Dastgāh-e Šur
Dastgāh-e Šur () is one of the seven "Dastgāh"s of Persian Music (Classically, Persian Music is organized into seven "Dastgāhs" and five "Āvāz"es, however from a merely technical point of view, one can consider them as an ensemble of 12 "Dastgāh"s). Introduction. "Šur" is in some respects the most important of the "Dastgāh"s. It contains a large body of pieces, and in its domain belong four important "Āvāz"es: "Dašti", "Abuatā", "Bayāt-e Tork" and "Afšāri". A great many folk tunes, from different parts of Persia, are founded on the modal schemes of "Šur" or its derivative "Dastgāh"s  and "Guše"s. The melodic formation in "Šur" is conceived within the modal structure shown below for "Šur D" : The characteristics of this mode are: Forud. In every "Dastgāh" the "Forud" assumes a very significant role as a unifying agent which binds together the various "Guše"s in that "Dastgāh". In most "Dastgāh"s, more than one "Forud" pattern is used. In a "Šur" "Forud", the finalis may be approached by way of a) the 2nd below, b) the 3rd and 2nd below, c) the 2nd above, or d) the 4th above. What precedes these approaches can be brief or extensive depending on  the extent of "Forud" improvisation. The following scores, give an average length for each of these "Forud" types in "Šur D": Darāmad. The melodic movement of "Šur", as of all "Dastgāh"s and "Guše"s, is overwhelmingly diatonic. No leaps larger than a perfect 4th are made. Most leaps of 4ths actually occur between the end of one phrase and the beginning of another. In other situations, an upward leap of a 4th is relatively common, from the 2nd below to the 3rd above the finalis, at the beginning of a phrase. An upward and then downward leap of a 4th is  common in the "Forud" d as shown above. This type of ending is also used in a number of other "Dastgāh"s (e.g. "Homāyun" and "Navā"). The very final portion of this "Forud", which involves the leap of a 4th down, is known as "Bāl-e Kabutar" (meaning "pigeon's wing" in Persian) (see the score below). Leaps of 3rds between the notes of the main tetrachord are used sparingly, generally in sequential and ornamental passages, as shown in the following score in "Šur D" : To illustrate the melodic character of "Šur", as represented by the "Darāmad", two different formulae for  Darāmads of "Šur" are transcribed in the following scores in "Šur D" : These formulae, as the basis for improvisation, have been arrived at after analysis of numerous improvisations in "Dastgāh-e Šur". After the "Darāmad" section, those "Guše"s which are part of the organisation of "Dastgāh-e Šur" are performed. A complete "Radif", such as that of "Musā Ma'rufi" contains much redundancy and several short and insignificant pieces. The present study has been concerned with larger and more singular pieces, most of which would be included in a normal but extended performance of Šur. The main "Guše"s of "Dastgāh-e  Šur" are the following: "Salmak", "Mollā Nāzi", "Golriz", "Bozorg", "Xārā", "Qajar", "Ozzāl", "Šahnāz", "Qarače", "Hoseyni", "Bayāt-e Kord" and "Gereyli". They may be performed in that order, but the order is by no means fixed. In a given performance of "Dastgāh-e Šur" some of the Gušes may be left out altogether, and the order of those included may also vary. This observation will hold true in all of the "Dastgāh"s. The order in which the "Guše"s are listed and described represents, at best, the most common arrangement of the most noteworthy pieces in each "Dastgāh". Dastgāh-e Šur Dastgāh