in Dastgâh-e Shur and here it’s a kind of modulation.
– Gharâie is considered as a closed Gusheh of the open Gusheh of Erâgh in Âvâz-e Afshâri. But we can have it in the open Gusheh of Erâgh in Dastgâh-e Navâ as well because the Pâng of Erâgh in Afshâri and Navâ is the same.
– Hosseini:
A- In the Radif of Tehran we don’t have Hosseini or Hossein in the Dastgâh-e Navâ. It is considered as an open Gusheh in the Dastgâh-e Shur.
B- Hosseini in the Radif of Tehran is the same as Odj-e Hosseini in the Radif of Isfahân.
C- Kuchek and Bozorg are two melodic patterns which are used as a Forud (Descent) for descending from the climax of the system to the Darâmad-e Shur but here the Forud is on Darâmad-e Navâ.
– Keykâvussi and Takht-e Tâghdis:
A- There are some closed Gushehs in the Radif of Tehrân and Isfahân which are the same closed Gushehs but under different names like Keykâvussi in the Radif of Isfahân which is called Takht-e Tâghdis in the Radif of Tehran.
B- The poetic rhythms of Keykâvussi or Takht-e Tâghdis are the same because in classical Persian poetry, each long syllable can be replaced with two short syllables. So in the Radif of Davâmi the poetic rhythm of Tan Ta Tan / Ta Tan Ta Ta Tan (2x) could be considered as the same as the poetic rhythm of two other Radifs, Tan Ta Tan / Ta Tan Tan Tan (2x).
– Busalik is normally Kereshmeh in Oshâgh in the other systems but here it is performed with the same poetic rhythm as the open Gushehs in this lesson of Radif.
– Shâh-Khatâie is Masnavi in Navâ.

Open Gushehs of Dastgâh-e Navâ

Closed Gushehs and Their Poetic Rhythms of Dastgâh-e Navâ