The Persian Classical mode Dastgâh-e Shur and its daughters. A musical Aufwachsmittel (wake-up potion).

Set #1 - 8:00am - 9:00am

†1. Avâz-e Abu Ata

10:09

("Abu Ata is purple or bright coffee in color and seems to be best played from noon until four in the afternoon. Its element is earth and its mystic connotation ranges from shariat (the law) to tariqat (the path)." This, and the following descriptions, are taken from the Foundation for Iranian Studies website, which looks like an authoritative source.)

†2. Avâz-e Bayat Zand

13:41

(Those opening arpeggios are a surprise. Also called Bayat Turk. "Turk seems to be smoke color or black and fits the hours from noon until four in the afternoon. Its element is earth and its mystic connotation is shariat (the law).")

†3. Avâz-e Afshari

11:44

("Afshari is burnt brown and fits the hours from noon till four in the afternoon. Its element is earth and its mystic connotation ranges from shariat (the law) to tariqat (the path).")

†4. Avâz-e Dashti

11:03

("Dashti seems brown, and its time might be in the afternoon from noon until four o'clock. Its element is earth and its mystic connotation ranges from shariat (the law) to tariqat (the path).")

Set #2 - 9:00am - 10:00am

5. Avâz-e Abuata (rec. 2008)

Kiu Haghighi - santur & dombak

Kiu Haghighi, Santour Virtuoso: Musical Mosaic

KH Productions, 00261 24105

36'

6. Avâz-e Dashti

(rec. 1992)

Hossein 'Omoumi - ney, Madjid Khaladj - tombak, Rezâ Majubi - violin

The Song of the Ney

Nimbus Records, NI 7060/1

13:02

Set #3 - 10:00am - 11:00am

†7. Dastgâh-e Shur

14:54

(Scale of Shur on finalis G = E½b F G A½b Bb C D(natural in ascending lines; ½b in descending lines) Eb. Note that the lower 6th scale degree is sharper than the upper 6th degree by a quarter tone. That's not as weird as it sounds; the microtonal inflections are governed by melodic movement. "Shur is fire red in color and is best played from late morning until noon. The element associated with Shur is fire [the pre-Islamic Persians were fire-worshippers] and its mystic connotation ranges from tariqat (the path) to marafat (gnosis). Shur demands concentration on the part of the listener and is good for meditation. It is one of the most important dastgâh and was called the "mother of modes" by the ancients. Five [sic] auxiliary modes are associated with Shur." The four auxiliary modes called avâz (don't ask me how they're derived – I'm still working on it) are the ones broadcast in the previous two hours.)

†Tracks 1-4 & 7 (rec. 2006)

Fakhri Malekpour - Persian-tuned piano
Fakhri Malekpour: Mashqe Ostad

Avaye Honar & Andisheh Institute of Culture and Art, n.n.

(Persian piano technique calls for more ornamentation – rolls, tremolos, and accents – than its Western-European counterpart. The left hand shadows in outline form the melody in the right, per the performer's taste. In other words, there's no harmony but some are tempted.)

8. Dastgâh-e Shur (rec. 1976-79)
Daryoush Tala'i - tar, Djamchid Chemirani - tombak

Musique iranienne
Harmonia mundi, HMA 190391
25:36

9. Dastgâh-e Shur

4:41

10. Layli (first section)

3:45

11. Layli (second section)

2:53

12. Shahrashub

2:23

Tracks 9-12 (rec. 1995)

Jalal Zolfonun - setar, Soheil Zolfonun - setar, Bijan Zangeneh - daf & tombak

Kord Bayat: Traditional Music from Iran

Music of the World, CDT-134