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modes and scales in indian music
Description
This article looks at Indian concepts of scales, and modes. It looks at it from both a historical perspective as well as comparing the North and South Indian approaches.
Indian music, Hindusthani sangeet, hindusthani sangit, hindoostani, carnatic music, karnatic, South Asia, Musical scale, That,
thaat, mode, mela,
melakarta, melakartha, transposition, modulation,
Sa, re, Ga,
Ma, Pa, Dha, Ni, Sharadj,
kharadj, kharaj,
sharaj, rishabh, gandhar, ghandhara,
madhyam, madhyama,
pancham,
panchama, dhaivat, nishad, Musical tetrachord, lower tetrachord,
upper tetrachord, ang,
Purva ang,
purvang, uttar ang, anga, uttarang, utarang, Tivra Madhyama, komal,
murchana, murcchana, moorchana,
moorcchanna
Indian music, Hindusthani sangeet, hindusthani sangit, hindoostani, carnatic music, karnatic, South Asia, Musical scale, That,
thaat, mode, mela,
melakarta, melakartha, transposition, modulation,
Sa, re, Ga,
Ma, Pa, Dha, Ni, Sharadj,
kharadj, kharaj,
sharaj, rishabh, gandhar, ghandhara,
madhyam, madhyama,
pancham,
panchama, dhaivat, nishad, Musical tetrachord, lower tetrachord,
upper tetrachord, ang,
Purva ang,
purvang, uttar ang, anga, uttarang, utarang, Tivra Madhyama, komal,
murchana, murcchana, moorchana,
moorcchanna
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Date
May 2, 2005
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8156
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Like other Middle Eastern music, the music of Iran is modal in nature. Initially (before the Qajar dynasty) each of the major modes had an associated formula for melodic invention (mayeh). The mayeh included rules for cadences, a heirarchy of tones, and acceptable melodic patterns. Using the mayeh as a guideline, the musician was expected to improvise within a single mode for the duration of the performance, much as is done with Indian raga.
Gradually, this method became cumbersome for the musicians and for the listeners. As a result, during the Qajar dynasty, the old modes and mayehs were restructured and the dastgah system was developed. The modes were replaced by the twelve dastgahs. Each dastagah has an associated eight note scale, and each tone in the scale has a special significance, with one note being designated the analogue of the tonic in Western diatonic music. The dastgah also has its own repertory of melodies, each of which is called a gushe....
Gradually, this method became cumbersome for the musicians and for the listeners. As a result, during the Qajar dynasty, the old modes and mayehs were restructured and the dastgah system was developed. The modes were replaced by the twelve dastgahs. Each dastagah has an associated eight note scale, and each tone in the scale has a special significance, with one note being designated the analogue of the tonic in Western diatonic music. The dastgah also has its own repertory of melodies, each of which is called a gushe....
Category:
2. sagittal
Sagittal:
The word "sagittal" (pronounced "SAJ-i-tl") means "arrow-like". Think of Sagittarius the archer; the centaur with bow and arrow that the ancients saw in the night sky.
The Sagittal notation system is a comprehensive system for notating musical pitch in all possible scales and tunings - a universal set of microtonal accidentals, equally suited to extended just intonation, equal divisions of the octave (or of any other interval), or any of the non-just non-equal "middle path" tunings or temperaments. It is called Sagittal because, you guessed it, it uses various arrow-like symbols, pointing up or down to indicate raising or lowering of pitch.
Sagittal was developed by George Secor and myself, with a major early contribution from Gene Ward Smith, and in cooperation with many others on the Yahoo Groups tuning and tuning-math. ... Or at least that's how it seemed to me at the time.
We would like to thank the following for their suggestions and/or encouragement during the development of the Sagittal notation system so far, (in alphabetical order): Gabor Bernath, Graham Breed, Paul Erlich, Mark Gould, Kraig Grady, Aaron Hunt, Marc Jones, Carl Lumma, Herman Miller, Alison Monteith, Joe Monzo, Ted Mook, Manuel Op de Coul, Joseph Pehrson, Johnny Reinhard, Joel Rodrigues, Klaus Schmirler, Margo Schulter, Samara Secor, Gene Ward Smith, Dan Stearns, Jon Szanto, Robert Walker, Robert Wendell and Danny Wier ...
The word "sagittal" (pronounced "SAJ-i-tl") means "arrow-like". Think of Sagittarius the archer; the centaur with bow and arrow that the ancients saw in the night sky.
The Sagittal notation system is a comprehensive system for notating musical pitch in all possible scales and tunings - a universal set of microtonal accidentals, equally suited to extended just intonation, equal divisions of the octave (or of any other interval), or any of the non-just non-equal "middle path" tunings or temperaments. It is called Sagittal because, you guessed it, it uses various arrow-like symbols, pointing up or down to indicate raising or lowering of pitch.
Sagittal was developed by George Secor and myself, with a major early contribution from Gene Ward Smith, and in cooperation with many others on the Yahoo Groups tuning and tuning-math. ... Or at least that's how it seemed to me at the time.
We would like to thank the following for their suggestions and/or encouragement during the development of the Sagittal notation system so far, (in alphabetical order): Gabor Bernath, Graham Breed, Paul Erlich, Mark Gould, Kraig Grady, Aaron Hunt, Marc Jones, Carl Lumma, Herman Miller, Alison Monteith, Joe Monzo, Ted Mook, Manuel Op de Coul, Joseph Pehrson, Johnny Reinhard, Joel Rodrigues, Klaus Schmirler, Margo Schulter, Samara Secor, Gene Ward Smith, Dan Stearns, Jon Szanto, Robert Walker, Robert Wendell and Danny Wier ...
Category:
Were there triads in medieval music?
As a medievalist, I am more and more inclined to avoid the term "triad" for music before around 1610-1612, when Lippius coined the term. However, what I would call a sonority combining a fifth, major third, and minor third (e.g. F3-A4-C4 or A3-C4-E4 - C4 is middle C, and higher numbers show higher octaves) would depend a great deal on the period. Especially before around 1450-1500, using the term "triad" can carry the implication of a stable sonority where we are dealing in fact with a mildly unstable one.
For music of the 13th-14th centuries, I would use a very convenient term of Jacobus of Liege, quinta fissa, or in English "split fifth," a sonority with an outer fifth "split" by the middle voice into a major third below and minor third above, or vice versa. Jacobus (c. 1325) prefers the former arrangement with major third below, but recognizes that the converse may occur, as in the opening of a motet he cites:
E4
C4
A3
The term quinta fissa or "split fifth" not only expresses a medieval viewpoint, but avoids the implications of a stable sonority which "triad" may carry. For example, the above sonority might often resolve:
E4 D4 E4 G4
C4 D4 C3 D4
A3 G3 or A3 G3
The first progression involves resolutions of the two mildly unstable thirds in this sonority by stepwise contrary motion (m3-5, M3-1), while the second involves a lower m3-5 resolution. Note that in the second case we resolve to a complete three-voice sonority analogous to the triad in later music as the most complex stable sonority: an octave "split" the the middle voice into lower fifth and upper fourth. Johannes de Grocheio (c. 1300) calls this trina harmoniae perfectio or "threefold perfection of harmony," and in English I call it a "trine." ...
As a medievalist, I am more and more inclined to avoid the term "triad" for music before around 1610-1612, when Lippius coined the term. However, what I would call a sonority combining a fifth, major third, and minor third (e.g. F3-A4-C4 or A3-C4-E4 - C4 is middle C, and higher numbers show higher octaves) would depend a great deal on the period. Especially before around 1450-1500, using the term "triad" can carry the implication of a stable sonority where we are dealing in fact with a mildly unstable one.
For music of the 13th-14th centuries, I would use a very convenient term of Jacobus of Liege, quinta fissa, or in English "split fifth," a sonority with an outer fifth "split" by the middle voice into a major third below and minor third above, or vice versa. Jacobus (c. 1325) prefers the former arrangement with major third below, but recognizes that the converse may occur, as in the opening of a motet he cites:
E4
C4
A3
The term quinta fissa or "split fifth" not only expresses a medieval viewpoint, but avoids the implications of a stable sonority which "triad" may carry. For example, the above sonority might often resolve:
E4 D4 E4 G4
C4 D4 C3 D4
A3 G3 or A3 G3
The first progression involves resolutions of the two mildly unstable thirds in this sonority by stepwise contrary motion (m3-5, M3-1), while the second involves a lower m3-5 resolution. Note that in the second case we resolve to a complete three-voice sonority analogous to the triad in later music as the most complex stable sonority: an octave "split" the the middle voice into lower fifth and upper fourth. Johannes de Grocheio (c. 1300) calls this trina harmoniae perfectio or "threefold perfection of harmony," and in English I call it a "trine." ...
Category:
Wolfstone Halloween - Speaker Impedance Matching.
Every haunt needs spooky sounds, and if you have just one speaker (mono) or one set of speakers (stereo), life is easy. Life gets complicated when you have several speakers that you want to hook up together to put the sound in more areas, or handle more power.
If you are really serious about this, you will probably want a 70-Volt speaker system. But if you rather save a couple of bucks and do a lot of hand tuning ...
What type of amplifier do you have?
Where do you find impedance?
Speaker impedance
Amplifier impedance
Why impedance-matching matters
Can you survive impedance mismatch?
What's out there?
Changing The Impedance Of Speakers
Using Many Speakers
Impedance with multiple speakers
Series circuit
Parallel circuit
Series-Parallel circuit
Complex circuits ...
Every haunt needs spooky sounds, and if you have just one speaker (mono) or one set of speakers (stereo), life is easy. Life gets complicated when you have several speakers that you want to hook up together to put the sound in more areas, or handle more power.
If you are really serious about this, you will probably want a 70-Volt speaker system. But if you rather save a couple of bucks and do a lot of hand tuning ...
What type of amplifier do you have?
Where do you find impedance?
Speaker impedance
Amplifier impedance
Why impedance-matching matters
Can you survive impedance mismatch?
What's out there?
Changing The Impedance Of Speakers
Using Many Speakers
Impedance with multiple speakers
Series circuit
Parallel circuit
Series-Parallel circuit
Complex circuits ...
Category:
Historic music tuning problem described and solution provided with Pitch Palette software tunes a microtunable synthesizer to just intonation, world scales, historic scales and user scales in real time.
have you ever:
Noticed that the frets of a guitar do not match up with the harmonics of the strings vibrating over the top of them?
Worked on a vocal harmony that is sweet when sung in a cappella, but turns a bit dull when guitars or keyboards are added?
Wondered how you could achieve that rich violin and cello chamber harmony with keyboards and guitars?
Wanted to play international, and historical tunings on your keyboard?
Wanted new sounds in your music?
justonic, music, pitch palette, just intonation, intonation, pure harmony, pure tuning, world scale, international music, music history, midi tuning, stay tuned, tone generator, microtuning software, microtonal music, music scale, musical scale, microtune, microtunable synth, microtonality, tuning software, tune
have you ever:
Noticed that the frets of a guitar do not match up with the harmonics of the strings vibrating over the top of them?
Worked on a vocal harmony that is sweet when sung in a cappella, but turns a bit dull when guitars or keyboards are added?
Wondered how you could achieve that rich violin and cello chamber harmony with keyboards and guitars?
Wanted to play international, and historical tunings on your keyboard?
Wanted new sounds in your music?
justonic, music, pitch palette, just intonation, intonation, pure harmony, pure tuning, world scale, international music, music history, midi tuning, stay tuned, tone generator, microtuning software, microtonal music, music scale, musical scale, microtune, microtunable synth, microtonality, tuning software, tune
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