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Persian scale on C Play ⓘ.. The Persian scale is a musical scale occasionally found in guitar scale books, along with other scales inspired by Middle Eastern music. It is characterized by the liberal use of half steps (4), augmented seconds (2), and frequent use of chromaticism.
The current tone system is derived from the work of Farabi (d. 950 CE) (heptatonic scales constructed from seconds), who used a 25-tone unequal scale (see tetrachord), and Mikha'il Mishaqah (1800–1888) who first presented the 24-tone equal-tempered division. [6]
The oud (Arabic: عود, romanized: ʿūd, pronounced) [1] [2] [3] is a Middle Eastern short-neck lute-type, pear-shaped, fretless stringed instrument [4] (a chordophone in the Hornbostel–Sachs classification of instruments), usually with 11 strings grouped in six courses, but some models have five or seven courses, with 10 or 13 strings respectively.
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 V 7 /III and V 7 /VI.
Middle Eastern music also makes use of the violin, which is European in origin. The violin was adopted into Middle Eastern music in the 19th century, and it is able to produce non-Western scales that include quarter-tones because it is fretless. [8]
Arabic maqamat are based on a musical scale of 7 notes that repeats at the octave. Some maqamat have 2 or more alternative scales (e.g. Rast, Nahawand and Hijaz). Maqam scales in traditional Arabic music are microtonal, not based on a twelve-tone equal-tempered musical tuning system, as is the case in modern Western music.
Quarter tones have their roots in the music of the Middle East and more specifically in Persian traditional music. [1] However, the first evidenced proposal of the equally-tempered quarter tone scale, or 24 equal temperament , was made by 19th-century music theorists Heinrich Richter in 1823 [ 2 ] and Mikhail Mishaqa about 1840. [ 3 ]
The musical scale of the bağlama differs from that of many western instruments – such as the guitar – in that it features ratios that are close to quarter tones. The traditional ratios for bağlama frets are listed by Yalçın Tura: [3] Fret 1: 18/17; Fret 2: 12/11; Fret 3: 9/8; Fret 4: 81/68; Fret 5: 27/22; Fret 6: 81/64; Fret 7: 4/3 ...