Editing Mirza ali shafai (section)

==Reciting Method== 
{{Listen
| filename    =  19- Mirza Ali Shafai.mp3
| title       =  Mirza Ali Shafai 
}}

Mirza Ali Shafai follows ancient traditional styles in picture-storytelling. His performance is circular in meaning and in outer aspect is full of variation and variety. The remembrance of the name of God, the prayer, Monajat, the moments preceding the Event, and etc. is a sequence to which he refers, each part performed with his Own qualities. In ancient times Besmellah at first was sung with a sure tone and at the same time one which attracted attention because its being the beginning point could be the cause of dignity for songs and speeches up to the end of the storytelling. When Mirza Ali performs the different kinds of the poetry such as [http://www.iranicaonline.org/articles/gazal-1-history Qazal], [https://referenceworks.brillonline.com/entries/encyclopaedia-of-islam-2/mathnawi-COM_0709 Mathnawi], [http://www.iranicaonline.org/articles/bahr-e-tawil-type-of-persian-verse Bahr-e-tawil] and [https://www.britannica.com/art/qasidah Qasidah] pays attention to their contents and their general forms. He also has this attention in the Nowhas, Muthibat-khani, and Shahadat-khani and Mirza Ali is one of the few Pardekhans who knows the time and reason of forgotten sections such as the call to prayer ([https://www.britannica.com/topic/adhan adhan]), various tangents, and advice. He depends less on personal particularities in the sung sections and is more performer of the old melodies. This is why one can see, the traces of curtain-storytelling traditions of the Turkish speakers to a great extent. On the correspondence of his songs with the music of Iranian [https://www.britannica.com/art/dastgah#ref132167 Radif] the following points can be mentioned: The beginning is in the atmosphere of Bayat e Tork and in continuation, it approaches to the Segah [http://www.iranicaonline.org/articles/dastgah Dastgah] (mode). The Pardekhani continues with a combination of spoken declamation and the notes of Segah Dastgah. In the end of the section the Pardekhan narrates in the [http://www.iranicaonline.org/articles/azari-the-ancient-language-of-azerbaijan Azari] language in the atmosphere of Shur and this continues to be, dominant in the following rhythmic sections.