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The next higher octave is nawa and the second tuti. [1] However, from these twenty-four tones, seven are selected to produce a scale and thus the interval of a quarter tone is never used and the three-quarter tone or neutral second should be considered the characteristic interval. [2] Quarter tone scale on C ascending and descending. Play ⓘ
Saba (Arabic: صبا, Turkish: Saba or Sabâ, Turkmen: sabah) is a kind of musical scale used in both Arabic music and Turkish classical music.This article covers both the Arabic jins and Queen and maqam called "Saba" as well as the similar Turkish makam of the same name.
The double harmonic major scale [1] is a musical scale with a flattened second and sixth degree. This scale is enharmonic to the Mayamalavagowla raga, Bhairav raga, Byzantine scale, Arabic scale (Hijaz Kar), [1] [2] and Gypsy major scale. [3] It can be likened to a gypsy scale because of the diminished step between the 1st and 2nd degrees.
Tablature (or tab for short) is a form of musical notation indicating instrument fingering or the location of the played notes rather than musical pitches. Tablature is common for fretted stringed instruments such as the guitar , lute or vihuela , as well as many free reed aerophones such as the harmonica .
Quarter tone scale, or 24 tone equal temperament; A seventeen tone unequal tuning that was historically used to describe Arabic music; Major locrian scale, a scale similar to locrian, also the aeolian mode with ♭ 5th and ♯ 3rd, Phrygian dominant scale with ♭ 5th and ♯ 2nd, or Blues Leading-Tone scale with ♭ 6th and ♯ tonic.
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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]
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