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<blockquote data-quote="ZaphodB" data-source="post: 88053" data-attributes="member: 2777">Hi [USER=1605]@Sadikkara[/USER],Thank you for your response. The recording you linked is an example of a more Western/Turkish intonation of Homayun, which is certainly used, especially in more modern Iranian music. However, I believe it to be an outlier in terms of classical music.Have a look at this video demonstrating the dastgah on a setar with standard fretting. Note that the first perde on the instrument is actually Segâh: Iranian traditional music apparently has no need for any kind of Kürdi note in the first position. What we'd call Hicaz çeşnisi in Turkish music is always played with a neutral mücennep in Iranian traditional music. This also goes for Hicaz çeşnisi on Hüseyni, which uses Eviç.In order to have a proper Hicaz effect, it may be best for the inflection of Segâh to be a bit on the flat side, close to Uşşak perdesi. But this low note is also used for dastgah Segah, which means that this mode sounds completely different from the Turkish makam.[MEDIA=youtube]3B_yzmhVvBA[/MEDIA]Here's an example of a Khorasani folk song played on the dutar which evidences the same intonation in modern folk music:[MEDIA=youtube]ikTavg5UtIg[/MEDIA]</blockquote>

[QUOTE="ZaphodB, post: 88053, member: 2777"] Hi [USER=1605]@Sadikkara[/USER], Thank you for your response. The recording you linked is an example of a more Western/Turkish intonation of Homayun, which is certainly used, especially in more modern Iranian music. However, I believe it to be an outlier in terms of classical music. Have a look at this video demonstrating the dastgah on a setar with standard fretting. Note that the first perde on the instrument is actually Segâh: Iranian traditional music apparently has no need for any kind of Kürdi note in the first position. What we'd call Hicaz çeşnisi in Turkish music is always played with a neutral mücennep in Iranian traditional music. This also goes for Hicaz çeşnisi on Hüseyni, which uses Eviç. In order to have a proper Hicaz effect, it may be best for the inflection of Segâh to be a bit on the flat side, close to Uşşak perdesi. But this low note is also used for dastgah Segah, which means that this mode sounds completely different from the Turkish makam. [MEDIA=youtube]3B_yzmhVvBA[/MEDIA] Here's an example of a Khorasani folk song played on the dutar which evidences the same intonation in modern folk music: [MEDIA=youtube]ikTavg5UtIg[/MEDIA] [/QUOTE]

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