– In the following table, all the Dângs and Pângs of the open Gushehs in Âvâze 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.
– PishRadif 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 PishRadif.
Legend:
S = Note Shâhed (Central note)
I = Note Ist (Final note)
IM = Note Iste Movaghat (Temporary final note)
M = Note Motoghayyer (Variable note)
= Ascending
= Descending
In some cases, one note is used as S and I
– 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:
– Gharabâghi 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.
– Gushehe Afshâri is called JâmehDarân in two other Radifs and JâmehDarân 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 DoBeytis of Bâbâ Tâher (11^{th} 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 (15^{th} 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.
PishRadif 5 Gushehs 
Radife Ney of Kassâie 6 Gushehs 
Vocal Radif of Kassâie 3 Gushehs 
Radif of Karimi 5 Gushehs 
Radif of Davâmi 3 Gushehs 

Darâmad  
JâmehDarân  Gushehe Afshâri 

Hesâr  Neyshâburak ……………………………. 

Erâgh  Arâgh 
Arâgh, Sepehr, Oshâgh 
Nahib 
Arâgh 
Forud az JâmehDarân  …………………………….  …………………………….  …………………………….  
…………………………….  Rahâvi 
Rohâb 
PishRadif 1 Gusheh 
Radife 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) 

Gharabâghi 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 Takhte Tâghdis Tan Ta Tan Ta Tan / Ta Ta Tan (2x) 
Keykâvusi or Takhte 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 ShâhKhatâie 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) / 
Leave A Comment