Avaz-e Afshari is another sub-dastgah of Shur. It is very short and only has three gushe in the Radif of Mirza Abdollah, but it is very expressive and particular. In the recording you will hear we are using the root of Shur in D, or jins Bayati from D.
“qb” = quarter flat
D Eqb F G
Afshari does something radically different. The range of notes that Afshari uses in any one gushe would look something like this.
C D Eqb F G Aqb A Bb Bqb C
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Avaz-e Afshari Melodic Development
Phrases begin on G, then play around with melody using alternating Aqb and A natural, some melodic patterns repeat down the scale and melody pauses on E quarter flat, and a final note to close the phrase is played on the low C.
In compositions, the common interval that you hear is between this C and G, that is a 5th. This creates a very interesting chord that I personally feel gives an occasional light tone that is dynamic.
The upper range of the scale is also very interesting in that when moving to the upper C note, we use B quarter flat. Above that we use Eb, creating a minor feeling. It makes Afshari quite haunting and climactic. When we use these notes in the upper range, we call it Iraq, or Gushe of Iraq.
Have a listen to me playing Afshari on Oud with all its modulations. Listen for when it goes to Iraq in the upper octave.
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Avaz-e Afshari Suggested Listening
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