- The range is unusually wide, a minor 10th.
- The finalis has a central position; it is the linking tone of two conjunct major tetrachords. It is also the usual Āqāz.
- The 7th above the finalis is a semi-tone flatter than its lower octave, the 2nd below.
- Leaps of thirds both ascending and descending are common.
- Ascending leaps of perfect fourths are occasionally used. A leap of perfect fifth from the finalis to the 5th above is rarely used. The use of such leaps makes Māhurcapable of greater excitement than most other Persian modes. But, the melodic movement is still predominantly step-wise.
- The tetrachord above the finalis receives more emphasis than the tetrachord below it, except in the Forud.
- The 2nd above the finalis (d in our scale) becomes the Šāhed.
- The 4th above may function as the Āqāz in place of the finalis.
- The melodic movement is overwhelmingly diatonic. Rare leaps of thirds are used; larger leaps are avoided, unless between phrases.
- Hormoz Farhat, The Dastgāh Concept in Persian Music (Cambridge University Press, 1990). ISBN 0-521-30542-X, ISBN 0-521-54206-5 (first paperback edition, 2004).