Âvâz-e Dashti-new – Pish-Radif

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Âvâz-e Dashti in Pish-Radif

– In the following table, all the Dângs and Pângs of the open Gushehs in Âvâz-e Dashti 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.

Note:

Not-e Shâhed of Darâmad of Âvâz-e Dashti is variable. This is an exception in classical Persian music.

Legend:

S = Not-e Shâhed (Central note)
I = Not-e Ist (Final note)
IM = Not-e Ist-e Movaghat (Temporary final note)
M = Not-e Motoghayyer (Variable note)

= Ascending

= Descending

In some cases, one note is used as S and I

Open Gusheh	**Dâng & Pâng**	Audio File
*Darâmad*
*Oshâgh / Odj*

Âvâz-e Dashti 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.
– Normally closed Gusheh of Masnavi is coming at the end of each Radif.

Notes:

* Bayât-e Râjeh in the Radif of Kassâie is an exception that is considered as an open Gusheh in Âvâz-e Dashti.
** There are some Gushehs in the Radif of Isfahan and Tehran which have different names like Kâshi and Chupâni in Âvâz-e Dashti with the same traditional melodic patterns.
*** Gereyli is considered as one of the closed Gushehs in Dastgâh-e Shur and having it in the Radif of Kassâie in Âvâz-e Dashti is another exception.
**** Some of the closed Gushehs are a part of the different systems of Dastgâhs and Âvâzes in different Radifs such as Ghamangiz, which is considered as a closed Gusheh in Âvâz-e Dashti in the Radifs of Karimi and Davâmi and a closed Gusheh in Âvâz-e Abu-Atâ in the Radif of Kassâie.
***** Kord-o Bayât is an Âvâz in the Radif of Davâmi. However, it is considered as a closed Gusheh in the Radif of Kassâie.

Open Gushehs of Âvâz-e Dashti

Pish-Radif 2 Gushehs	Radif-e Ney of Kassâie 4 Gushehs	Vocal Radif of Kassâie *3 Gushehs*	Radif of Karimi 2 Gushehs	Radif of Davâmi 2 Gushehs
Darâmad
Oshâgh / Odj
		Bayât-e Râjeh *
	Sâranj

Closed Gushehs and Their Poetic Rhythms of Âvâz-e Dashti

Pish-Radif 1 Gusheh	Radif-e Ney of Kassâie 7 Gushehs	Vocal Radif of Kassâie *8 Gushehs*	Radif of Karimi 8 Gushehs	Radif of Davâmi 4 Gushehs
Dashtestâni Ta Tan Tan Tan (2x) / Ta Tan Tan			Dashtestâni & Hâjiâni Ta Tan Tan Tan (2x) / Ta Tan Tan
				Hâjiâni Ta Tan Tan Tan (2x) / Ta Tan Tan
	Kuch Traditional Melodic Patterns
	Lori Ta Tan Tan Tan (2x) / Ta Tan Tan	Lori Ta Tan Tan Tan (2x) / Ta Tan Tan
	Kâshi Ta Tan Tan Tan (2x) / Ta Tan Tan	Kâshi Ta Tan Tan Tan (2x) / Ta Tan Tan**
	Gilaki Ta Tan Tan Tan (2x) / Ta Tan Tan	Gilaki Ta Tan Tan Tan (2x) / Ta Tan Tan	Gilaki Ta Tan Tan Tan (2x) / Ta Tan Tan	Gilaki Ta Tan Tan Tan (2x) / Ta Tan Tan
			Chupâni Ta Tan Tan Tan (2x) / Ta Tan Tan**
		Deylamân Ta Tan Tan Tan (2x) / Ta Tan Tan	Deylamân Ta Tan Tan Tan (2x) / Ta Tan Tan
		Gereyli * Ta Tan Tan Tan (4x)**
		Busalik Ta Tan Ta Tan / Ta Ta Tan Tan / Ta Tan Ta Tan / Tan Tan
	Ghamangiz Ta Tan Tan Tan (2x) / Ta Tan Tan		Ghamangiz ** Ta Tan Tan Tan (2x) / Ta Tan Tan**	Ghamangiz Ta Tan Tan Tan (2x) / Ta Tan Tan
				Bidgoli Ta Tan Tan Tan (2x) / Ta Tan Tan
			Bidekâni Ta Tan Tan Tan (2x) / Ta Tan Tan
		**Kord-o Bayât ***** Ta Ta Tan Tan (3x) / Ta Ta Tan**
	Forud-Sabali Traditional Melodic Patterns
	Masnavi Tan Ta Tan Tan (2x) / Tan Ta Tan	Masnavi Tan Ta Tan Tan (2x) / Tan Ta Tan	Masnavi Tan Ta Tan Tan (2x) / Tan Ta Tan