Radif and dastgah: how Persian classical music is organised

Persian classical music is usually taught from teacher to student, by ear, over many years. The body of material that a student learns is called the radif, which means “row” or “order”. It is a large collection of melodies, short phrases and modal patterns, arranged in a traditional sequence.

Dastgah and avaz

The radif is divided into groups, each known as a dastgah. A dastgah is a mode, with its own set of notes, characteristic phrases and mood, and also a larger framework within which a performance unfolds. The usual list gives seven main dastgahs: Shur, Segah, Chahargah, Homayun, Mahur, Nava and Rast-Panjgah. Related smaller sets are called avaz.

Inside a dastgah there are many gushehs, pieces or sections, each with its own character. A performance moves from one gusheh to the next, usually rising in pitch and intensity before returning to the opening mode.

Not a score

The radif is not a script to be played note for note. Students memorise it, and then performers use it as a basis for improvisation: they choose a dastgah, select gushehs, decorate melodies and shape the order. Two performances of the same dastgah can differ a great deal. A key skill is knowing what a mode needs, and how far to go before returning.

Poetry and song

Much classical music is vocal. The singer improvises an avaz, a free-rhythm vocal passage, on lines of classical poetry, with the instrument responding. The choice of poem matters as much as the melody, which links music to the tradition of Hafez and Rumi. Rhythmic compositions, such as the tasnif and the instrumental reng, form a lighter contrast.

Histories

The present organisation of the radif is often traced to the 19th century, when masters in the Qajar court collected and ordered the repertoire. Later teachers have preserved their own versions, so there is not a single radif but several, with differences in detail. That diversity is part of the tradition.

Listening

If you are new to this music, listen for how the mood changes as the performer moves through the gushehs, and how voice and instrument answer each other. When we can include audio, it will be licensed or provided by the artists with their permission.