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The specific notes used in a piece will be part of one of more than seventy modes or maqam rows named after characteristic tones that are rarely the first tone (unlike in European-influenced music theory where the tonic is listed first). The rows are heptatonic and constructed from augmented, major, neutral, and minor seconds. Many different ...
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 .
Arabic music (Arabic: الموسيقى العربية, romanized: al-mūsīqā l-ʿarabiyyah) is the music of the Arab world with all its diverse music styles and genres. Arabic countries have many rich and varied styles of music and also many linguistic dialects , with each country and region having their own traditional 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 ]
Unlike much western music, Arabic music includes quarter tones halfway between notes, often through the use of stringed instruments (like the oud) or the human voice. Further distinguishing characteristics of Middle Eastern and North African music include very complex rhythmic structures, generally tense vocal tone, and a monophonic texture .
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.
Alexander J. Ellis refers to a tuning of seventeen tones based on perfect fourths and fifths as the Arabic scale. [2] In the thirteenth century, Middle-Eastern musician Safi al-Din Urmawi developed a theoretical system of seventeen tones to describe Arabic and Persian music, although the tones were not equally spaced.
Rast ascending in 24-TET. (Arabic) Play ⓘ Rast is the implementation of the Rast maqam in Arabic maqam theory. Its formal account is in 24 Tone Equal Temperament, but according to some musicologists, there are slight variations in practice. [1]