A far closer analogue from an intervallic standpoint is the Obikhod scale (widespread in Russian medieval Znamenny chant and folk song) and the Jewish Adonai malakh mode.
This type, as shown in the next score, is less typical and gives no emphasis to the tetrachord below the finalis: A third type of Forud, given in the following score emphasis the four notes above and below the finalis: An authentic style of performance in Dastgāh-e Māhur customarily begins with an improvisation under the name of Moqaddame (meaning introduction in Persian) before the Darāmads.
This Moqaddame is sometimes followed by a group of metric pieces, which are of recent origins and not of sufficient interest or authenticity to be considered here.
It is a stately but unornate declamation which sets the tone for the Dastgāh, even though its characteristics are not maintained throughout.
The major Gušes are Dād, Xosrovāni, Tusi, Azarbāyejāni, Feyli, Abol, Delkaš, Neyriz, Šekaste, Nahib, Arāq, Āšur, Rāk, Rāk-e Kašmir, and Rāk-e Hendi.