Âvâz-e Afshâri in Pish-Radif

– In the following table, all the Dângs and Pângs of the open Gushehs in Âvâz-e Afshâri 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)
M = Not-e Motoghayyer (Variable note)
Screen Shot 2020-03-26 at 5.23.08 PM = Ascending
Screen Shot 2020-03-26 at 5.24.49 PM = Descending
In some cases, one note is used as S and I

Âvâz-e Afshâri 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:
Ghara-bâghi is inspired by Âzari music.
Nahib in the Radif of Kassâie is just a melodic pattern. In the Radif of Karimi, is an open Gusheh which is called Erâgh in Dastgâh of Navâ in his Radif.
Gusheh-e Afshâri is called Jâmeh-Darân in two other Radifs and Jâmeh-Darân is a more appropriate name for this open Gusheh.
* Gharâie is a traditional melodic pattern and like many other closed Gushehs in the Radif it’s poetic rhythm is the same as poetic rhythms of Do-Beytis of Bâbâ Tâher (11th century), Ta Tan Tan Tan (X2) / Ta Tan Tan, like as the Radif of Kassâie and Davâmi.
** Hazin is just a melodic pattern for descending which could be performed before or after of any poetic rhythms, the poetic rhythm here is the same as Gharâie, in the same Ghazal of Jâmi (15th century) which is chosen by Karimi for this Âvâz.
Forud means descending and is a melodic pattern used for descending back to lower Gushehs like Darâmad which is the first and lowest level of each system of Âvâz or Dastgâh. Massihi is Masnavi in Rohâb.

Open Gushehs of Âvâz-e Afshâri

Pish-Radif
5 Gushehs
Radif-e Ney of
Kassâie
6 Gushehs
Vocal Radif of
Kassâie
3 Gushehs
Radif of Karimi
5 Gushehs
Radif of Davâmi
3 Gushehs
Darâmad

Jâmeh-Darân

Gusheh-e Afshâri
Hesâr Neyshâburak

…………………………….

Erâgh Arâgh
Arâgh, Sepehr,
Oshâgh
Nahib
Arâgh
Forud az Jâmeh-Darân ……………………………. ……………………………. …………………………….
……………………………. Rahâvi
Rohâb
Closed Gushehs and Their Poetic Rhythms of Âvâz-e Afshâri

Pish-Radif
1 Gusheh
Radif-e Ney of Kassâie
5 Gushehs
Vocal Radif of Kassâie
4 Gushehs
Radif of Karimi
4 Gushehs
Radif of Davâmi
1 Gusheh
Sadri
Tan Tan Ta Tan Tan /
Ta Tan Tan (2x)

Sadri
Tan Tan Ta Tan Tan /
Ta Tan Tan (2x)

Ghara-bâghi
Traditional Melodic Patterns
Gharâie
Ta Tan Tan Tan (2x) /
Ta Tan Tan
Gharâie
Ta Tan Tan Tan (2x) /
Ta Tan Tan

Gharâie *
Ta Ta Tan Tan (3x) /
Ta Ta Tan

Gharâie
Ta Tan Tan Tan (2x) /
Ta Tan Tan

……………………………. ……………………………. ……………………………. Hazin **
Ta Ta Tan Tan (3x) /
Ta Ta Tan

…………………………….
Keykâvusi
or Takht-e Tâghdis
Tan Ta Tan Ta Tan /
Ta Ta Tan (2x)

Keykâvusi
or Takht-e Tâghdis
Tan Ta Tan Ta Tan /
Ta Ta Tan (2x)

…………………………….
Nahib
Traditional Melodic Pattern
Nahib
Traditional Melodic Pattern
Masnavi
Tan Ta Tan Tan (2x) /
Tan Ta Tan


Massihi
Tan Ta Tan Tan (2x) /
Tan Ta Tan

Shâh-Khatâie
Tan Ta Tan Tan (2x) /
Tan Ta Tan

Forud & Massihi
Tan Ta Tan Tan (2x) /
Tan Ta Tan


…………………………….
Forud & Massihi
Tan Ta Tan Tan (2x) /
Tan Ta Tan

Tan Ta Tan Tan (2x) /
Tan Ta Tan

Tan Ta Tan Tan (2x) /
Tan Ta Tan

Tan Ta Tan Tan (2x) /
Masnavi
Tan Ta Tan Tan (2x) /
Tan Ta Tan


…………………………….
Forud & Massihi
Tan Ta Tan Tan (2x) /
Tan Ta Tan

Tan Ta Tan Tan (2x) /
Tan Ta Tan

Tan Ta Tan Tan (2x) /
Tan Ta Tan

Tan Ta Tan Tan (2x) /