BAYĀT-e KORD, or KORD-e BAYĀT, a part of the modal system (dastgāh) of Šūr in Persian music. The name Kord refers to its possible origin in Kurdish folklore. In addition to being performed as a part of Šūr, it is performed independently or even as a part of the āvāz Daštī. Although it is distinctive in character, it is seldom performed and today is known only by traditional masters.
The scale of the mode of Bayāt-e Kord is G Ap (koron or half-flat) Bb C D Eb F. The recitation tone (šāhed) is D, the initial pitch (āḡāz) is C, and the cadential pitch (īst) is Bb. Although this mode resembles that of Daštī, the šāhed does not include the variable pitch Dp. Reference to Šūr comes only at the end of Bayāt-e Kord with a final resolution to G.
Kord is located near the end of the dastgāh Šūr and is played after the gūša (piece) Ḥosaynī. Beside the gūša Bayāt-e Kord itself, the gūšas Rāḥ-e Rūḥ and Majles-afrūz are performed in that mode. As a whole Bayāt-e Kord is considered relatively simple, with the melody centering around the šāhed. The mood it conveys is considered similar to that of Šūr and is sweet and clear.
N. Caron and D. Safvate, Iran: Les traditions musicales, Berlin, 1966, p. 62.
J. During, La musique iranienne: Tradition et évolution, Paris, 1984, p. 114.
H. Farhat, The Dastgah Concept in Persian Music, Ph.D. dissertation, University of California, Los Angeles, 1965, I, pp. 50, 61-63; II, pp. 289-90.
M. Maʿrūfī, Radīf-e haft dastgāh-e mūsīqī-e īrānī, Tehran, 1352 Š./1973 (s.v. Šūr, nos. 56-64).
M. Sadeghi, Improvisation in Nonrhythmic Solo Instrumental Contemporary Persian Art Music, M.A. thesis, California State University, Los Angeles, 1971, p. 62.
D. Safwat, Ostādān-e mūsīqī-e Īrān wa alḥān-e mūsīqī-e īrānī, Tehran, 1350 Š./1971, pp. 74-99.
E. Zonis, Classical Persian Music: An Introduction, Cambridge, Mass., 1973, p. 79.
Originally Published: December 15, 1988
Last Updated: December 15, 1988
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Vol. III, Fasc. 8, p. 885