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Hicaz Pitch Class Set
In Turkish music, the hicaz pitch class set is a set of scales that are named after the Hicaz Turkish makam. For Hicaz, there is the Hicaz tetrachord and Hicaz pentachord A pentachord in music theory may be either of two things. In pitch-class set theory, a pentachord is defined as any five pitch classes, regarded as an unordered collection . In other contexts, a pentachord may be any consecutive five-note sectio .... Hicaz tetrachord and pentachord in 53-TET The intervals of the Hicaz tetrachord and Rast pentachord within 53 Tone Equal Temperament are given in the table: Makams that use the Hicaz pentachord or Hicaz tetrachord References {{Turkish makam theory, state=collapsed Pitch (music) Pitch class sets in Turkish makam music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Scale (music)
In music theory, a scale is "any consecutive series of notes that form a progression between one note and its octave", typically by order of pitch or fundamental frequency. The word "scale" originates from the Latin ''scala'', which literally means "ladder". Therefore, any scale is distinguishable by its "step-pattern", or how its intervals interact with each other. Often, especially in the context of the common practice period, most or all of the melody and harmony of a musical work is built using the notes of a single scale, which can be conveniently represented on a staff with a standard key signature. Due to the principle of octave equivalence, scales are generally considered to span a single octave, with higher or lower octaves simply repeating the pattern. A musical scale represents a division of the octave space into a certain number of scale steps, a scale step being the recognizable distance (or interval) between two successive notes of the scale. However, ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Hicaz
In music, the Phrygian dominant scale (or the Phrygian ♮3 scale) is the actual fifth mode of the harmonic minor scale, the fifth being the dominant.Dave Hunter (2005). ''Play Acoustic'', San Francisco: Backbeat, p. 226. . It is also called the harmonic dominant, altered Phrygian scale, dominant flat 2 flat 6 (in jazz), or Freygish scale (also spelled FraigishDick Weissman, Dan Fox (2009). ''A Guide to Non-Jazz Improvisation'', guitar edition, Pacific, Missouri: Mel Bay, p. 130. .). It resembles the Phrygian mode but with a major third, rather than a minor third. The augmented second between its second and third scale degrees gives it an "Arabic" or Middle Eastern feeling to Western listeners. In the Berklee method, it is known as the Mixolydian 9 13 chord scale, a Mixolydian scale with a lowered 9th (2nd) and lowered 13th (6th), used in secondary dominant chord scales for V7/III and V7/VI. Construction Built on C, the scale is as follows. : When related to the scale degre ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Turkish Makam
The Turkish makam ( Turkish: ''makam'' pl. ''makamlar''; from the Arabic word ''maqām'' ) is a system of melody types used in Turkish classical music and Turkish folk music. It provides a complex set of rules for composing and performance. Each makam specifies a unique intervalic structure (''cinsler'' meaning genera) and melodic development (''seyir''). Whether a fixed composition ('' beste'', '' şarkı'', '' peşrev'', '' âyin'', etc.) or a spontaneous composition ('' gazel'', '' taksim'', recitation of '' Kuran-ı Kerim'', '' Mevlid'', etc.), all attempt to follow the melody type. The rhythmic counterpart of makam in Turkish music is usul. Geographic and cultural relations The Turkish makam system has some corresponding relationships to maqams in Arabic music and '' echos'' in Byzantine music. Some theories suggest the origin of the makam to be the city of Mosul in Iraq. "Mula Othman Al-Musili," in reference to his city of origin, is said to have served in the Ottoman ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Tetrachord
In music theory, a tetrachord (; ) is a series of four notes separated by three interval (music), intervals. In traditional music theory, a tetrachord always spanned the interval of a perfect fourth, a 4:3 frequency proportion (approx. 498 cent (music), cents)—but in modern use it means any four-note segment of a scale (music), scale or tone row, not necessarily related to a particular tuning system. History The name comes from ''tetra'' (from Greek—"four of something") and ''chord'' (from Greek ''chordon''—"string" or "note"). In ancient Greek music theory, ''tetrachord'' signified a segment of the Musical system of ancient Greece#Systema ametabolon, an overview of the tone system, greater and lesser perfect systems bounded by ''immovable'' notes (); the notes between these were ''movable'' (). It literally means ''four strings'', originally in reference to harp-like instruments such as the lyre or the kithara, with the implicit understanding that the four strings produced a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pentachord
A pentachord in music theory may be either of two things. In pitch-class set theory, a pentachord is defined as any five pitch classes, regarded as an unordered collection . In other contexts, a pentachord may be any consecutive five-note section of a diatonic scale . A pentad is a five-note chord . Under the latter definition, a diatonic scale comprises five non-transpositionally equivalent pentachords rather than seven because the Ionian and Mixolydian pentachords and the Dorian and Aeolian pentachords are intervallically identical (CDEFG=GABCD; DEFGA=ABCDE). The name "pentachord" was also given to a musical instrument, now in disuse, built to the specifications of Sir Edward Walpole. It was demonstrated by Karl Friedrich Abel at his first public concert in London, on 5 April 1759, when it was described as "newly invented" . In the dedication to Walpole of his cello sonatas op. 3, the cellist/composer James Cervetto praised the pentachord, declaring: "I know not a mor ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
53 Equal Temperament
In music, 53 equal temperament, called 53 TET, 53 EDO, or 53 ET, is the tempered scale derived by dividing the octave into 53 equal steps (equal frequency ratios) (). Each step represents a frequency ratio of or 22.6415 cents (), an interval sometimes called the Holdrian comma. 53 TET is a tuning of equal temperament in which the tempered perfect fifth is 701.89 cents wide, as shown in Figure 1, and sequential pitches are separated by 22.642 cents. The 53-TET tuning equates to the unison, or ''tempers out'', the intervals known as the schisma, and known as the kleisma. These are both 5 limit intervals, involving only the primes 2, 3, and 5 in their factorization, and the fact that 53 TET tempers out both characterizes it completely as a 5 limit temperament: It is the only regular temperament tempering out both of these intervals, or commas, a fact which seems to have first been recognized by Japanese musi ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Basit Suzinak (Turkish Makam)
Basit Suzinak is a makam in Turkish makam music. It is in 53 Tone Equal Temperament. Basit Suzinak in 53-TET Comparison with Western scales Since the makam is based on 53-TET, it is impossible to directly tie it to 12-TET Western scales. However, using the 48-TET model, while worse than many other models in approximation, allows for such comparisons. The approximation of Basit Suzinak within 48-TET would be:Note: denotes a 1 quarter sharp. 25 cents in 48-TET. (Would have been 1 Holdrian Comma in 53-TET) * Major (3, 6, 7) * Harmonic Major In music theory, the harmonic major scale is a musical scale found in some music from the common practice era and now used occasionally, most often in jazz. It corresponds to the Raga Sarasangi in Indian Carnatic music, or Raag Nat Bhairav in H ... (3, 6, 7) References {{Turkish makam theory, state=collapsed Modes (music) Makams in Turkish music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Rast Pitch Class Set (Turkish Makam Theory)
The Rast pitch class set is a set of scales that are named after the Rast makam. For Rast, there is the Rast tetrachord and Rast pentachord. It is used as a Çeşni in many makams. Rast tetrachord and pentachord in 53-TET The intervals of the Rast tetrachord and Rast pentachord within 53 Tone Equal Temperament are given in the table: Makams that use the Rast pentachord or Rast tetrachord References See also *Rast (Turkish makam) Rast is the implementation of the Rast (maqam), Rast scale in Turkish makam music. It is in 53 equal temperament, 53 Tone Equal Temperament. Rauf Yekta, Rauf Yekta Bey's model places the Rast Makam as the gamme naturale of Turkish Classical Music ... {{Turkish makam theory, state=collapsed Pitch class sets in Turkish makam music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Nikriz Pitch Class Set (Turkish Makam Theory)
In Turkish classical music, the Nikriz pitch class set is a set of scales that are named after the Nikriz makam. For Nikriz, there is only the pentachord, as the 4th is raised. The Nikriz pentachord is the same as putting the 53-TET equivalent of a whole step In Western music theory, a major second (sometimes also called whole tone or a whole step) is a second spanning two semitones (). A second is a musical interval encompassing two adjacent staff positions (see Interval number for more deta ... in the beginning of the Hicaz tetrachord. Nikriz pentachord in 53-TET The intervals of the Nikriz pentachord within 53 Tone Equal Temperament are given in the table: Makams that use the Nikriz pentachord References {{Turkish makam theory, state=collapsed Pitch class sets in Turkish makam music ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Pitch (music)
Pitch is a perception, perceptual property that allows sounds to be ordered on a frequency-related scale (music), scale, or more commonly, pitch is the quality that makes it possible to judge sounds as "higher" and "lower" in the sense associated with musical melody, melodies. Pitch is a major auditory system, auditory attribute of musical tones, along with duration (music), duration, loudness, and timbre. Pitch may be quantified as a frequency, but pitch is not a purely objective physical property; it is a subjective Psychoacoustics, psychoacoustical attribute of sound. Historically, the study of pitch and pitch perception has been a central problem in psychoacoustics, and has been instrumental in forming and testing theories of sound representation, processing, and perception in the auditory system. Perception Pitch and frequency Pitch is an auditory sensation in which a listener assigns musical tones to relative positions on a musical scale based primarily on their percep ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
