There are seven main modes and three auxiliary modes in Azerbaijan Mugam
Rast mode is the first mode of main modes which kept its base and root, unchanged its function during the historical period of development. So, rast mugam based on this mode is called “mother of mugams”. Rast mode consists of 1+1+0.5 tone, which is created in three tetra-chords in the result of amalgamation of reach method of the first main tetra-chord
Relay membranes in Rast are:
Departments of Rast are: Bardasht (with Novruzu-Ravanda), Maye, Ushshag, Huseyni, Vilayati, Dilkesh, Kurdu, Shikasteyi-fars (Khojasta), Erag, Penjgah, Rak-Khorasani, Gerai, space for Rast. Literaryly, Rast creates courage and cheerfulness at listener. Other mugams relating to the Rast are: Mahur, Mahur-Hindi, Orta Mahur, Bayaty-Gajar, Gatar.
Shur is the second mode and consists of 1-0.5-1 tone, which is created in the result of amalgamation of three tetra-chords with reach method of the first tetra-chord.
Relay membranes in Shur are:
III membrane-Main background
Shur mode is the most used mode in Ashyg art.
Departments of Shur are: Bardasht, Maye, Salmak, Shur-Shahnaz, Busalik, Bayaty-Turk, Shikasteyi-Fars, Mubarriga, Ashiran, Semai-Shams, Hijaz, Shakh Khatai, Sarenj, Gemengiz, Nishibi-Feraz, space for Shur.
Shur creates merry feelings at listener.
Mugams relating to the Shur are: Shahnaz, Sarenj, Arazbary, Osmani, Rahab, Neva.
Segah is the third mode and consists of 0.5-1-1 tone which is created in amalgamation of three tetra-chords with the reach method.
Relay membranes in Segah are:
II membrane-Main background
Departments of Segah are: Zabul-Segah-Bardasht, Maye, Muya, Manandi-Mukhalif, Segah, high-pitched tone Zabul, Manandi-Hisar (in high-pitched tone), Manandi-Mukhalif (in high-pitched tone), Ashig-Kush, Mubarriga, Zabul, space for Segah.
Kharij Segah-Bardasht, Maye, Takhtigah, Mubarriga, Manandi-Hisar, Manandi-Mukhalif, high-pitched tone Segah, space for Kharij Segah.
Segah mugam creates love, lyrical feelings at listener.
Mugams relating to Segah are:
Shushtar is the fourth and the smallest mode according to its amount of sounds. Sound line is created in amalgamation of two tetra-chords with different method. It has eight membranes and consists of 0.5-1-0.5 tone. In Shushtar mode the third membrane is the completive tone, the fourth membrane is Maye. It creates deeply sad feelings at listener.
Departments of Shushtar are: Amiri, Shushtar, Masnavi, Movlavi, Tarkib, space for Shushtar.
Relating mugams to the Shushtar are: Ovshary, Heydari.
Chahargah is the fifth and the longest mode according to the amount of sounds. It consists of eleven membranes. Three tetra-chords are amalgamated with two methods. The first and the second tetra-chords are amalgamated with the first method. The second and the third tetra-chords are amalgamated with different method. Tetra-chords are 0.5+1.5+0.5 tone structural.
Chahargah mode is represented in two kinds in Uzeyir Hajibeyov’s composition.
Relay membranes in Chahargah are:
VI membrane-is the relay membrane of Basta-Nigar department
It creates at listener excitement and passion. Departments of Chahargah are: Bardasht, Maye, Bali-Kabutar, Djovhari, Basta-Nigar, Hisar, Mualif, Garra, Mukhalif, Ouj Mukhalif, Maghlub, Mansuriyya, Uzzal, space for Chahargah.
Bayaty-Shiraz is the sixth mode and consists of 1-1-0.5 tone, which is created in amalgamation of two tetra-chords with the third method. It consists of nine membranes. There passes membrane among the tetra-chords.
Relay membranes in Bayaty-Shiraz are:
IV membrane-expresses Maye
It creates sad feelings at listener. Departments of Bayaty-Shiraz are: Bardasht, Isfahanak, Maye, Gardaniyye, Nishibi-Faraz, Bayaty-Isfahan, Khums-Ravan, high-ptched tone Bayaty-Shiraz, Abulchap, Khaveran, Uzzal, Shikasteyi-Fars, Dilruba, space.
Humayun is the seventh mode and consists of 0.5+1.5+0.5 tone, which is created in amalgamation of two tetra-chords with the fourth method.
It is able to get sound line of Shushtar mode by changing the tetra-chords’ places in Humayun mode. So, these two modes’ structures are close to each other. It creates deeply sad feelings at listener. Departments of Humayun are: Bardasht, Humayun, Baxtiyari, Feili, Boyuk Masnavi, Movlavi, Shushtar, Tarkib, Uzzal or Bidad, Kichik Masnavi, space.
There are three additional modes in Azerbaijan music except the main modes. These are: Shahnaz, Sarenj and the II class Chahargah.
The II class Chahargah
It is created when 0.5+1.5+0.5 tone structural tetra-chord is amalgamated with 1+1+0.5 tone structural tetra-chord with different method
It is created in amalgamation of 1+1+0.5 tone structural tetra-chord with 0.5+1.5+0.5 tone structural tetra-chord with different method.
It is created in amalgamation of 0.5+1.5+0.5 tone structural tetra-chord with 1+1+0.5 tone structural tetra-chord with different method. Unlike Chahargah in Sarenj 0.5 tone appears between two tetra-chords.
There are also small sized and zarbi mugams in Azerbaijan
Small sized Mugams
Bayaty-Kurd, Kerkuki, Bayaty-Ajem, space (ayag).
Bardasht (with Novruzu-Ajem), Maye, Buzurk, space for Ushshag, Huseyni, Vilayeti, Shikasteyi-Fars, Mubarriga, Erag, Gerai or Rar-Abdulla, space (ayag).
Bardasht, Maye, Huseyni, Shikasteyi-Fars, Mubarriga, high-pitched tone Bayaty-Gajar, Dugah, Ruhul-Ervah, Zaminkhara, Maverennahr, Shah-Khatai, space (ayag).
Shahnaz, Dilkesh (Shahnaz-Khara), Kurdu, high-pitched tone Shahnaz, Azerbaijan
Bardasht, Amiri, Rahab, Boyuk Masihi, Shikasteyi-Fars, Mubarriga, Erag, Gerai, Kichik Masihi, space (ayag).
Gatar, low-pitched tone Gatar, high-pitched tone Gatar, space (ayag).
Bardasht (Rizan), Huseyni, low-pitched tone Maye, Mahur, space for Ushshag, high-pitched tone Huseyni, Vilayeti, Shikasteyi-Fars, Mubarriga, Ashiran, space (ayag).
*Tasnif-national rhythmic melody
*Dastgah-logistic development under organized totality of all departments, branches, corners, rangs and tasnifs concerned to mugam
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