Âvâz-e Abu-Atâ in Pish-Radif

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

Âvâz-e Abu-Atâ 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:
– There are some Gushehs that have more than one version in different Radifs. Like Gabri in Radif of Kassâie or Râmkali and Khosrow-o Shirin in Radif of Karimi.

Open Gushehs of Âvâz-e Abu-Atâ

Pish-Radif
4 Gushehs
Radif-e Ney
of Kassâie
7 Gushehs
Vocal Radif
of Kassâie
3 Gushehs
Radif of Karimi
2 Gushehs
Radif of Davâmi
Tar M.R. Lotfi
2 Gushehs
Darâmad Darâmad
(Dastân)

……………………………

Darâmad
(Dastân-ol Arab)
Darâmad
(Dastân-ol Arab)
Darâmad
(Dastân-ol Arab)
Hejâz

Odj-e Hejâz
Sârang
…………………………… Rahâvi
…………………………… …………………………… ……………………………
Closed Gushehs and Their Poetic Rhythms of Âvâz-e Abu-Atâ

Pish-Radif
1 Gusheh
Radif-e Ney
of Kassâie
21 Gushehs
Vocal Radif
of Kassâie
10 Gushehs
Radif of Karimi
7 Gushehs
Radif of Davâmi
Tar M.R. Lotfi
4 Gushehs
Châhâr-Pâreh
Ta Ta Tan Ta Tan (4x)
Châhâr-Pâreh
or Châhâr-Bâgh
Ta Ta Tan Ta Tan (4x)
…………………………… Châhâr-Pâreh
or Châhâr-Bâgh
Ta Ta Tan Ta Tan (4x)
Châhâr-Pâreh
Ta Ta Tan Ta Tan (4x)
Ashirân
Traditional Melodic Patterns
Basteh Negâr
Traditional Melodic Patterns
…………………………… Sayakhi
Ta Tan Tan Tan (4x)
Sayakhi
Ta Tan Tan Tan (4x)
Sayakhi
Ta Tan Tan Tan (4x)
Râmkelli
Tan Tan / Ta Tan Ta Tan /
Ta Ta Tan Tan / Ta Tan Ta Tan

…………………………….
Râmkelli
Tan Tan / Ta Tan Ta Tan /
Ta Ta Tan Tan / Ta Tan Ta Tan
Râmkali 1-2
Ta Tan Ta Tan / Ta Ta Tan Tan /
Ta Tan Ta Tan / Tan Tan

Tan Tan / Ta Tan Ta Tan /
Ta Ta Tan Tan / Ta Tan Ta Tan
Râmkali
Ta Tan Ta Tan / Ta Ta Tan Tan /
Ta Tan Ta Tan / Tan Tan
Khosrow-o Shirin
Ta Tan Tan Tan (2x) /
Ta Tan Tan
Khosrow-o Shirin
Ta Tan Tan Tan (2x) /
Ta Tan Tan
Khosrow-o Shirin 1-2
Ta Tan Tan Tan (2x) /
Ta Tan Tan

Ta Tan Tan Tan (2x) /
Ta Tan Tan
Khosrow-o Shirin
Ta Tan Tan Tan (2x) /
Ta Tan Tan
Shirin-o Farhâd
Ta Tan Tan Tan (2x) /
Ta Tan Tan
Gabri or Guri
Tan Tan Ta / Ta Tan Ta Tan/
Ta Tan Tan
Gabri
Tan Tan Ta / Ta Tan Ta Tan/
Ta Tan Tan
Gavri
Ta Tan Tan Tan (2x) /
Ta Tan Tan
Gabri
Ta Tan Tan Tan (2x) /
Ta Tan Tan
Sadri or Nahvi
Tan Tan / Ta Tan Tan /
Ta Tan Tan

Sadri
Tan Tan / Ta Tan Tan /
Ta Tan Tan
…………………………… ……………………………
Samali
Traditional Melodic Patterns
Yatimak
Tan Ta Tan / Tan Ta Ta Tan /
Tan Ta Ta Tan / Tan Tan Tan

Sâranj dar Yatimak
Yatimak
Tan Ta Tan / Tan Ta Ta Tan /
Tan Ta Ta Tan / Tan Tan Tan

……………………………Sâranj dar Yatimak
Sabali
Traditional Melodic Patterns
Hozzân
Traditional Melodic Patterns
Shekasteh Bakhtiâri
Ta Tan Tan Tan (2x) / Ta Tan Tan
Gusheh-ye Safâ
Ta Tan Ta Tan Tan (4x)
Râk-e Abdollâh
Tan Ta Tan / Tan Ta Ta Tan /
Tan Ta Ta Tan / Tan Tan Tan
Hasan Musâ
Ta Tan Tan (3x) /
Ta Tan
Hasan Musâ
Ta Tan Tan (3x) /
Ta Tan
Ghamangiz
Ta Tan Tan Tan (2x) /
Ta Tan Tan
Ghamangiz
Ta Tan Tan Tan (2x) /
Ta Tan Tan
Bâl-e Kabutar
Traditional Melodic Patterns
Masnavi
Tan Ta Tan Tan (2x) /
Tan Ta Tan
Masnavi
Tan Ta Tan Tan (2x) /
Tan Ta Tan