Persian musicians commonly consider Bayāt–e Esfahān to be a derivative of dastgāh–e Homāyun. The argument is that if we begin on the 4th degree above the finalis of Homāyun, we shall achieve the mode of Bayāt–e Esfahān. This argument may be, at best, as valid as to say that if we start from the 2nd degree of the Dorian mode we shall have the Phrygian mode, and that, therefore, the Phrygian is a derivative of the Dorian mode.

In fact, we have seen that Persian modes depend on much more than the mere similarities between intervals. When we consider all factors that contribute to the identity of a mode in Persian music, we are compelled to consider Bayāt–e Esfahān as an independent mode.

Aside from the argument stated above, there is one basis for confusing Bayāt–e Esfahān with Homāyun. In the latter dastgāh, those pieces which are in the mode of Čahārgāh do exhibit a marked similarity of characteristics with Bayāt–e Esfahān. It is possible, then, to confuse Bayāt–e Esfahān with the Čahārgāh area of dastgāh–e Homāyun. Of course, this similarity is limited to the modal characteristics; the melodic bases for Bayāt-e Esfahān and Ĉahārgāh are each sufficiently distinct not to be confused with one another.

Bayāt-e Esfahān is also considered to be the Persian counterpart of the harmonic minor mode of western music.