Dastgāh-e Šur (Persian: دستگاه شور) is one of the seven Dastgāhs of Persian Music (Classically, Persian Music is organized into seven Dastgāhs and five Āvāzes, however from a merely technical point of view, one can consider them as an ensemble of 12 Dastgāhs).
- The tetrachord above the finalis is the focal point of melodic activity.
- The finalis is the most emphasized tone.
- The 4th above is the minimal high point in the mode, and has considerable prominence.
- The 2nd and particularly the 3rd above the finalis are also heard frequently.
- The 5th above is a Moteqayyer (meaning variable in Persian). When the melodic line is descending, it is usually lowered by a micro tone from a to a . This lowering is responsible for the creation of a sense of finalis for the 4th above, since by lowering the a♮ to a , the original tetrachord is recreated from g.
- The 6th above has no significant role except as a note of resolution for the 5th when used ascendingly (a♮). The 7th above can be, and frequently is, entirely omitted.
- The 2nd below has considerable importance both as a frequent note of Āqāz (meaning beginning in Persian) and in cadences, where one of the most common cadential patterns involves a progression from the 2nd below to the finalis.
- The 3rd below is also used frequently in cadences. In such situations it is used ascendingly, resolving to the 2nd below and then to the finalis. Here, the 3rd below is higher than its octave (6th above) by a micro tone, b instead of b♭.
- Darāmad-eZang-e Šotor