The scale of Homayun contains a neutral second and major third in the lower tetrachord and a minor second and minor third in the higher : C ϋ' Έ F G A1" B^ C. Thus, it can be regarded as a major form of Shur, since Shur has the same scale but with a minor third in the lower tetrachord: C D*" Eb F G A* Β1" C. The lower tetrachord of Homayun is also identical to that of Chahargah.
The daramad of Homayun in Examples 46-49 is characterized by a stepwise ascent to the second scale degree from the lower sixth. This second degree is the shahed for the daramad. In most versions the ist is not the tonic but the seventh.21 Thus the tonic is unimportant at first. It comes into prominence later in the composition with those cadence formulae called forud (descent), which are played between some of the gusheh-ha to reinforce the tonic. The tonic is also the note that ends the dastgah.
The most important gusheh-ha in contemporary usage are Bidad on the fifth degree, Oshaq on the upper tonic, and on the fourth degree, Shushtari and the song of the renowned Persian lovers Leyla and Majnun, the Romeo and Juliet of Iran. The rast kuk of Homayun is G for tar and sehtar, G for santur, and A for violin.
The Dastgah Mahur
