– In the following table, all the Dângs and Pângs of the open Gushehs in Âvâz-e Bayât-e Tork 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
| Open Gusheh | Dâng & Pâng | Audio File |
|---|---|---|
| Darâmad |  |
|
| Jâmeh-Darân |  |
|
| Feyli |  |
|
| Shekasteh |  |
|
| Forud az Jâmeh-Darân |  |
– 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:
– Âvâz-e Bayât-e Tork and Âvâz-e Bayât-e Isfahân are two more complex Âvâzes among the five Âvâzes of classical Persian music.
– There are many similarities between Âvâz-e Bayât-e Tork and Dastgâh-e Mâhur and they have two main common open Gushehs, Feyli and Shekasteh. Because of these similarities between these two systems we can see that Ostâd Kassâie has added some other Gushehs of Dastgâh-e Mâhur to Âvâz-e Bayât-e Tork in his Radif like Goshâyesh, Hessâr-e Mâhur or Pass-Mâhur, Delkash, Râk… which are not in the Radifs of two other Ostâds.
– In each system of Dastgâh or Âvâz some closed Gushehs are known just by their traditional melodic patterns, not their specific poetic rhythms like Ashirân, Do-Gâh and Ruh-ol Arvâh in Darâmad and Ghara-Bâghi in Jâmeh-Darân of Bayât-e Tork. Because of this reason master musicians perform these Gushehs by singing a line or two lines of the same Ghazal which they have chosen to sing the open Gushehs of that system and add the traditional melodic pattern of that closed Gusheh as a Tahrir or ornamentation.
| Pish-Radif 5 Gushehs |
Radif-e Ney of Kassâie 6 Gushehs |
Vocal Radif of Kassâie 5 Gushehs |
Radif of Karimi 5 Gushehs |
Radif of Davâmi Tar M.R. Lotfi 3 Gushehs |
|---|---|---|---|---|
| Darâmad | Darâmad 1st-2nd |
|||
| Jâmeh-Darân | ||||
| Feyli | Feyli or Panj-gâh | |||
| Shekasteh | ||||
| Forud az Jâmeh-Darân | ……………………………. | |||
| Goshâyesh or Râst |
Goshâyesh |
|||
| ……………………………. | ……………………………. | Delkesh |
……………………………. | ……………………………. |
| Pish-Radif 1 Gushehs |
Radif-e Ney of Kassâie 19 Gushehs |
Vocal Radif of Kassâie 12 Gushehs |
Radif of Karimi 7 Gushehs |
Radif of Davâmi Tar M.R. Lotfi 6 Gushehs |
|---|---|---|---|---|
| Shahâbi Ta Tan Tan Tan (2x) / Ta Tan Tan |
Shirin-o Farhâd or Shahâbi Ta Tan Tan Tan (2x) / Ta Tan Tan |
Shahâbi Ta Tan Tan Tan (2x) / Ta Tan Tan |
Shahâbi Ta Tan Tan Tan (2x) / Ta Tan Tan |
|
| Ashirân Instrumental |
……………………………. | |||
| ……………………………. | ……………………………. | ……………………………. | Second Darâmad Ta Tan Ta Tan / Ta Ta Tan Tan / Ta Tan Ta Tan / Tan Tan |
……………………………. |
| Dâd |
||||
| Ghara-Bâghi Traditional Melodic Pattern |
||||
| Majles-Afruz Instrumental |
Majles-Afruz Instrumental |
|||
| Do-Gâh Tan Tan / Ta Tan Ta Tan / Ta Ta Tan Tan / Ta Tan Ta Tan |
Do-Gâh Tan Tan / Ta Tan Ta Tan / Ta Ta Tan Tan / Ta Tan Ta Tan |
Do-Gâh Tan Tan / Ta Ta Tan Tan / Ta Ta Tan Tan / Ta Ta Tan Tan |
Do-Gâh Ta Tan Ta Tan / Ta Ta Tan Tan / Ta Tan Ta Tan / Tan Tan |
|
| Ruh-ol Arvâh Tan Tan / Ta Ta Tan Tan / Ta Ta Tan Tan / Ta Ta Tan Tan |
Ruh-ol Arvâh Tan Tan / Ta Ta Tan Tan / Ta Ta Tan Tan / Ta Ta Tan Tan |
Ruh-ol Arvâh Ta Tan Ta Tan / Ta Ta Tan Tan / Ta Tan Ta Tan / Tan Tan |
||
| Ghatâr Tan Tan / Ta Ta Tan / Ta Tan Ta Tan / Tan Ta Ta Tan Ghatârband |
Ghatâr Tan Tan / Ta Ta Tan / Ta Tan Ta Tan / Tan Ta Ta Tan |
Ghatâr Tan Tan / Ta Ta Tan Tan / Ta Ta Tan Tan / Ta Ta Tan Tan |
Ghatâr No Poem |
|
| Gharâie Tan Tan / Ta Ta Tan Tan / Ta Ta Tan Tan / Ta Ta Tan Tan |
||||
| Mehrabâni or Behbahâni Ta Tan Tan Tan (4x) Tarâneye-Mehrabâni |
Mehrabâni Ta Tan Tan Tan (4x) |
Mehrabâni Ta Ta Tan Ta Tan (4x) |
||
| Keykâvusi or Takht-e Tâghdis |
||||
| Mehdi Zarâbi |
||||
| Hessâr-Mâhur or Pass-Mâhur |
Hessâr-Mâhur or Pass-Mâhur |
|||
| Shekasteh Masnavi-e Shekasteh |
||||
| Neyriz |
Neyriz |
|||
| Reng-e Râk-e Abdollâh |
Zarbi-e Râk |
|||
| Râk-e Abdollâh |
Râk-e Abdollâh |
|||
| Hazin |
||||
| Tork-e Khasteh |
||||
| 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 |
Masnavi Tan Ta Tan Tan (2x) / Tan Ta Tan |
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